This is a sequence using just the four aces, which can be used as a prelude to "Twisting the Aces." "Overture," inspired by a Robert Walker plot, was published in the March, 1981 issue of Genii. It is a transposition effect in which the face-up red aces magically change positions with the face-down black aces.
Display the four aces. Openly place the red aces face-up between the two face-down black aces. Pause to display die situation. Then square the packet.
Perform a Jordan Count, as follows: The packet is held in a left-hand Pinch Grip, as in figure 1. On the count of "one," the top card is taken into the right hand. On "two," the next card is taken on top of the first.
On the count of "three," the hands come together again, the left-hand stock coming over the right. Both cards from the left hand are taken on top of the right hand's stock, but at the same time the lower card of the right-hand pair is stolen back by the left fingers. On "four," the single card in the left hand is placed on top of all. (This count has concealed the card that started at the bottom—and which ends up third from the top—by showing the top card twice.)
Nothing seems to have changed during die count; you are still showing two face-up red aces between two face-down cards. In fact, die order has been altered, and is now, from the top: face-down black, faceup red, face-down black, face-up red.
A "mystical gesture" is now made—Dai Vernon's Variant Through-the-Fist Flourish: The packet is placed across the left palm, as in figure 2. The fingers curl over the packet: and the hand is turned palm-down. The left thumb pushes the packet, causing the cards to emerge from the side of the hand, as in figure 3. The packet has been turned over. However, a back still shows on top, so nothing seems to have changed.
Count die cards again, using an Elmsley Count. This is the same in appearance as the Jordan Count, but it conceals the card third from the top (which ends up on the bottom):
Hold die packet in a left-hand Pinch Grip. On "one," the top card is taken into the right hand. On "two," the hands come together and the left thumb does a Block Push-Off of the top two cards of its stock, squared as one. This double card is taken by the right hand, and at: the same time the right hand's single card is stolen back beneath the left-hand stock. On "three," the next card from the left hand is taken on top of die right-hand cards. On "four," the last card from the left hand is
placed on top of all. During die count, the two black aces will show, faceup between two face-down cards.
At the end of this count, the situation is legitimate—i.e., the black aces are actually between the face-down reds. Spread the cards, showing them on both sides, to conclude.
In the early 1970's, I began experimenting with tricks using ginunicked cards. One such trick that fooled many magicians was "Differential," which T published in my first card booklet, Classic Tackier, in 1976. In that same collection I published two variations that did not require special cards.
The first of these is a transformation of four aces into four kings. A small set-up is required. At the start of the routine, the order is, from the top of the pack: king, king, king, face-up king of spades.
Turn the deck face-up and openly remove the tour aces. During this, you must of course avoid exposing the set-up kings.
Turn the pack face-down, holding die cards in the left hand. With the left little finger, obtain a break beneath the fourth card from the top (the natural curvature of the reversed card makes this easy). The four aces are placed face-up on top of the pack. The ace of spades must be at the back of this face-up group.
Say, "This is an observation test." With the right hand, lift the eight cards above die break, holding them from above (a Biddle Grip, as shown in figure 4). The aces are now displayed with the following version of J. K. Hartman's Secret Subtraction:
The first ace is drawn onto the pack by die left thumb. The edge of the right-hand block is used to flip this card face-down, and it is retaken beneath the right-hand packet. The right thumb holds a flesh break between this card and the seven cards above it. Rotate the right hand, again displaying this first ace, now at the bottom of the packet. (This procedure is shown in figures >, 6 and 7.)
Repeat the procedure with the next two aces. When the hands come together for the fourth ace (the spade), the three aces beneath the packet are secretly unloaded back onto the deck. The ace of spades is flipped face-down and taken beneath the packet in the same manner as before. Thus, die order of the packet is now, from the top: king, king, king, faceup king of spades, face-down ace of spades. Table the deck.
Spread the packet as four cards, with a Single-Buckle Spread: The packet is held in the left hand, in standard dealing position. The left thumb pushes over the top card, which is taken by the right hand. The
next card is taken by the right hand, beneath the first, jogged to the left. Now the left forefinger pulls in on the outer right corner of the bottom card, causing it to buckle. This makes it easy for the right hand to take the two cards above the buckled card, squared as one, beneath die cards it already holds, jogged to the left. The last card is taken beneath the fen, jogged to the left. You now display a four-card fan, but the card third from the top is actually a squared pair.
