## Switching Deck Shuffled By Spectator

Release a few of the right hand's cards from the top, letting them slide down onto the left hand's packet and under the left thumb. At the same time, move the right hand's cards inward and then outward, with a jiggling action, as if forcing the edges of one packet to intermix into those of

"t,H r lf lhe cards vvere being shuffled honestly, this would be a necessary and natural action. See for yourself. I lowever, due to the pressure of

, lcft.,humb ^e left hand's packet, the upper cards are prevented from mixing with the Iowa; portion.

°nW ' dcicribe in my bewk Somta and in the forthcoming

Kt,rk, o( Cn"w. Vicente Canute's Cartomagia Fundamental .md the

Mnemonic* /

I On'y a few c,1rils from the top of the huhl h,n i-down onto the left hand's cards The r,,h. I,.'. " ^ ^ ,lu,in8

its cards slightly to the left, H* enables .hl«^ ^ «

mixing into the other portion. W,,h'>u, '1f,u'lUV

Meanwhile, the left finuers push the ri^him .

of * JL. SSSSSiSZ ",'"•■'";"

Release the right hand's grip on its card for a moment and, with the nght fingers tap the upper edges of thecal downward. „ „ <„mplCHnR the intermesh. Because the left thumb and finKers are still squeezing «he cards, pushing the portion into the lower one is nt.uly impale. Instead these right hand's cards merely fall .n front of the left hand's packet 11..-! detail is essential; it is what causes a perfect Illusion of the two packets mixing. Do not overact here. Use your right hand, from above, to square the ends of the cards (Fig. 29).

Your having made the cards spread in the initial action of the shuffle, rather than lifting a squared block, and your having pushed some cants upward from the face (or from the right) mak.~> Ihe whole pro«-*. angle-proof and very natural in appearance. None of this is at all d.ff, ult (though it should be carefully studied and nonchalantly executed) and gm-P-feet illusion of the cards being mixed. Ihis allows you to repeat acion

" * —to do so) a couple mixing, cutting, mixing and squanng up I ' )(

look at your hands during the process and to talk leisurely the spectators.

deck onto the table.

Since the movements are quite simple, they quickly become second nature, so you needn't think about them, thus approaching the two essential conditions of mastery, as pointed out by so many of the greats in card magic (Rcni Uvand and Ascanio among them): looseness and casualness.

### Other Kinds of False Shuffles

A This is a false shuffle I devised for a half slack, in which spectators appear to shuffle the whole deck. It is quite deceptive. Have someone give the unstacked half a riffle shuffle and, before he pushes the packets flush, spread the telescoped cards on the table. Repeat this procedure with the stacked half.

Have the spectator gather the unstacked spread and square it up while you appear to do the same with the other half. What you actually do is undo the riffle shuffle, using the dynamics of the push-through shuffle (seen in exaggerated form in l:'g- 32) to disengage the interlaced cards within the guise of a cut. The spectator is also told to cut his packet. The packets are exchanged, cut again and bought together.

n,<1 impression conveyed is

•hat the whole deck has been

T - -include rotate the deck face down in your left hand. With y0Ur n right hand, hold the deck by the ends and use the right forefin. P ? !T,a>t the upper half of the deck, pivoting it to the left (Pig. 30). ¿ckc, between vour left thumb and the base of the left forejfo. draw it clear of the deck and into the left hand. Then raise your i i . ___ .,..11« ■ . •m « • "v I • ■ . I * a « . . . 1 ---/ f ^ • ^

Pinch this

Kcr and draw it clear ot me aec* ■ .««*.• your

Lt hand and drop its packet flatly on top w.th a concluding slap (Pig.31).

ht Ihis genuine cut, done immediately after the false shuffle, that through ,, resolute clarity successfully wraps up the procedure. As you conclude th, .,„ y0U finally look at the deck, saying, "IWell shuffled and cut." Set the deck onto the table.

Mnemonic* /

shuffled by the spectator himself, a||„w later in the trick: Kcnnnbrr thai you ,hu(lZ 'h'" f-5"

such as 14-15-16...25-26 1-2. ] 1-12-13 cyclical orrfcr,

B. Variation for Strippers

Using a stripper deck, turn the taper of the storks i u

,.< ,hc „, the deck., ,,V,. ,J„nc ZTM,» EE -

You may now hold the wide end of the stacked half firmly in your left hand; as the right hand strips out Ihe other cards m groups or small packets. The stripped-out cards are placed on top of th, left hand's cards. This will throw off the fastest company, since the stripped-out packets are clearly placed onto the deck without regard to order. The procedure is so safe that a very subtly tapered deck can be used.

