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Walip out your deck and get ready for.... Hand Jobs By: Lee Asher The Third Fastest Card Tric! gn the World! "Betraying Braue" Effect: The magician explains that he will attempt the third fastest card trick in the world. He then adds that it is the third fastest because second and first are already taken! He has a card selected, signed and remumed to the deck. In a split second, the magician spreads the deck and states he has found the selection, He turns over the card and it is not the selection. He then turns the lower half of the deck over to see if it is on the bottom, it isn't there. Then he turns the upper half over and it isn't there either. Then he turns the whole deck over in defeat and the selection is sitting face-up in the centre. Alas, the third fastest card trick in the world! Credits: Braue Reversal Royal Road to Card Magic pe 191 "Fourth Method" Frederick Braue, of Braue Notebook fame, is to be credited for his reversal of a card. | use the Braue reversal in a non-classical way bur it still is his move. Method: Before trying the method, agtce that you will read through itcompletely. Trying to perform this while reading it is very difficult because there is a tempo which you must have throughout the effect. Trust me.... Have the deck shuffled and returned to you. Have a card selected and signed. When it is rerurned, get a break below the selection with your left pinkie and square the deck. Say," J am now sing t0 show yon the thind fastest card trick. in the world! There are only two other magicians that can do bts faster, but they aren't here tonight so yor will have ta settle for mpl" Whey you finish this statenfent, spread the deck from left to right as fast sonable but kgep your break below the selection. Cut the deck in half at the hreak oa selection is on the bottom half of the spread in the right hand. Keep the left hand packet square. Start to push aver the top card of the lefé packet with your left ghwtw8and then use the right hand spread to flip the card face-up on the left packet (See photo 1). With a look of nminph act as if you have just located the spectator's card. They will assure you that you have failed. “No problem," you say as you turn the card back facedown. Now you flip the whole packet in the left hand face-up on top of the spread packet in the right hand to display the bottom card (See photo 2). Again, act as if you have triumphed and again, the spechtos will let you know that you have failed for the second ime. Now comes the strange version of the Braue Reversal. Pinch the 7 bottom catd of the spread (selection) in the right hand with your left pointer, middle, ring and pinkie fingers while you apply pressure with the left thumb on top of the face-up packet (see photo 3). ‘The deck sits on the left fingertips Remove the right spread from beneath the face-up packet by moving it to the right but keep the bottom card (selection) hidden underneath the face-up packet. You now have a reversed card (selection) underneath the bottom of the face-up left packet. Say,” O&, this is my last chance... this bas to be your card” You are now going to turn the right hand spread packet face-up by turning your wrist toward the left so your palm faces the floor. This displays the bottom card of the nghr packet (see photo 4). You have missed again! In a last eee act of desperation, flip both packets face-down as you say, TNEVER find it" By flipping both packets facedown, the selection looks as if it appears on top of the left hand packet. This is a very funny moment for the audience so don't over shadow it by saying, “... and there is your card.” It is a comedic moment so act like you don't notice the selection has appeared on the deck. Let the spectators tell you that you have found it. Then say, “..... lad that is the third fastest card trick in the WORLD. Thank you.” The Losing Control ‘This ts probably one of the cleanest controls I have ever played with. I came up with this control in 1996 and have tried to keep it tight. Unfortunately, it is very difficult to keep things ‘under wraps’ these days and this control is starting to make the ‘rounds! now. I feel by publishing this control, I get to credit the people who need to be credited so they are not forgotten in the scheme of things. About one year ago, a book titled Pasteboards for Concertos (2000) was published and in there was a control VERY similar to this one. Ir was called 'The Reft-Light’ control and it was credited to Piet Forton. Now, I don't think there was any foul play involved but I did have a talk with Piet. He said he had fooled Fred Kaps with it back in the early ‘60s (.,.before I was even born!) so he certainly had the idea before me. But, and there is always a but, my control is handled in a very different manner, His just uses a horizontal action to accomplish the control while I use both a vertical movement and a horizontal action, Piet's move is the grandfather to mine and I am very happy to give him the credit. There are a few other people that I must credit as well, first being Billy Goodwin. Billy was playing with a spread idea at my house in Vegas. I can't tell yon what he was doing with it but he said that he got the idea from Mike Weber that got it from Dave Williamson. Consequently, Williamson's thing was a J.K. Hartman dea published in Card Craft, Effect: A card is touched, shown and placed very very