Ask, "WTiich suit is on the bottom?" Even diough you have just shown the spade to be there, there will often be confusion on the part of the spectators. Say, "I will make it easier for you." Holding the spread in the right hand, the left hand removes the bottom card and turns it faceup, displaying the ace of spades. Replace this card face-up beneath the spread, so that it extends from die side of the tan.
Ask, "Which suit is on the bottom?" The spectators will laugh—for the answer is now obvious—and tell you it is the spade. "That's right. Now I will make things a bit more difficult."
Regrasp the fan in the left hand. (Take care not to let the squared pair, third from top, spread apart.) The right hand removes the top two cards of die spread and openly moves them to die bottom of the packet. The order of the cards is now, from the top: face-down king, face-up king (squared and hidden beneath the top card), face-up ace of spades, face-down king, face-down king.
"Now where is the spade?" The spectators will tell you it is second from the top.
"You're right. However, if I close the spread, so that you cannot see the face-up card, what suit is second from the top?" Square the cards. The spectators will tell you that the spade is still second from the top.
Perform a Back Spread: The right hand holds the packet in Biddle Grip and the left fingers draw the cards out into a spread, drawing from the bottom of the right-hand stock. As this is done, the right hand can easily keep die top two cards squared as one. Thus, you are in the same spread condition as before, displaying the face-up ace of spades second from the top among three face-down cards. Square the packet.
"So tar, you've been following everything. However, if I snap my fingers, now what suit is second from the top?" Snap your fingers. The spectators will tell you that the spade is still second from the top.
"You're right again—here is die spade." Perform an Ascanio Spread. (The original Ascanio Spread was done with die cards gripped sideways. However, the popular version is done as shown in figures 8, 9 and 10.) This action is similar in appearance to the Back Spread just used, so the moves are consistent. You will again be displaying one face-up card second from the top—but it will now be the king of spades.
At the end of this spreading action, the right hand holds a double card (the face-up ace of spades squared beneath the face-up king of spades). The right hand removes its double card from the fan, rotating to display the card(s), back and front. Drop the double card onto the table, faceup. If the cards are dropped straight down, they will not separate.
Flip die odier diree cards in the left hand face-up, one at a time, dropping them onto the tabled king of spades, to show that all four cards have changed into kings.
These three kings should be dropped so that they cover the front edge of the tabled double card, as in figure 11. This assures that die double edge of the king of spades is not exposed, masking the only potential "leak" from the spectators' view.
This trick can be done by itself; however, it plays nicely when used to follow the previous effect. At the conclusion of die t rick just described, the situation is this: five cards lie on the table—the four kings, with die king of spades fourth from the face, and the ace of spades hidden behind the king of spades. On top of die deck are die other three aces.
Pick up the pile of cards, square them and turn them face-down. "Usually, a magician never repeats a trick—but I will repeat what I have just shown you." As you say this, casually transfer the top card of the packet (die ace of spades) to the bottom. Hold die five-card packet in right-hand Biddle Grip, and obtain a break with the right thumb above the bottom card (the ace of spades).
The left hand picks up the deck, holding it face-down. The right hand brings its packet over the pack, unloading the single card below die thumb break onto the deck. In a continuing action, the four kings above the break are flipped face-up and dropped onto the deck.
As you converse with die audience, casually spread the top eight cards and obtain a break beneath them. Display the kings, using the same Secret Subtraction technique described in die preceding routine. At the conclusion of this, die audience will believe you are holding die four kings, in fact, die packet held in the right hand is, in order from the top: ace of spades, ace, ace, ace, king of spades. Place the deck aside.
Take the packet into the left hand and, with die right hand, remove die bottom card and turn it face-up as you say, "Once again, the spade will be the leader." As you gesture with the king of spades, the left little finger obtains a break beneath the top card of its four-card stock.
Drop the king of spades onto the left-hand stock. "This time, instead of working on the table, the action will take place here." With the right hand, point to your left forearm. (This pointing justifies your placing die king of spades onto die packet.)
