Sei sulla pagina 1di 362
VOLUME5 1984 AibO Bo magazine MARLO'S MAGAZINE VOLUME FIVE by EDWARD MARLO Copyright 1984 by Edward Marlo All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mech- anical, photocopying, recording, or otherwise without the prior written permission of the copyright owner. First Edition May, 1984 TABLE OF CONTENTS Cover Drawing - "Adventures of Punch" created by John Kurtz, a noted Chicago artist Cover Production - George Valko JT lustrations - Bob Nelson Foreword FURTHER ADVENTURES OF PUNCH Preparation Of The Cards 1- 3 Any Number 3 To 10 The Second Position 3- 5 (A) For 3 Hands The Third Position 5- 7. (B) For Hands The Fourth Position 7- 8 (C) For 5 Hands The Fifth Position 8-. 9 (D) For 6 Hands The Scratch Deal 9 (E) For 7 Hands The Scratched Deuces 9 (F) For 8 Hands The Scratched Marked Deck 9-10 (G) For 9 Hands Sight Marked Deck 10-12 (H) For TO Hands Scratched Deck As A Reader 12 Any Sucker Hand Called For One-Way Scratched Deck 12-13 The Stripper Deal Combination Advantages 13-14 The Sting Combination One-Way Punch And Important Notes Scratch 14 Ast Position The Punchless Deal 14-17 2nd Position Indeterminate Poker Deal 17-18 3rd Position The Indeterminate Pseudo Stack 18 Modified Mechanics Grip Pseudo Ten Hand Poker Stack 18 On The 2 Card Pushoff 2nd Deal Best Punchless Deal - So Far 18-20 More Punchless Approaches’ Playing The Percentages 20-21 Second Method Added Tips For Punch Deal 21 Tips #1 Punch Tip BY JON RACHERBAUMER On Karl. Fulves' Shuffle Off. 31-47 SHUFFLE SORCERY Mario's Fine Stripout Shuffle 48-49 Marlo's Variation Marlo's Control] 49-50 One Shuffle Eddie Percentage Full House 50-53 Eddie Still Shufftes Once Tabled Pop Up Lift 53-54 A Subtle Tip Second Method 54 Simplex Topsy-Turvy Aces Refined Simplex Stripout Shuffle 54-56 Easy Tabled Shift What!.Another Triumph 56-57 Riffle Shuffle Stacks I Missed 57-60 One Riffle Ten Hand Stack Second Method , 60-61 Kings And Aces Full Deck O11 And Water 61-62 Added Method For 10 Hand Poker Overhand Shuffle Finesse 62-63 Deal Art Altman's False Shuffle 63-65 On These Subjects Art Altman's Multiple Shuffle Handling Bellied Strippers Shift 65-66 Kings To Aces Sophisticated Suggestion Key Card Subtlety Triple Power Poker First Routine Second Routine Third Routine Fourth Routine Locating First Method Tilt Tip Art Altman's False Shuffle On The Spread Control 84- 85 85 86~ 88 Story Book Poker Deal Bonus 10 Hand Stack Efficient 5 Hand Stack SLICK SORCERY 93 94 94~- 95 95 95- 96 TIPS 99 99 Second Method Third Method Bottom Riffle Stack Fifth Routine Overhand Cull And Stack Multiple Convincing Control Bottom Deal Tip Y JON RACHERBAUMER 100-108 NEW APPROACH CONVINCING CONTROLS First Method Second Method Third Method (Cards To Pocket And Wallet) Fourth Method Fifth Method Sixth Method The Marlo Cull Multiple Convincing Control First Technique Second Technique As A Rear Clip Palm Application To An Effect Marlo's Bottom Palm Turn And Palm New Approach Palm First Effect Second Effect Third Effect Multiple Tabled Palm Riffle Shuffle And Palm Side Squaring Bottom Palm New Palm Replacements First Method Second Method 109~172 112-113 114-116 116-119 119-120 120-121 122~123 124-127 NEW 135~136 136-137 137 137-139 139-140 140-141 14] 141-143 143 143-144 144-145 145~146 146-147 147 147-148 148 Incomplete Convincing Control Faked Convincing Controt Instant Collection Easy On The Tears Variation On The Original Another Multiple Convincing Control Unlimited Convincing Control Tips - Center Deal Tip PALMS Single Cut Palm - Covered Thumb Across Palms - 1st Method Second Method Third Method Double Action Palm In Passing Palms ~-1st Method Single Card Method With Smal] Packet A Multiple Change Additional Suggestions Ribbon Clip Palm A New Cap Added Notes Marto's Cop R.C.S. Palm Transfer Tip: Olram's Key Card 88- 90 90- 97 96- 97 99 99 127 127-129 129-130 130-131 131 132-133 133-134 134 149 150 151 151-152 152-153 153 153-154 154 154-156 156 156-158 158-159 159-160 160 160-161 161 First Method Second Method Third Method Fourth Method The Invisible Side Steal Pivot Steal and Replacement Technical Variant Side Steal Disarming Side Steal Center Deal Steals The Basic Mechanics Spade Add Variation