Exposed View

The left thumb has secretly pulled the third card back on top of its packet undercover of the natural downward swing of both hands. Your right index finger visibly and audibly created the illusion that the top card has been taken onto the face of the right-hand cards...then pressed into position by your right middle finger (FIG. 7).

An exposed view of the left thumb pulling the top card back onto the left packet. The right index and middle fingers will again change positions...creating an audible snap as the back of the nail of your right index finger snaps off the edge of the left-hand card (FIG. 6).

P2.0CXPUE.E.6 - The figures and their captions do the job of explaining the precise tech-inque. The tough part to teach in print is the timing Try for a casual unbroken rhythm. A metronome is an instrument for marking exact timing by a regularly repeated tick. These are used in practicing music, but astonishers can make use of them as well.

By setting the metronome for the rhythm of counting, you can achieve perfect timing by going through the cards and alternating false counts with regular ones. Audiences rarely scrutinize individual finger placements for discrepancies. They wouldn't know what to look for anyway. But what they can, and will, notice are the larger, yet more subtle discrepancies -like timing, rhythm and other non-verbal cues to what is actually taking place.

Pull these larger indicators into line and you'll leave them without a clue.

• Creating a sharp, audible snap as the right fingers take the cards is a major step in learning to perfect the count. Here's a few more tips:

a. As your right index finger slides out from the about-to-be-counted card, press the back of your fingernail straight down past the right edge of its card.

b. The snap happens a micro-moment before the card is either taken by the right fingers or secretly slid back onto the left-hand packet. That tiny moment that your left thumb keeps the card ridged is what enables your right fingernail to create a crisp snap.

• Practicing with a metronome can be useful at the beginning, but be careful to keep your count from looking mechanically precise. Too much precision in what's supposed to be a natural action can be a cause for suspicion in itself. Within the natural rhythm of the count there can be tiny breaks and pauses and inflections... in the same way that an easy conversation would natually ebb and flow with its less-then-precise currents of thought.

• Practice until you can't tell the difference between your cards and you fingers. Stop practicing when you completely disappear - but not until then.

TJJL E^L^ical ^LlUFFi-L

trrECT - While demonstrating the fine art of shuffling, the performer "slips a shuffle..." and accidentally shuffles his own fingers into the deck (Yeesh...What a mess!). Momentarily flustered, he recovers by discovering an Ace shuffled between each finger.

6TE.P ONE. - The normal shuffling procedure must be established. FIGS. 1 through 6 show the style of shuffle we'll be using. The Aces are on the bottom of the deck.

The short ends of the deck are taken between the right middle finger and thumb, with the right index finger bowing the middle of the pack outwards (FIG. 1). The left fingers are in position to receive the half-pack of cards which will be riffled off the right thumb (FIG. 2). As soon as half the pack has been riffled off onto the left middle finger, the right hand begins to lift up, pivoting the end of the deck held by the right fingers up towards the left thumb (FIGS. 3, 4). Notice that the grip in the left hand will match the grip in the right hand (FIG. 5). Using the pressure built up from the curled index fingers, riffle the short edges of the deck together (FIG. 6). Nothing unusual here. Just a normal, but very specific shuffle sequence. Do this twice, with a smooth but obvious style (keeping the Aces on the bottom).

5TE.P T\J0 -On the third shuffle, begin exactly as before, only this time the entire deck "accidentally" riffles off the right thumb onto the left middle finger (FIG.7). You remain oblivious to the fumble and continue with the shuffle actions, using the previously-established shuffling rhythm.

6TE.P TJJE.E.E. - Your right hand lifts up like before "thinking that it still holds half the deck" and levers the opposite end of the deck up towards the left thumb into riffling position (FIG. 8). Your absent-minded fingers again shuffle the "two halves." This time, however, lift the right hand just a fraction higher than normal, so that the right little finger (as opposed to the right middle finger) touches the face card of the deck.

•5TELP FOUR. - Again, I must emphasize this is all one, smooth continuous action, proceeding with the same rhythm as the other two shuffles. Continue immediately by riffling the cards off the left thumb, shuffling your innocent right fingers as equally as possible into the deck. (FIGS. 9, 10).

The right little finger is on the bottom, followed by a stock of cards, then the third finger, more cards, then the middle finger, more cards, then the index finger, more cards, then finally the right thumb on top of all (FIG. 11).

5TE-P FIVE. - Suddenly notice your goofed shuffle.(Paul's key line here is, "yeesh...what a mess!"). Pause long enough to create the impression that you're trying to think fast. Then grip the bottom stock of cards with the left hand, fingers at the front long edge, thumb at the back. Pull this stock of cards to the left, allowing the bottom-most card of the stack to remain held against the right little finger. Only pull the cards to the left far enough to clear the tip of the right third finger (FIG. 12).

Lift these cards past the third finger, then move them to the right until they are flush with the stock of cards above that finger. As soon as they are flush, pull them back to the left, but allow the third finger to retain the bottom card of the stack (FIG. 13). This will be the second Ace, which was originally second from the bottom of the deck. This time, only allow the cards to clear the tip of the middle finger, before moving back to the right enough to become flush with the cards above that finger.

As the cards move back to the left, the middle finger retains the card that was originally the third card from the bottom of the deck (FIG. 14).

Finally, move the cards up around the index finger, then to the right until flush, then back to the left, allowing the index finger and thumb to pinch the card from the bottom of the entire pack. This is the fourth Ace, and the card which was originally fourth from the bottom of the deck (FIG. 15).

The invisible discrepancy in the handling is that in order to actually isolate the cards found by each finger you would have to move from the top down, as you peel the bottom cards away from their stock. But I can assure you, it just doesn't register. Most important is a smooth continuous movement without seeming rushed. Be sure to riffle the cards from the left thumb into the right fingers in one movement. without starting and stopping the shuffle for the insertion of each finger.

6TE.P 6IX - Continue by turning over the right hand, touching the backs of the cards onto the table (FIG. 16). Spreading the four fingers provides a nice ending display of the four Aces to magically resolve a potentially-embar-rassing situation (FIG. 17).

Based on Paul Curry's Out of This World Written by Wyman Jones

6eekers of wisdom and truth...this one's for you.

If you've become crazed in the search for a killer effect that demands not even one double-lift, this one's for you. If you're hot in the quest for a stunner that will mislead even the keenest observers while giving you plenty of room for presentation, then - no doubt about it - this one's for you.

In case you haven't guessed, Paul Harris and I are crazy about this item; not because we created it, but because of its high mischief. We stand shoulder to shoulder, hand on heart, and solemnly promise on a stack of Bibles that this will become one of the few tricks you will always do.

The fundamental idea of this piece is that of Paul Curry's "Out Of This World." A member of the audience separates a shuffled face-down deck into two piles. It is then revealed that one pile consists entirely of black cards, and the other of red. What is being delivered here is a breakthrough approach to this effect.

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