The right hand now removes the top two cards of the packet (from above die break), squared as one. These cards are held with the right hand from above: die thumb at the center of the left long edge, the forefinger on the center of die card, and the middle finger at the center of the right long edge.
You will now perform a Sleeve Change: Extend your left arm and, with the right hand, briskly rub the double card back and forth on your left sleeve. As you make your third or fourth downstroke, release the card from your middle finger, allowing it to snap over—instantly changing into the ace of spades (figure 12).
Continue die downstroke, moving the right hand with its double card down across the left hand. As the hands meet, the left thumb digs under the left-hand stock and flips those three cards face-up, spreading them
into a fan. The double card winds up at die right end of this fan, as seen in figure 13, making a pleasing display of the four aces.
The Sleeve Change produces a surprising and visual transformation. Furthermore, you will find that most spectators perceive that you have done more than you actually have; they will be left with the impression that till four kings visibly changed into aces.
To conclude, with the right hand retake the double card into Biddle Grip. Use this card to flip the other three aces face-down. As they turn over, press on the center of the double card with your right forefinger.
This facilitates the release of the face-down king of spades (which is squared beneath the face-up ace of spades). Thus, the king of spades will be unloaded onto the other face-down cards; and you are free to snap the single card in die right hand face-down and place it into the left hand with the odier cards. Thus die transformed cards are again displayed backs and fronts, to conclude the routine.
This is yet another instant change of four of a kind, this rime featuring an extra climax. What is interesting about this routine is that there arc actually two possible endings, determined in mid-routine by an audience decision.
This first appeared in my booklet Scatwsbot (1977). It is an outgrowth of J. K. Hartman's "Transfourence," from his book Card Fare (1975).
You will require a blue-backed deck and three red-backed cards. Begin with the blue-backed king of spades on top of the pack, followed by the red-backed kings of hearts, clubs and diamonds.
Start by turning the pack face-up and openly removing the four aces, taking care not to expose the kings at die back of the spread. Square t he pack and hold it face-down in the left hand. Obtain a left little-finger break beneath the four kings. The aces arc placed face-up on top of the pack, making sure that die ace of diamonds is lowermost.
The aces will now be displayed with Mario's ATFUS. (The title of the sleight is an acronym for "Any Time Face-Up Switch.") The right hand grasps the block of eight cards above die break, taking it into Biddle Grip. Now the right thumb tip picks up the ninth card, below die packet, so that a small flesh break is held between that card and die eight cards above. The right hand removes diis nine-card stock from die deck.
Bring the hands together and, with the left thumb, draw die first ace onto the deck, face-up. The second ace is drawn onto the first ace in a rightjogged position; then the third ace is drawn onto the second, rightjogged a bit farther. Now the last ace (which conceals five cards behind it) is brought over the spread, and you apparendy lift all four aces from the pack. In fact, the cards are squared and the single card being held by die dp of the right thumb is dropped onto die diree drawn-off aces.
The right hand comes away with the top five cards, which are, from the top: face-up blue-backed ace of diamonds, face-down four kings.
Table the pack. Hold the packet in the palm-up left hand. Perform Vernon's Variant Through-die-Fist Flourish, transforming the ace of diamonds into the king of diamonds. Immediately spread the packet to display four kings (keeping the face-down ace squared and hidden beneath the fourth card, the king of spades).
State that you will perform a further effect using the kings. Ask the spectator to name a suit. If any suit other than spades is named, proceed as follows: Transfer the named king to the face of the fan. Then square the packet, holding it in a right-hand Biddle Grip. Use the left forefinger to buckle the bottom card. This facilitates die action of the left hand, which milks off the top and bottom cards, moving them to the left, squared as one. Deposit the left hand's double card on top of the tabled pack.
"I knew you would pick the king of [the namedjw/>]." As you say diis, show the three remaining kings to have blue backs by using a Haminan Back Count (also known as a Flushtration Count): The cards are held face-up in right-hand Biddle Grip. Rotate the right hand palm-up, displaying a blue back. The right hand returns palm-down, and the left diumb draws the top king into the left hand. The right hand again rotates up and down, and the left thumb drawrs away the next king. The right hand rotates up and down a diird time, then deposits its final card on top of the left-hand stock. The same blue back is shown each time, but the audience is given the impression that the back of each card is displayed.