Olram's Jinx Switch Slip Switch In-Jogged Add On First Method Second Method Third Method Side-Jogged Add On Olram's Tent Switch Tent Switch Effect Olram's New-Tent Switch First Method Second Method The Nelson Card Rise Art Altman's Flip Flourish Discovery Marlo's Four Ace Production Spin Out Aces Techniques For Ace Cutting Three Phase Routine Steps 1 to 12 Sneaking In Mexican Joe Tip: The Side Jog Add On Refine Ace Cutting {Several Methods) Crimp Contro1 Second Method Third Method Fourth Method Fifth Method NEW SIDE-STEALS 162-163 163-164 164 164-165 165~166 166-167 167-168 168-170 170 170-171 First Application Second Application Third Application Fourth Application The Fingertip Steal Delayed Side Steal The Tabled Side Steal Tips: Marked or Known, Card Spider Return ACE SUBSTITUTIONS 177-178 178-179 179 179 180-181 181-182 182-183 183-184 184-185 185 185 185-186 186-187 187-188 Multipte Bluff Rise The Rising Add On Tabled Add On The Spectator Lays Out The Aces Pivot Switch Out . Mario's Method Switch Second Method Drop Off Add On Single Cut Add On Olram's Tabled Spread Tips: Tabled Thumb Count While They Argue ACE PRODUCTIONS 199-200 200 200-202 202-203 Second Method While They Argue Push In Shift - 2nd Method Tip: On Avoiding Double Lift CRIMP CONJURING 210-213 213-215, 215 216-223 223-224 224 224-225 225-226 226 Sixth Method Seventh Method Scratch Sorcery or Nickromancy First Method Second Method Third Method Fourth Method Discards Tip: Palm Replacement 170-171 172 172 173 173-175 175 175-176 176 176 188 188-7189 189-190 190-191 192 192-194 194~195 195-196 196-197 197-198 198 198 203-205 205-208 208~209 209 226-227 227 227 227-228 228 228-229 229 230 230 THE - OF - TRICK The Ace of Spades Trick 231-232 Second Mathod 238 Other Approaches 232-233 One Hat - No Ribbon 238-240 Second Method 233-234 Count Cop AS Trick 240-242 Other Approaches For Taking A Chance 242 Second Method 234-235 Mental Spell 242 Ace Of Spades Trick (3rd Method) 235-236 Any Card Spell 243 Infallible Estimation Spell 236-237 Tip: Submarine Card 243 Direct Observation Test 237~238 SPECTATOR'S ACE CUTTING First Méthod 244-245 Eighth Method 251 Second Method 245-246 Ninth Method 251-253 Third Method 246 Tenth Method 253 Fourth Method 246-247 Eleventh Method 253-255 Fifth Method 247-249 Twelfth Method 255-257 Sixth Method 249 Tip: On Ist Method of “New Seventh Method 250-251 Approach Convincing Control" 257 PASSES - TABLED OR OTHERWISE Cardician's Mind Keeps Working 258-259 Second Method 263~264 Bored With Triumph 259-260 Fingertip Pass 264-265 Tabied Tilt Pass 260-262 Olram's Bobble Cover Unconventional Passes 262’ (3 Pass Examples) 265-268 First Method ~ 262-263 Tip: The Marlo Cul] 268 "SOPHISTICATED SIMPLEX MULTIPLE SHIFT" Simplex Multiple Shift 269-270 Spectator Does It All 277 Second Procedure 270 What If 277-278 Third Procedure 270-271 The Last Resort 278-279 Two Finger Take 271-272 Tip: On The AS Trick 279 Combination Stud Deal 272-275 Maric's Unbelievable Ribbon Spread Control 275-277 MORE CARD SWITCHES Black Jack 280-281 The Laydown Switch 284 Longitudnal Palm Switch 281-282 Tip: On Estimation Palm 284 Olram's Card Switch 282~283 "ON CARD TO WALLET" Card To Wallet . 285-286 Direct Mentalism 290-291 Nest of Purses 286-287 Tip On Mullica Wallet 291~292 Loading The Bombshel] Wallet 287-288 Panic 292 Second Method 288-289 Transposition Card To Wallet 292-294 Third Method 289-290 “THISA 'N THATA" An Effect From The 40's 295-297 Olram's Count Routine 302-304 Mario's Double Pushoff 297 Olram's Vanish 304 Aces To Top 298-299 The Libra Change 304-305 An Effect From The 50's 299-300 No Palm Travelers 305~307 Cased In Vanish 300-361 Almost No Palm Travelers 307-308 The Clram Count 301 Thumb Lapping 308-309 Olram Fair Count 301-302 This Is Thumb Effect 309-310 Olram False Count Tip: Misdirection Brushing 310 (Less As More) 302 Olram False Count — (More As Less) 302 BONUS SECTION Dribble Deceivers 311 Dribble Free Force 311-312 Dribble Glimpse 312 Dribble Control 312 Dribble Control With Break 312-313 Dribble Application To 0.K. Move 313 Dribble Plus Delayed 0.K. Move 313 Combination Control 313-314 The Erratic Poker Deal 314-315 Some Dreams Are Better: Than Others 315-317 Application