C. Another method in which the spectator appears to shuffle the whole deck while only shuffling half the cards.

It occurred to me that switching the halves to simulate .1 total shuffle would be a good strategy. Here is what I worked out.

Leave the stacked half on the table and hand someone the unstacked half to shuffle. Retrieve the shuffled half face up and do a half pass to reverse all but the top card, say the K* As you complete the half pa*>s, catch a right thumb break under the K*.

Your right hand holds the face-up K* followed by twenty-five fact-down cards, all in end grip, while your left hand picks up the stacked half face down, taking it into dealing position (Fig. 33, in which the break under the K* is exaggerated). You will now do a variation of the Louisiana switch, a sleight --,..

described in Martin Nash's book, Ever So Skigjrt** sleight was originally used for switching a hand, but here the cards in the right hand for those in the left w,.h heexceM onof * fcce-up K*. cave the transfer the right hand's packet to the let. hand Aclu me , drops its packet to the table while retaining only the it quickly transfers to the left hand, placingonto the packc a >

"Set-"The Louisiana Switch" in ft*So*****

there (Fig. 34). A movement of both hands from right to left covers the switch. You now hand the packet on the table to the spectator for him to "finish shuffling the whole deck". Do another half pass to reverse all the cards in your hands under the K*.

### 5. Deck Switches

The importance of being able to switch a deck shuffled by spectators for a stacked deck (or a cold deck, in gambling jargon) is too evident to require comment. Here are some methods of interest.

Seated at the Table

This is the most direct method, and also a classic one. Seated at a table, you secretly hold Deck B in your left hand, under the edge of the table, with the left thumb hooked over the table edge and resting on top. The deck is held vertically, with its face turned to the left (Fig. 35). Lean your body slightly forward and raise the right hand with Deck A in end grip (tension). Lean back, dragging your right hand and Deck A to the edge of the table (relaxation), in preparation to take Deck B from the left hand. As this is done, the left hand turns counterclockwise to accommodate that action. The right hand opens, allowing Deck A to drop to your lap, and takes Deck B in its place

: HHdHHHHHHHHI

hold' 17*1 IT?5 immcdiate'y forward, pushing both hands (which deck on th i ui '** ** WeU <tensi™>- The hands now leave that as well , T Resequence of tension-relaxation (movej-tension, as leaning the torso forward and back while moving your arms

and hands in consequence are all direct am,«

Maestro Slydini. aPP'<cations of the rules of

2. Again following the ideas set down by Slvdini IH ,

I taught in Sonata. It can be found intheWnn' " SW"Ch ^ "The Triple Colors Routine". This switch i^L ?'V'nali°n ph'vsc of are natural to you, but it's

### Hvery effective.

3. In his book Super Subtle Card Miracles (1973, p. 100), Frank Garcia described three deck switches done at the edge of the table, which he had learned from gamblers. In one of them, the tabled deck is set on top of the deck hidden in the left hand, and a break is held between them (Figs. 37 and 38). Then, as the hands move forward, the left is tilted, allowing the upper deck to slip off the lower one and into the lap. See also, in the bibliography, the entries for Giobbi, Minch, Hatton, Kaufman, Vemon, Sharpe, Aronson and Shaxon.

### B. Inside the Pocket

These are, without doubt, some of the switches I have used most, still use and will probably continue to use, because of their simplicity and because I have fooled laymen and magicians alike with them. 1. As you look for the card case, which you've left in your pocket, after a trick in which a spectator has shuffled the deck, both hands enter the pockets. The hand that goes into its pocket empty brings out the card case while the hand that holds the deck leaves it behind and come* out with the stacked one.

The sequence is blocked as follows. Both hands enter ^,r a^.ve pockets at the same time, while you look at the ornptv hand f .rs br^ that hand from its pocket with the case; and shortly-af e, bnng o other hand with the cold deck. The deck is left on .he .a 1, - h . hand tha, held it can open the card case and remove .he J Before putting the deck away, you suddenly remember another

V >u w int to perform: a trick that makes no use of the stack (but leaves jhnl ld) and does, if possible, make use the Jokers you've just brought oul. You later employ the stack to your best advantage.