Place t he packet of three kings onto the table, face-up. Take the faceup king that is on top of the deck (i.e., die king that was previously chosen by the spectator) and turn the card over, revealing its contrasting red back.
Drop this card face-up onto the kings packet as you say, "You may wonder what I would have done if you'd named any of the other kings." Pick up the packet and make a mystical gesture. Then flip the packet face-down and perform an Elmsley Count, showing that all four kings now have red backs.
If the spectator names the king of spades when t he choice is offered, the climax is modified. Simply remove the double card at the back of the fan (the face-up king of spades squared above the face-down ace of diamonds) and place the card(s) on top of the deck. The remaining kings are tabled.
"You chose the king of spades, leaving me the kings of hearts, clubs and diamonds with which to work my magic." Make an appropriate gesture over the kings packet, then turn over those three cards to show-that their backs have changed color.
While we're on the subject of packets changing into different value-sets. I'll offer this roudne in which the cards change more than once. It is based on Brother Harnman's "The Magic Cards," which is related to Karl Fulves' "Universal Card" plot (a plot we will return to). T admired the cleverness of the Ilamman routine, but it was only when John Carney showed me his version (then in development) that I bothered to explore an approach of my own. This was published in Charles Hudson's "Card Corner" column in the February, 1984 Linking Ring.
You will need a pack of cards with two matching jokers. At die outset, there is an eight-card set-up on top of the pack: joker, black queen, ace, indifferent card, face-up indifferent card, three face-up aces. Three cards have been removed from die pack and are in your pocket, in order from the top: red queen, black queen, joker.
Shuffle the pack, retaining the set-up on top. Now shuffle the setup to the center, obtaining a break above it. Run your thumb down the corner of the pack, inviting a spectator to tell you when to stop. Use standard Riffle Force technique to arrive at the break. Cut all the cards above the break to die bottom of die pack. "We'll use the first three cards at die point you stopped me." Deal the top diree cards of the pack into a face-down tabled row, left to right. Place the pack aside.
Bring the three-card packet from your pocket, explaining that you will use these three "magic cards" for a demonstration involving each selection in turn.
Turn up die card at the left end of the row, revealing a joker. Turn the joker face-down and drop the packet onto it. "As your selection was a joker, my three special cards will become jokers."
A Diminishing Lift sequence is used to display four jokers: Perform a Triple Turnover, showing a joker. Flip the triple card face-down and deal the top card to the table. Perform a Double Turnover, showing a "second" joker. Flip die double card face-down and deal the top card to the table, on top of die first . Flip over the top card of the packet, displaying a "third" joker. Flip it face-down and deal it onto the tabled pile. Turn over the final card, showing the original selected joker. Flip that card face-down and drop it onto the pile.
Pick up the deck. Take the top card of the pile and openly insert it into the center of the pack, saving, "That takes care of the first selection. But perhaps you think my three magic cards were already jokers. Not so, as you shall see." Table the pack.
Turn up the second selection, showing it to be a black queen. Turn the card face-down and drop the three-card packet onto it. "As the second selection was a queen, my magic cards will become queens."
Here, a Mario display subdety is used: Perform a Triple Turnover, showing a red queen. Flip the t riple card face-down and deal the top card to the table. Turn over the top card of the packet, showing a black queen. Flip that card face-down and deal it onto the first card dealt. Turn over the next card, showing a red queen. Flip diat face-down and deal it onto the pile. Turn over the final card, showing the original selected black queen. Turn it face-down and drop it onto die pile. (During this sequence the same red queen is seen twice, but as the displays are separated and die color distribution is correct, it will convincingly appear as if you've shown four queens, one of each suit.)
Pick up the deck. Remove the bottom card of the four-card tabled pile (the joker) and insert it into the center of the pack. "That takes care of the second selection." Of course, this is an inconsistent action, but if you proceed with assurance the discrepancy will pass unnoticed.
Still holding die deck in your left hand, obtain a left litde-finger break beneath die top five cards (made easy by the natural curvature of the faceup cards in the set-up). The right hand picks up the three-card packet from the table and turns it face-up, depositing it on top of the pack. Spread the three cards to display three queens.