To Open Prediction 317-318 Second to Seventh Approaches 318-320 Vanish - Spell - Surprise 320-323 Tip: On Edge Marking 323 Bold Card Contro] 324-325 Unorthodox. Second Deal 325-326 Changing The Interchange 326-333 New Appreach Digital Clock 333-335 Second Method 335 Third Method 335-336 Triple Change Sandwich 336-338 Student's Exchange 338-341 Second Method 341-342 The Real O‘Henry Aces 342-345 Marlo's Riffle Shuffle Expeditor 345-346 Thoughts 346-347 Snap Transposition 347 New Approach Ace Assembly 348 Bluff Ace Vanish 348 ogg f £ CEE OLED EEN AN FE STD TL TE IL ELE LTT TS NT TIN TEST IE NHN ~ FOREWORD ~ This is Volume Number Five of the Magazine and its publication is made possible only through the support of those who have purchased the previous Volumes. Obviously Xeroxed copies did not help in this respects; however, this did not lessen the worth of the material to these individuals. The production of Volume Five was made possible only with the help of Muriel, who did alt the typing and layout, Bob Nelson who did all the illustrations, and Dave Solomon who did all the legwork. All the items in this Volume are original with me unless over three-hundred and ten magicians say they showed them to me. Any inspirational sources have been credited. I have performed, at one time or another, all the items for various individuals over a period of three years. Only those items that have proved effective and practical were used for this Volume. In "New Approach Convincing Control" the “Fifth Method" is similar to the Ken Krenzel Fan Steal on Page 186 of “The Card Classics of Ken Krenzel”. While I have used the "Fifth Method" for many years, as a control of a card, I concede the basic idea to Ken Krenzel's previous publicly recorded source but compare the differences in tech- nique. Also, if you use Krenzel's method for the Steal of a card you would be much better off using John Cornelius' Fan Steal or Russel? Barnhart's Fan Steal from the "Spade" book because the card is actually placed into the fan in both cases. Barn- hart's method gets the card into a regular classic palm which obviously has certain advantages. There are two articles featured by Jon Racherbaumer. To compensate for these defenses I have used a type that uses up less space per word. Thus you stil] get more, for your investment, than any other publication at the same price. The following aptly titled article is another one of those that the reader should not be paying for and that is why it is included in the un-numbered pages of this foreword. COUNTROVERSY Jeff Busby has created a lot of controversy in regards to what I called a "Combination Count". He even went so far as to publish correspondence, between himself and Racher- _ baumer, on this subject; however, Busby never bothered to print my original response to his initial letter on the same count. The following is from my letter to Busby on August 15th, 1983 and only that portion regarding the "Combination Count" #s here re- printed... Now as to the Latest Count Combination. First of all I don't think that I personally claimed any count per-se only perhaps some techni- ques or additions or approaches or applications. As an example, take the "OPEC count. This stands for “Out of Position Elmsley Count". My addition was to simply start the count by taking the bottom card or cards first. An illogical start but it accomplishes its purpose. As a rule when I read a book or a magazine I make marginal notes along each item as to whether the item appeals to me or not, whether it could be improved or simplified and whether the items are original or if they appeared in print before. I never write to these indi- viduals because what is the use. The book is published, several hundred copies are already out there, so if you do write, only you and that particular individual know the reason. Anyway I dug out my copy of Epilogue.