fairly back nto the middle of the deck, With a snap of the fingers, it is now on ‘op of the deck. Remember that I am just teaching the control here ‘0 it is up to you to add your own effect. Method: Because I am left-handed, this move comes a bit easiet to ne then if I were right-handed. Don't stress if you are right-handed, t CAN be done. Usually when | write things, it is for the nght- vanded people but this control I will describe exactly how | do it left- vanded. I start with the deck in my left hand. Please take notice that tas the opposite hand in which I hold the deck. The reason for this 3 if I] start backwards, I will end in my normal hand. I now spread he deck from left to right to have a card touched. When the pectator touches a card, break the deck above the selected card. Basically, the selection is on top of the half in the left hand. First, you push the selection over to the right with your left thumb about half its width. Now you are going to show the selection by raising your wrist toward the audience (see photo 5). At the exact moment you show the sclecuon, square up the packet in your right hand with your right fingers. After you have shown the selection, you are going to do three things at ‘ou turn your left wrist back down, you ate @ to pull ence. As the selection back square with the deck (see photo 6). At the same time you are gome to begin spreading the pack in your right hand from the top to the left with your thumb (see photo 7). As soon as. the 3 3 right hand packet begins to spread, start spreading the left hand packet from the bottom with the pointer, middle and ring fingers, The left thumb aids the spread by pulling the top cards toward the base of the thumb (see photo 8). This will feel very strange because you are reverse spreading the pack It will take a bit of practice to make the spread look normal bur trust me, it is worth it! Now place both spreads together so it looks like you have one complete spread (see photo 9). That's all there is too it. I think what fools the eye 1s a the retention you get from reverse spreading the pack. There are two other things you can use im conjunction with this control, ‘The first is doing the spread to the table. This really adds another element to the control because it looks so fair, All you do is exccute the control on the way down to the table. Leave the deck spread on the table and then let the spectator close the deck. The other thing is an idea of Allan Ackerman. Al suggests that you show the selection tt y execute the reverse spread. Before you meet both packs together; up-jog the bottom card of the left packer (see photo 10). This is the card the spectator thinks is his, Now hand the whole deck to the spectator and let him square the card and the deck. That's the Losing Control. ip Slap that Ace This is a great thing for the jam session at 4 am. Hit them when they are tired!!! Effect: The magician runs his thumb down the deck and has the spectator call stop. Once they say stop, the deck is cut at that exact point and tabled. This happens two more times so there is three packs on the table and one left in the hand of the magician. The top card is dealt off of each packer into another pile on the table. The magician asks what the spectator thinks he cut to. As the magician is saying this he is raising his eyebrows up and down. Usually the spectator says, "the foar aces" in a disbelieving tone. The magician picks up all the packets back into his hand except the pile of four top cards. He urns those over and they are NOT the four aces. He then sbakes them as a magical gesture like he was shaking dice and then slaps them on top of the deck. They magically become the four aces. “They are dealt of the pack and can be examined by the audience. Credits: I have similar routine in my lecture note Close Cover Before Striking (2001). It is called "Resistance is Feudal’ and also uses Marlo's 'spontancous add’ from Action Palm (1956). Method: You have a small setup on the bottom of the deck. You need to reverse the 48th card from the bottom then have the four aces beneath at the 49, 50, 51 and 52nd positions. This may sound complicated but it really is not. This is how T usually get into the setup without any complication. Have the four aces on the top of the deck. Reverse the bottom card of the deck then move the aces to the bottom via a double undercut. You also have to keep a break above the face-up card with your left pinky. Now you are in position. Hold the deck in dealing position and have your lef thumb along the left long side of the deck. Begin to riffle down the deck as you ask the spectator to call stop. Try not to go more than a quarter of the way down because you are going to make four packets. When they call stop, table the small packet and do it again. Do this two more times so you have three packets on the table. Say, "/ am going io take the top cards of each af these packets and see what you have cut. If would be impressive ifyou ( amight have cut to....?" Most of the time they say the four aces and that is the best thing that can happen because they are creating the moment’, [f they don't say the aces, it's ok because you say, "...yes but the aces are the best four of a kind in the deck." Deal off the top cards of each packer beginning with the packet in your left hand. Remember that you are sull holding a break on the bottom five cards. Deal each top card into a pile on the