"The magic cards remain queens, for that was the last value with which they came into contact. They will remain this way, until given a new influence." Square the queens and apparendy turn them face-down. In fact, flip over the entire eight-card block above the break. Continue by spreading over the top three cards (presumably die queens just shown). Remove these diree cards and place diem onto the table. A back shows atop the pack, so all looks fair. Table the deck.
Turn up the final selection, showing an ace. Turn this card face-down and drop the three-card packet onto it. Using the same type of display actions as before, legitimately turn each card over, showing it to be an ace.
At the conclusion of this display, hand the packet to the spectator, who can of course examine the cards thoroughly, as diey really are the four aces. Conclude, "It would be foolish to continue this demonstration, for what could be better than four aces?"
This is an example of what I call "ecological magic"—in which the waste-product from the first phase accomplishes the second phase. The routine combines a "twisting" sequence with a surprising card location. This was first published in the May, 1977 issue of M-U-M.
Begin by openly removing the four kings from the pack and placing them off to one side. Have a card selected by a spectator, noted and returned to the pack. Control the selection to a position fifth from the top. The deck is held in the left hand, with a left little-finger break retained below the top four cards.
Say, "I must find your card. To do this, I will need some help, so I will ask the four kings to assist me. Now this creates a problem, for the kings are very stubborn. They insist that, before they help me with my trick, they will do a trick of dieir own. I apologize for diis, but I'm afraid that we will have to put up with the kings' demands if we ever hope to locate your selection."
During this, the four kings are dropped onto the pack, face-up. The kings can be in any order, but the last two kings must be of opposite color to each other.
The kings are displayed, using Mario's ATFUS: The right hand grasps the eight cards above the break in Biddle Grip. The right thumb tip picks up the ninth card, keeping a flesh break between that card and the eight above it, as the right hand removes this nine-card stock from the deck.
Bring die hands together and, with the left thumb, draw die first faceup king onto the deck; then the second. As the hands come together to draw the third king onto the deck, the right thumb releases the lowermost card of its packet back onto the pack. Draw the third king onto the deck. The fourdi king (which hides a block of four face-down cards below it) is dropped on top of all.
Apparendy you have simply displayed the four kings on top of the deck. Tn fact, the situation from the top of the pack is: face-up king, four face-down cards, face-up king, face-down selection, face-up king, faceup king.
Lift off the top six cards (made easy by the natural break beneath the first reversed card sixth from the top). The rest of the deck is put aside.
"Here is the trick that the kings insist on performing." Twist the packet, then do an Elmsley Count, displaying three face-up kings and one face-down.
Ilere I will digress a moment to point out that there is a reason the Professor used a twisting action in his original routine. The action is performed as shown in figures 14,15 and 16. You'll note that this serves a function beyond its pleasing appearance: it concludes with the cards in a Pinch Grip, so that you can immediately go into a counting action that uses this position.
Having said this, I will point out that, in this routine, the Elmsley Count will be followed by an Ascanio Spread, so it is best to perform the count from a Biddle Grip, to be consistent in your actions. However, we will retain the twisting action, if for no other reason than for the sake of tradition. For those not familiar with the Elmsley Count done from Biddle Grip, here is a brief explanation:
The packet is grasped in right-hand Biddle Grip, and the left finger-
tips secretly jog the bottom card about a quarter of an inch to the right. The left diumb draws the top card into the left hand. The left hand then returns to the packet, apparently to draw the second card onto the first, hi reality, the first card is secretly loaded under the packet, in alignment with the rightjogged bottom card; and the double card on top of the packet is clipped in the fork of the left thumb (the Veeser Concept). The double card is drawn off the packet. Then the third card is legitimately drawn onto the left hand's pair, and the count is concluded by placing the fourth card on top of all.
Twist the packet and do an Ascanio Spread, showing two face-down cards in the packet. At the conclusion of this spread, the right hand holds three cards squared as one. With this hand, strip out the triple card and replace it on top of the packet. Square die cards.
Twist die packet and do an Ascanio Spread, displaying three facedown cards out of four. With the right hand, strip out the triple card and replace it on top of die packet. Square die cards.