Sometimes, after switching the deck and bringing out the card case, I slip the deck into the case and give it to someone who shuffled the pack in a previous trick, asking him to keep it safe while I perform, say, a coin trick. After this trick, I retrieve the deck and continue with Mncmonica material. Prior to the switch, whenever possible, strongly stress the fact that the spectator shuffled the cards. Later, after the switch, remind him of how thoroughly he mixed the deck.

2. The switch may be done inside a bag or briefcase as you reach in to get something: a rubber band, the Jokers, a paper clip, a marker, etc. I believe it is essential to have a sound logical reason to go to the bag or briefcase. It's not good enough to get something that is barely used.

3. Another opportune moment for a switch occurs after finishing a trick in which the deck has been shuffled by a spectator. Put the deck into its case and that into your pocket. You then realize you have left the Jokers, or any other card, on the table. Retrieve the cased deck (actually another one) from your pocket and insert the forgotten card or cards while leaving the deck in its case, which you then place on the table. IX) a knife trick or a coin trick, or simply take a break, and later continue with the cold deck. It is advisable to talk to the audience during this sequence.

4 A1 Baker published a trick in which a spectator is asked to put the deck into his pocket In explaining what is desired, the performer demonstrates the actions, making a switch in his pocket and bringing out another deck, which he hands to the spectator for the trick. The switch, though it may appear somewhat bold in print, is extraordinarily subtle, since the underlying psychology is formidable. Iry it out and you'll be convinced. A1 Baker also explained that the deck to be switched in should rest in a vertical position in the pocket, while the deck being switched out is held horizontally (Fig 39)

niis facilitates a deft switch by eliminating fumbling.

5. As you turn your back to the audience, under the pretense of not M*ing the selection as it is shown to the group, you can switch the ; ;; the d<** for a Stacked one, from which the (forced) selection CCn previous,y removed. The switch is absolutely undetectable

Mnemonic a y mcm-

current a and inconceivable, since everyone is focused bering the selection. The stack shouldn't »1 1V 7 *

trick. It is psychologically faultless to S 7^ **« "

subsequent trick while performing actions w mTh ^

being exceedingly fair (in this case, by J^lt TT' being shown)/ y ,Sh,n«t0 ,ook a* »He card

The switch could be done by taking the stacked deck fmm rh breast pocket of your jacket, or from Lnder vou v£I

close to your body to avoid any suspicious arm movement. ()nce you have switched the deck you can gesture with your outstretched hands as you say, "Wait! I'll turn aumy. Don't \$fm the cord yet."

Sometimes it is convenient to rest the hand that holds the (already switched in) cold deck on a nearby table (Fig. 40) and leave the deck there before turning to face the group. It is even better if the table is in front of you. After a pause, turn again toward the audience and ask the spectator if he has already buried his selection in the deck. When he indicates that he doesn't have n r fr

iV, the deck, point to the pack on the table-hesitating a bit before finding it there—and instruct him to insert the card into it himself.

6. Incredible as it may seem, the following has been my favorite dock switch for a long time. It has long been in the repertoire of the Dutch master. Tommy Wonder, as well. After finishing a trick, the right hand carries the deck to the right-side jacket pocket. At the same time, the left hand enters the left-side pocket in a relaxed attitude. The trick is over and you arc taking a rest. The astonishment from the trick still has the dumbfounded. As both hands exit their respective pod* ■M-P

tion for the next .rick, the right hand come, brings out the stacked deck. Both hands then hold the square i, You now refocus the audience's attent.on for <h.

1 The extremely clever Simon Anmson, on /- , MallJ,r psych.«

describes sca.ed dcck-swi.ch, done under .he .able, lha. employ logical ploy.

At Hmcs I have performed this switch several limes in one session, espec.ally if the spectators and myself are standing, as you do at cock-

tail parties.

If rm not wearing a jacket (which, in recent years, .s most of the time), I perform the same switch in the back pockets of my jeans. After the actions shown in Figs. 41-44, simply bring the hands together again.