table. After each top card is removed, replace the packet on top of the packer in your left hand. You now have a pile of four cards on the table, which the spectator believes are the four aces. The suspense is building! Tum the four-card pile face-up and reveal they ARE NOT the aces. The suspense fades away. Make sure the cards are spread so the pips are facing the audience (right to left) because this helps you for the next move. While everyone is laughing at the fact that they are not aces, execute Marlo's ‘spontaneous add'. Basically you are going to remove the deck from the left hand, to table it, as your left hand (with the copped face-up card and four aces ) simultancously turns palm down. The five cards are added to the face-up. packet (see photo 11). Pick up the packet in your left hand in one fluid motion. The cards should be face down in dealing position in your left hand. Shake the packet as s if you were shaking a pair of dice and then slap them face-up on top of the tabled deck. Try to slap them square with the deck so it minimizes on flashing. The top card of the deck will be a face-up ace. This is quite amazing to the audience. Then deal off the top four cards and reveal they are the four aces. Because the 48th card from the bottom started face-up, it becomes the 5th card from the top facedown, after the add-on, The next four cards beneath it are face-up so be careful not to flash them. As for your clean up, | just cut the top five cards to the bottom and then reverse the bottom four. This makes it so you are now clean. ( Fan-see meeting both of you here Effect: First, the magician asks two spectators to accompany him up on stage. He then asks both spectators to tell the audience that NOTHING has been prearranged! Now the magician takes out a deck and fans it toward spectator 1 and asks if she could just look at any one card. The magician then states that it is important that she should NOT look at the bottom card. Now the magician fans the deck toward spectator 2 and says the same thing. Both spectators now havea mentally selected card. The magician shuffles the deck. The magician says he will read the mind of both spectators and that will allow him to find the mentally selected cards. He begins with spectator 2. After gazing into the eyes of spectator 2, the magician removes one card and places it on the table. He is now committed. He has the spectator name his mental selection out loud. The magician has trmumphed! Now the magician tums toward spectator 1- He goes through the same motion as before. He stares into the eyes of spectator 1 and then removes a card. He places it on top of the other selection on the table. Again, both cards are named and the magician reveals the two cards on the table are indeed both of the mental selections! Credits: ‘Triple Spectator in Rapport’ The Greater Artful Dodges of Eddie Fields (1997) by Jon Racherbaumer pg. 114-117 - "Triple thought-of Card’ Magic Atlas (1999) by Joshua Jay pe. 66-69 Mental Card Mystery’ Eye Openers by Burling Hull Method: The method consists of two very old principles. I am not claiming either principle to be mine. The first principle is thar of the ‘instant stooge’ and the second is the ‘one ahead principle’. Now that you know what is involved, let us discuss the method. First, you need to know how to do a reverse (blank) fan. This comes naturally to me because | am left-handed. If you don't know how to execute one, I Suggest you pick a copy of either Allan Ackerman's video “Advanced Card Control #4 Flourishes” or Bill Tart's book Now you se Now you don't (October 1976) on page 64. Both describe the move very well and because I have limited space here, I will nor describe tt. Plus, they do a better job than I could eve "p explaining it. Now that you have learned the reverse fan, you ate ly to perform this feat. Select nwo spectators and situate them so one is on either side of you. It is important that you choose your spectators welll Be careful not to choose the ‘heckler’ or the ‘simpleton’ as they have a high rate of screwing you up! For the explanation, we will call the lady to your left, Spectator 1 and we will call the guy to your right, Spectator a ‘The positioning of your spectators is key to making this effect work properly. Oh, if I haven't mentioned, the audience is directly in front of you, Instruct them both to tell the audience NOTHING has been prearranged. Remember that up to this point, nothing really has been arranged. It is after they say no that the deviousness happens! Hand, half the deck to one spectator and the other half to the other spectator and ask them to shuffle. As they are shuffling say, "J am going to fan the deck and you both are going to look at any single card in the deck. Any one you want, just not the battous card, Again, any one you want, just nat the bottor: card.” Now get both halves back from the spectators, place them together and give the deck a fast mix. Turn the pack over and point to the bottom card saying,".. remember, nut the (and name the bottont card) ace of dubs." Turn the deck back facedown and turn your whole body toward Spectator 1. In a covert manner, down-jog the bottom card as if you were going to cop it and then execute a reverse fan, Now the only catds visible are the bottom card (ace of clubs) and the card second from the bottom. This ts the moment spectator 1 becomes a stooge. If you have chosen your spectator well, they