Twist the packet. Do an Ascanio Spread to show four face-down cards. The right hand strips out the triple card and deposits it onto the tabled deck. The three face-down cards remaining in the hand are dealt one at a time onto the pack. Apparently, you have just dealt die four facedown kings onto the deck.
"Now diat the kings' trick is finally over, 1 can get them to locate your card." Openly give the pack a complete cut.
Make a mystical gesture. Then spread the deck to reveal that the kings have turned face-up and have trapped a face-down card in their midst: the selection.
It was not a great creative leap from the preceding item to this one. Developing "Twisted Location" led me to realize diat my "Snap Differential" could be extended to accommodate a pay-off based upon die Roy Walton "Collectors" plot. This was published in Scattershot.
An eight-card set-up is required, in order from die top of the pack: the kings of spades, hearts, clubs and diamonds; die aces of spades, hearts, clubs and diamonds.
Obtain a break beneath the eighth card. Flip over diis eight-card block, then spread die top three cards, displaying the aces. (The audience will assume that this constitutes die entirety of what was turned up.) Square the cards. The right hand grasps the eight-card block from above in Biddle Grip. (It is not necessary to have retained the break to do this, as the natural curvature of die face-up cards makes the location easy to find.) The tip of the right thumb picks up the ninth card (i.e., the first face-down card of the deck), taking it beneath the packet, separated by a fine flesh break.
You will now display the aces again, using Ed Mario's ATFUS: The left thumb draws the first ace (the diamond) onto the pack. The next ace (the club) is drawn onto the first, then the next (the heart) on top of that. The ace of spades (with the kings and one face-down card squared and hidden beneadi it) is brought over all, and you apparendy lift all four aces from the deck. In fact, as the cards come into alignment, the lowermost card is allowed to drop back onto die deck. The right hand comes away, supposedly holding the aces, but in fact bearing the ace of spades above the four kings. A back shows atop the pack, so all looks fair.
Place die right hand's packet onto the table. Spread die pack (keeping the face-up aces near the top concealed) and have three cards chosen by as many spectators. The selections having been noted, they are now returned to the pack one at a time. Although each selecuon is seemingly lost in the middle of the pack, actually Tilt technique is used.
The right hand retrieves the first selection from its chooser and inserts it into the break, flat onto the top card of the deck proper. Because of the angle of display, an illusion is created of the card entering the pack significandy below the top card (figure IS), thus convincing the audience diat it is going somewhere into the center. As the card is pushed square, secredy raise the pack to join the tilted top card, closing the break. (A great deal has been published on this technique, including some clever subtleties that make the procedure even more convincing; researching these will prove worth your time.)
Obtain a break under the top three cards as you converse with the spectators, and repeat die Tilt procedure at this location widi the second selection. Then get a break under the top five cards and use the Tilt procedure at that point with the third selection.
In brief: Obtain a left little-finger break beneath the top card of the deck, keeping the cards square at the front, but opening the break an eighth to a quarter of an inch at the inner end, as shown in figure 17. Angle the inner end of the pack downward, so that the tilted top card lies horizontal.
Perform a simple Slip Cut: The right hand pulls away the top half of the pack, but the left thumb retains the top card. Replace the right-hand stock on top of the left. The order of the cards is now, from the top: first selection, face-up ace of hearts, second selection, face-up ace of clubs, third selection, face-up ace of diamonds, balance of deck. Table the pack.
Pick up the "ace" packet and explain diatyou will do some preliminary magic using the aces prior to finding the chosen cards. Perform "Snap Differential," as already described, to die point when the Sleeve Change is completed. You are displaying a face-up fan, in order from the face: king of spades; face-down ace of spades; kings of diamonds, clubs and hearts.
Square the packet and turn it face-down. Do a Single-Buckle Spread to display four backs. The final card (the king of spades) goes on top of the others. As this is done, say, "Perhaps you're wondering what has become of the four aces." Square the packet, drop it: onto the deck, dien pick up the deck.
"Well, the aces have been busy finishing the trick." Saying this, execute a Pass while lowering the pack to the table. In a continuous action, ribbon spread the deck on the table. The aces are seen face-up in the center, interlaced with diree face-down cards—die selections.