I his switch is an embellishment on another fine idea by A1 Baker. Two cards l,e lo8ether in tbe stack-let's say Cards 23 and 24—arc forced on two spectators Ihey return their cards to the unstacked deck and shuffle it thor-

,,Uf. V1VI,lu,ul -vou touching anything. You next show your pocket empty, Pu the deck into it and then locate the two cards "through a super-sensitive of touch". You then bring out the rest of the deck and continue per-W" 1 Monica. To do this you previously put the stacked deck tlU' ^ wiUl Cards 23 and 24 on top. To enable you to show the

pocket empty, you have made a special double which is useful for other tricks as well. ManudSSTT'F"

dable idea of carrying a piece of cloth that matcX ^ ^

trousers. In a pinch this can even be an unfolds whi.^S? ^ puD a portion of this cloth from your poc^^^T the pocket apparently empty. TO, me(hod lhl, ^

being easily transferred from one pair of trou^ lo^Z ^

8. In the bibliography you'll find two magnificent ideas by Alex Hmsl.-v included in 77,, Called«, Works of Alex Umsley, VCun, I ,im D in ai?', see the entries for Ireland, Giobbi and Lavand who, among others, describe techniques for switching a deck inside a pocket.

### C. With Gimmicks

1. With a large wallet, introduced to get or display money or a prediction. Secretly hold a deck under the wallet in one hand, while the other hand holds a second deck in view (Fig. 45). Flip open one side of the wallet, covering the deck you wish to switch out. Both decks are now out of view, each under one side of the wallet (Fig. 46). Comment on an item in the wallet or remove it Then close the other side of the wallet, bringing the stacked deck into view (Fig. 47). The time required to take something from the wallet is enough to conceal the fact that the deck appears on the side opposite the one it began under. This ploy seems to have originated at the gaming tables, like the old (and difficult) technique of switching decks under a handkerchief. - .

* This idea is described in 77, Award-oinnliig W *•<*' »

0 V :asc shell (a card case with its bottom side removed) is a magnifi-cent gimmick for switching a deck. This idea by Capfc J. E. Stone is described in Milliard's Greater Magic (1938, p. 208). It is used in parlor magic with a table on which props are set throughout the performance. However, it can also be adapted for close-up work. Here is a handling I worked out, but I'm sure you'll come up with something better. You will need an expanded case shell, which you make by first separating the glued seams of a normal case and gluing them together again to slightly increase the si/e of the case. The underdside of the case is then cut away. A stacked deck is hidden inside it. Explain that you are going to cover the case with a handkerchief. As you do so, you also cover the deck, seemingly by accident. Slip your hand under the handkerchief to retrieve the deck. However, you first lift the case shell from the stacked deck and cover the unstacked one. You then slide the stacked deck from beneath the handkerchief. You might also consider using one of the deck shells currently on the market

3. I:u-Manchu's newspaper servante, hanging over the back of a chair, is very useful for switching a deck. The servante can be made up with any newspaper at a moment's notice and is described in detail in the highly interesting book La Leccifyi de Magi (1985), p. 31, written by my great Argentine friends, magicians Michel and Greco. Martin Chapen-ter devised a similar newspaper servante, which was described in the March 1906 issue of Stanyon's Magic, Vol. VI, No. 6, p. 45, just after Fu-Manchu's second birthday. The Fu-Manchu design is very practical.

4. If using a hat, in parlor or platform conditions, a cased deck can be set balanced on edge on the hat brim, as shown in Fig. 48. At a deck is allowed to fall Htt inside the hat, as if by accident, and a stacked deck is brought from the hat in its place. The stacked deck is balanced on the hat brim "again'' and the trick continues. This is a fine classic method.

5. Various kinds of servantes, topits, etc. are well suited for switching decks.

D. Other Switches

1 Upon finishing a trick, pretend to make the deck travel by first palm-

oalmTii o Cafd! and t<lkin8 lhem behind a spectator's ear. Next, one In 11 m S ^ * Prev'ous selection, which you've forced. While with v, , !he Single card as if il were the whole deck, you reach your other hand into your jacket and produce the rest of the cards

Mni-monica / 353

from there. Actually, you switch the palmed <Ww t the inner breast pocket and brini- that out TV , " ',,,ck''<, °m'm the forced selection, which you display in yo^ott^r"'' ^

2. As you take the deck behind your back to find on,, nf ^ ,

## The Illustrated Key To The Tarot

The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.

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