should play along. So now they have a blank fan in front of them with only two cards visible and due to your instructions, they will only choose the card second from the bottom. Close the fan as you say, "Your only looked at one card and it wasa’t the ace of clubs, right?" Turn the deck face-up and point to the bottem card. Now turn your body toward Spectator 2. As you are turning, start to fan the deck in a normal manner so the pips are showing. The audience sees the fan as you turn toward the second spectator. This is a subtlety that reinforces that Spectator 1 'saw' the exact same thing that spectator 2 is going to see even though this really isn't the case. Now have spectator 2 mentally choose a card from the fan. Again say, «You only took af one card and make sure it isn't the ace of clubs (bottom one)" After spectator 2 chooses their card, close the fan. At this point, I like to rehash what just happened. While I am explaining, | slip shuffle the top and | yom cards and run the rest of the deck on top of them, Basically, uss brings Spectator I's selection to the top. You can either glimpse the selection and shuffle it back into the pack or you can hold a break above it and cut it back into the deck. Either way, you need to locate it somewhere in the centre of the pack. You say to spectator 2, "We are going to start with you. I amy going to look into your eyes and read your mind.” Stare directly into their cyes for a few moments and act like you are mentally ‘scanning’ them. Now fan open the deck so the faces are toward you and locate Spectator 1's selection somewhere in the pack. Remove it and toss it face down on the table. «Ask spectator 2 to name his card aloud. At this moment, forget about your mother telling you to be honest because you are going to lie your face off When spectator 2 names his card, you act as if the card you placed on the table is their selection. Be sure to remember what card was just named, this is very important! As we both know, the card on the table is spectator 1's selection. Now without any hesitation, rurn toward spectator 1 and say," / mind." Act just like you did with spectator 2, ‘scanning’ them to figure the selection. Fan through the deck and remove Spectator 2's selection 1 actually like to remove a wrong card and begin to place it with the other facedown selection but at the last moment, I change my mind and stick it back in the deck. Now I remove the correct selection (spectator 2's selection) and place it on top of the other selection. This, again, is a small subtlety to help reinforce that I am truly guessing. Now place the deck on the table and pick up the pwo- tabled cards. When you pick them up, be sure to separate them in the proper hands according to where the spectators are standing. In plain English, make sure that spectator 1's selection is in your left hand and spectator 2's selection is in the right hand. Have them announce their selections again and turn both cards over to reveal thar you are 100% right. Don't forget to take a bow. : Now I nnest read your “Credits to Mike Zapach for finding the Reverse Fan credit....thanks, **The eathest reference to a blank fan dates back to 1572 in an effect performed by Girolamo Scotto in a performance for the Archduke Ferdinand but the carlest explanation of the technique occurs in Samucl Rid's 1612 "The Art of Juggling or Legerdemain." - Wes James ++The basic idea for the Hull version of the Three of Clubs trick appeared in Hull's "Eye Openers” under the title "A Mental Card Mystery." The best-known version, however, appears in Greater Magic ‘(in the Card Clairvoyance section) but you will also find treatments in Hugard’s Magic Monthly, in 1962 and 63 (1 think four versions, including Marlo's). -Wesley James Abbhbhhhhhhh !! ( Not Impressive ‘This is a great routine that I use all the ume when a person asks me to impress someone. This is a very strong full deck separation that is direct and to the point. I have been using it in my show for a while and have been getting great responses. Enjoy! Effect: A card is selected and placed back into the deck. The deck is given to the spectator so they can give it a fair riffle shuffle. Right before they shuffle the magician say What I am about to do is NOT impressive. It is what YOU are going ta do that is impressivel" After the spectator shuffles, the magician takes the deck back and fans them so he can see the faces of the cards. After debating a few moments and changing his mind a few times, the magician takes one card from the deck and tables it. He then gain, "Remember that I said what I was going to da isn't too impressive, it is what YOU have done that is very tmprestize! Even if I don't get the correct card, what YOU did was very inppressivel! The magician asks what card was sclected and then turns the tabled card over to show that he has triumphed. He then turns the deck face-up and spreads them to show that they are in perfect black/red order. He finishes by saying, «Now that's impressive Credits: -The original idea of having a card selected (black) and replaced into the pack (reds) then found is Henry Hardin's. His effect is called "An Artistic Card Effect," and it can be found in Mahatma, (June 1899). -*The idea of separating the pack so the reds are shuffled into the reds and the blacks into the blacks can be found in the magazine The Seoen Circles, (September 1931). It was titled “Red and Black” -- uncredited, and