This is another piece of "ecological magic." The plot is related to Lin Searles' "Countdown Aces," though it differs from that effect in several respects. "Third Degree" was first published in die August, 1980 New Tops.
Begin by openly removing the ace, two and three of clubs from the pack. Hold the deck face-down in die left hand and obtain a break beneath die top two cards of the pack. The right hand deposits die three club cards face-up on top of the deck, in order from the top: ace, deuce, trey.
The three cards are now displayed, using the ATFUS procedure: The right hand grasps the block of five cards above the break, holding the cards from above. As you remove this block, die right thumb tip also lifts the sixth card, keeping a flesh break between this card and the five above it.
The left thumb draws die ace onto the deck, then the deuce onto die ace. The right hand now holds the trey, with three cards squared and hidden beneath it. This is brought over all and you apparently lift the ace and deuce off the pack beneath the trey. In fact, the cards arc squared and the single card being held by the tip of the right thumb is dropped onto the pack. The right hand comes away with a three-card block. The audience will believe this to be the three, two and ace, face-up. In fact, it is the trey with two face-down cards below it. Table the packet.
The deuce and ace are face-up, second and third from the top of die pack. Spread the deck, concealing the reversed cards, and have three spectators each select a card. While the spectators are noting dieir cards, perform a Double Undercut, transferring the top three cards to die bottom of the pack. (The ace is now the bottom card.)
The pack is held in the right hand, in position for an Overhand Shuffle, and the left thumb shuffles off about twenty cards. Extend the left hand and have the first spectator drop his selection onto the left-hand stock.
You now continue your shuffle; however, your initial action here is to milk off the top and bottom cards of the right-hand stock, in die manner of a standard gambling run-up ("Milk-Build"). This action is shown in figure 19. The face-up ace is thus positioned above the first selection.
Shuffle off about ten more cards and have the second selection put onto the left-hand stock. Run one card from the right-hand stock onto die left, dien milk the top and bottom cards of the right-hand stock. You have thus positioned die second selection two cards below the deuce.
Shuffle off about ten more Girds and have the diird selection replaced. At this point you have only a few cards remaining in the right hand.
When the third selection is placed onto the left-hand stock, the left thumb jogs this card to the right. The hands come together to resume the Overhand Shuffle and die jogged selection is stolen beneath die right-hand stock. Shuffle all of the right-hand cards onto the left-hand stock, thus secretly bringing the third selection to die top.
The preceding actions should be done smoothly and swiftly. The audience will believe that the three selections are lost in random parts of the deck. Explain that the ace, two and three of clubs will locate the chosen cards.
Pick up the tabled packet and deposit it on top of the deck. The spectators believe the three club cards to be together, face-up on the deck. State that the three cards will magically disperse, as they go to find the selections.
Perforin a Pass to transfer about ten cards from the bottom to the top of the pack. In this way, the club cards seem to vanish instandy. (Alternatively, you can openly give the pack a cut.)
Spread die pack. The ace, deuce and trey will show face-up in three different locations, in an approximately equidistant display that is aesthetically pleasing. Explain that each club card lias located a selection.
Have the first selection named. "As your card was the first, it was found by the ace." Turn over the card just below the ace, showing the first selection.
Ask for the name of the second selection. "Your card has been located by the two—but, as it is number two, it will be found two cards beneath its locator." Turn up the indicated card second from die deuce, revealing the second selection.
Similarly, the third selection is named, and that card is found to be three below die face-up three of clubs.
This routine evolved from David Bridand's clever "Flesh Eaters" (in Cardopolis, 1983). The Bridand routine is an approach to Lin Searles' Cannibal plot, with an added kinship to Paul Harris' "Interlaced Vanish." "Choice Flesh" was first published in the April, 1984 Richard's Almanac.
Begin by openly removing the four kings, while explaining that they will help you with a trick. Display the kings in a face-up fan on top of the face-down deck. Injog the second king from the face, then flip the kings over sideways onto the deck. Press down on the injogged card with your right thumb, so that your right hand can immediately take away only the two cards above die jog, holding diem in a Biddle Grip. Set this pair of cards (thought to be all four kings) aside.