thus almost certainly invented by Walter Gibson. Martin Gardner offered some further work on it as part of 2 routine called "Card Minded" in The Jinx Winter Extra, (December 1937). -*On a related note, the overhand shuffle used to retain a red/black separation is usually attributed to Laune Ireland (and, indeed, is often called the "Ireland Red/Black Shuffie"); however, credit belongs to card Charles Jordan in "Lhe Dealing Dovetail Detection" from Thirty \ isteries, (1919), There is an interesting idea that is similar to one of the ideas in my routine in a book called Tools of the Trade by Chuck Smith (2000). He uses a double fan to have a cu, ‘Worced. Interesting. - There is also in interesting idea in the routine 'Oil over Troubled Waters’ pg. 234-240 in the book Cameycopia by Steven Minch (1991). John Carney uses the idea of removing ‘errors’ to get into a full deck separation. While the method is similar, the presentation is quite different. -In Arthur Buckley's Card Control (1946), he uses a very interesting and similar 'ger-into’ in his version of ‘Out of this World’. See pg.29 for further reading. -Marlo explored this territory in his routine ‘Ever Ready Black Routine! in New Tops (1973). He performs a cull process while looking for the selection. Method: You need to sect the deck so all the reds are on top and all the blacks are below. Hold a break between both halves with your left pinkie. Execute Pulp Friction at the break, spreading only the red eards but still keeping your break. Have a spectator select one of the cards from the spread and remember it. She can only select a red card due to Pulp Friction. As she is showing it around, close the spread and cut the deck at the break but again, keep the break. Execute Pulp Friction from the new break and have her retum the card somewhere in the pack (black cards), Actually, it is best if she returns the card somewhere near the bottom of the spread. When the card is returned, just close the whole pack and table it. Basically, you have had a red card selected and returned into a bunch of black cards. Now the magician says, lbaf I am about to do is NOT impressive, It is what YOU are going to do that is impressive!" Pick the deck back up and get a left pinkie break on the bottom thirteen cards (estimation), Execute Pulp Friction from the break and pull over the top thirteen cards (estimation) and spht the deck at that point. Now you should have a half in both of your hands. They both should roughly be half red and half black. Place both packets down in front of the spectator in riffle shuffle position and asl them to give the cards 4 good shuffle. Pick a spectator that can handle a deck of cards. If you don't get a good shuffle here, there is more work for you later on in the effect. They are going to shuffle the reds into the reds and the blacks into the blacks. Once the spectator shuffles the deck, pick the pack back up and fan them in front of you 50 you can see the faces of the cards. You will see the deck is pretty close to being in black/red “der. There might be a few 'errors' in the middle of the deck and utat is to be expected. There is also a red card stuck in between the black cards near the top of the deck, which 1s the spectator's selection (sce photo 12). Now you need to fix the ‘errors’ so this is what you do. Start acting like you are looking for the selection. Come to the first ‘error’ closest to the red area and up-jog it. Act as if this is the spectator's selecuon and pull it out of the deck. Look at it a bit more then openly decide that it isn't the sélection and place it back into the red section. Do this for all your ‘errors’. If you have more then four ‘errors’, I have another solution for you but I will explain it afterward. Once all the ‘errors’ have been corrected, up-jog the actual selection and place it on the table, Say, "Remember that | said what I sas going to-do tsa't too impressive, tt is what YOU have done that ts very impressve! Even if 1 dan't get the correct card, what YOU did was rep) impressive?! Have the spectator name their selection out loud and then tum over the tabled card. Then say, "Yow are probably wondering what you ded that was so impressive?’ Turn the deck face-up and spread them on the table to show that they are in perfect black / red order Finish by saying," Now that’s impressive!" Afterward: If there are more than 4 'errors', do not get to nervous. There is a very easy way to correct a bunch of ‘errors’. As soon as you see too many ‘errors’, up-jog all of them, under the guise of looking for the selection. Say," I am narrowing it down to just a few cards here." Now strip-out all of the up-jogged ‘errors’ and place them in their proper area. Say, "...this is tougher then I thought..let me look one more time." Now go through the deck and up-jog the actual selection and then remove it from the deck. Continue the rest of the routine as stated earlier. *Thanks to Max Maven for help on the ctedit work. ee **Thanks to Jamy Tan Swiss for the ‘afterward’ idea. 1 Buln Friesian (2000) and are available #9 your fcal mapie shop Cheek-to-Cheek Asher Style Effect: A deck of cards is shuffled and half is given to the spectator. Both the spectator and the magician take ther respective halves behind each of their backs and shuffle them. (The magician cant stress enough the importance of randomness.) After the spectator 1s satisfied with their shuffle, the magician