Spread the pack face-down, inviting a spectator to remove any three cards. Obviously, you must see to it that neither of the top two cards (kings) is taken. This is an easy task. When die selections have been removed, square the pack and hold it in the left hand. Obtain a left little-finger break beneath the top two cards.
Instruct the spectator to look over the selections and decide which of the three he or she prefers. Extend your right hand, asking for die two rejected selections. Now the spectator is told to display the kept selection to the other members of die audience, but not to you. During this you have ample time to Top Change the two cards in your right hand for the pair of kings above the break.
Table the pack. Hold out die pair of cards in your right hand, telling die spectator to replace the chosen card with the other two. Note where it is placed and square the packet. Recap the situation, explaining that diere are three chosen cards, but only one of them is the "real" selection. At the same time, "toy" with the cards, casually shifting the selection to the bottom.
Grasp die packet from above with die right hand, Biddle fashion, and separate the hands. During this action, glimpse the bottom card of the packet. You now know die identity of the chosen card. Transfer the top card to the bottom and table the packet.
State that you will interlace die spectator's three cards with the kings. Pick up the packet of kings you earlier placed aside. Hold diis two-card packet face-down in your left hand. Pick up the top card of the tabled trio and drop it onto the left-hand stock. Slide out the bottom card of die packet (a king) and flip it face-up. Drop it on top of the packet.
Pick up the second card from the tabled group and drop it face-down on top of the packet. Slide the next king from beneath the packet, turn it face-up and drop it on top. Repeat the procedure, taking the final card from the tabled pile and dropping it face-down onto the packet. Then slide out die bottom king, turn it face-up and drop it on top.
This sequence is almost identical to Bridand's. As he points out in die original routine, it is not logical; you have only turned up three kings. Nevertheless, performed with a smooth rhythm, it will appear fair and correct, and when you recap the supposed situation, claiming that you have interlaced the diree face-down selections with four face-up kings, the audience will agree. To provide a slight delay (and therefore some worthwhile time-misdirection), table the packet for a moment as you verbally and visually define die supposed condition of the cards by interlacing the fingers of both hands (a favored defining technique of Juan Tamariz).
At this point, die actual order of the packet is, from the top: face-up king, face-down king, face-up king, face-down selection, face-up king.
Pick up the packet and hold it in right-hand Biddle Grip. The set is displayed as seven cards through the following counting procedure: The left thumb draws the first card into the left hand, dien die next card on top of that. As the third card is taken into the left hand, the first two are stolen back beneadi the right-hand stock. Continue counting the cards singly into the left hand. You will have shown four face-up longs alternating with three (ace-down cards.
You are now set to vanish the two unwanted face-down selections, leaving only the true selection. The subsequent patter depends upon the circumstances you encounter during performance. You know die identity of the true selection; for this explanation, let's say it is the queen of spades.
Ask the spectator, "Were all the cards you picked the same color, or were they a mixture?" If the answer is "a mixture," you know that at least one of the two rejected cards was red. Say, "Fine. I have a feeling that you picked a black card. Is that right?" The spectator will answer yes. "That means that at least one of the cards you did not pick was red, correct?" WTien she confirms this, say that you will vanish that card.
No matter what the spectator's response, it is relatively simple to arrive at an appropriate situation. For instance, if you are told that there was not a mix of colors, you could ask if the three cards featured a mix of hearts and diamonds, or spades and clubs. Alternatively, you can use distinctions such as spot and picture, odd and even values, and so on.
At any rate, you have reached the point where you will cause one of the unchosen selections to vanish from the packet. Pantomime the extraction of the card from the packet and toss this invisible card into the ether. Now count the packet as six cards with a procedure similar to the one before: With the right hand, hold the packet in Biddle Grip. The left diumb pulls the first card into the left hand. As the next card is drawn off, the first is stolen back beneath the right-hand stock. Continue counting the cards legitimately. No face-down card will be seen between the third and fourth kings, confirming the vanish.
Ask another question to indicate the other unchoscn card. As this is done, execute a Half-Pass, secretly reversing the lowermost card of the packet:
The right hand holds the cards in Biddle Grip and the palm-up left hand grasps the cards from below. The left little finger obtains a break above the lowermost card, then the left forefinger curls in to press on the center of this card. The left fingers pull down on the card, as the
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.