requests that they remove a card from anywhere in packet and then reverse it by turing it face- up. Now they are to stick the card back in anywhere in the pack. Again, all of this is done behind the spectator's back. ‘The magician also follows along and removes a card and reverses it in his pack. They both shuffle a bit more then come from around their backs with the packets. At the same time, both the magician and spectator spread theit packets to reveal they both have tuned over matching mates. (Ex. Two red threes) Credits: -The cheek-to-cheek deck is originally credited to UF Grant. ‘The 'Do As I Do! structure began with Walter Gibson's 'Double Reverse’ in the Jinci#77 (1940) but is mostly associated with John Scarne. Wes James approached the topic in rather a backward way. In his routine Wishuffle’ thar was sold in the 1970's, he uses double facers instead of double backers and gets an effect in reverse of mine. Set-up: You need 26 double backed cards and 24 regular cards and. two regular mates (ex. two red threes) This is the set up from the top down: 24 double backed cards, a face-up three of hearts, 2 double backed cards, a face-down three of diamonds and 24 regular cards face-down. Give the facedown three of diamonds and the 24 regular cards a downward crimp lengthwise so there is a° natural break between the two packets (see photo 13). If you lift exactly at the break, everything above is the double backed cards and everything below is the regular deck starting with the three of diamonds. Place the deck in the box and you are now ready to begin. Method: Take the deck from the box and explain you are going to try-a lide experiment. Tum the deck face-up and casually spread the top § to 10 cards showing the faces of the cards. If you see nwo € niates, point it out to the spectatot, if not, don't worry. You do this as you say, "Every cand has a mate in the deck. We are going to try something special. Take half the deck." Turn the deck back facedown and cut at the natural break giving the spectator the half above the break This means they are getting 25 double backed cards and one face-up three of hearts (that can't be seen at this particular moment) You are left with the lower pack, which has the three of diamonds on top and 24 regular cards below. Instruct the spectator to bring the packet behind their back and shuffle as much as they want. Ask them to be careful not to drop any cards. You do the same but control the top card (three of diamonds) to the bottom by shuffling off one card at a time, overhand style. Now announce that while the cards are behind their back, you want them to remove any card from the pack. Now instruct them to turn it face-up and then return it anywhere back into the pack. While you ate explaining this, you are removing the bottom card {three of diamonds), turning it face-up, then replacing it somewhere in the middle of the packet. Now, in reality, the spectator has just removed a double backed card, flipped it over and stuck it back into the pack of double backers. Remember that the three is already face-up in their deck. The chances of them flipping the three of hearts back facedown ‘ate 1/26 (3.84%). ‘That means 96.15% of the time this effect works! (If you don't like those odds please see the end notes for a method that is 100%.) When they have finished reversing their selection, have them shuffle the pack-a bit more. You do the same with your pack as well. Finally, when the spectator is satisfied, ask them to remove the deck from behind their back. Have them slowly start spreading through their pack. You do the same with your pack as well. You both will have a face-up card in your packet and they should match each other. You must be really careful at this point because the spectator is left holding 25 double backers. This is not a comfortable position sa I suggest you casually remove the cards from the spectator's hands. If this final part bothers you too much, try this solution. Instead of having the spectator spread the packet in their hands, have them spread it on the table. This way there is less of a possibility for them to flip the cards over to see the double backs. You can also trade packs with the spectator before revealing the mates. I say this to justify the situation, "Lang, it ism't shat I don't trast you BUT 1 don't trust you! I am sure, by now, that you don't trust me either so let's trade packets so there is wo way for either of us to cheat." Trade packets with the spectator and now 1. » them spread through to see that you have both chosen the same mates. Now you hold the gimmicked packet and they hold the normal packer. This solves the ptoblem of them figuring out that you are using gaffed cards. Endnotes: Instead of using a normal card for the mate in the spectator's pack, usea double-faced card. This double-faced card has to be the same on both sides. This way, in case the spectator tums over the double facer, the proper card will still be face-up. The effect is now 100%. *#4} 44] Brosious sold an effect that was almost identical called Turncoat Trickery in the 1970's. \ THANK YOUS Thanks to all of the great people that made this possible. | am going to list them in no particular order......-.++ Alexandra ‘Mon Jacqua’ Duvivier The Horowitz Family ‘Tbe Duvivier Family Aaron Shields Sebby Clergue Dr. Wes James Max Maven Mike Zapach THUS. Billy G Jamy lan Swiss And always forever “The LV Magic Mafia’