- #22, for November 1974, then looked up "Two Counts". Qn the "Four as Five” count f had the following notation. “This is originally an Elmstey idea but uses different mechanics". Let me explain this. Back in the early sixties Jack Avis sent me an Elmsley "Four as Five" count along : with a routine in which it was used. Anyway I liked the routine : but the routine had too many Half~Passes in order to get into the ‘ required situation. ‘I restructed the routine and eliminated all the Half-Passes. This was sent to Jack Avis who in turn passed it on to EImstey. Elmsley, later, passed it on to Ed Brown who L brought it back to the States where I at once recognized that it was my Structure of Elmstey's routine. Now as to the Elmstey "Four As Five" count he used a Buckle, on the lowermost card, to enable him to retake a top card that was being taken. Anyway, I changed .the Eimsley Buckle Technique to a Push-Off technique. This was alittle more difficult but it covered all angles as well as made it more flexible of application since now you could do a single card push-off eveh though several cards were already below this card. Also made possible, by using a break, the reloading of several top cards, from above several bottom cards, under cover of taking the next single card. ‘Anyway, 1 showed the Push-off tech- nique to Harry Riser one afternoon at the Round Table which, at that time, was downtown at the Drake Restaurant and re-named Tater "Mayor's Row". Years later I saw this same Elmsley "Four As : Five Count" with my Pushoff technique described by the Blank and naturally passed off as his own. Anyway, I never bothered to write him for reasons stated before. The other comment, on both counts, was the following: "Reloading of ist card as 2nd card is being taken, thus setting up for a Block Pushoff or Eimstey Count, is a Marlo idea in TOPS for Decem- ber ~ 1963. Note that I do not claim the idea of reloading the Ist card as the 2nd card is taken as this is part of a Stanyon Count and Joseph Count. What I did was use this idea to set-up for a Block Pushoff or an Elmsiey Count thus being able to use the Elmsiey Concept, of concealing card or cards, while still using or counting the actual amount of cards in use. Now you know why I call such counts “Combination Counts". As to such counts there is much confusion among even the so-called experts. They use a Stanyon Count, Three as Four, and call it the Elmsley Count. Or they have more than Four cards, count them as Four and and ‘still call it the Elmsley Count. Others using the basic Etmsley Concept, have made slight additions or alterations and tagged their own name on them. The basic idea of the Elms ley Concept was not simply to hide a card as this could be done with other False Counts. It also was not simply to show or count four cards while having only four cards. The "Swindle Aces" idea in "The Cardician" does this. What makes the difference in the Elms- ley Concept is that the card to be hidden can be a face up card or a card of a different color back even though only four cards are used and counted as four, After I was surprised by the unexpected Racherbaumer/Busby distributed correspondence, I-wrote the following, on April 23rd, 1984 to a friend of Busby's.... I see where your buddy Busby has sent out correspondence, between himself and Racherbaumer regarding the "Combination Count", to his subscribers. Yet he has never bothered to publish my original letter to him. I practically conceded that particular "Combination Count" to him except for the idea of re-loading the first card, as you take the Second card, in order to set-up for the eventual Block Pushoff or Pinchoff of the block. This idea I applied to these counts in TOPS in 1963 but apparently this is what Busby really wants because that 7s what makes the Combination Counts work. For example, he accused Daryl Martinez of taking his count even though Martinez Combo Count has a different combination but it does use the idea of reloading the first card, as you take the second card, in order to set-up for a Block Pushoff. So tell your buddy Busby that in no way can he have that idea. Strangely enough Busby made no such stink when Blank ripped off Busby’s Count not once but twice. Perhaps he was afraid that Blank's Poison Pen would be mightier than the sting of a Busy Bee. To make up for the above here are some TIPS on a couple of Counts: OLRAM'S HIDDEN COUNT: (From M.U.M. - May 1984 - Racherbaumer's "At The Table" Column. OBJECTIVE: To count five cards as four while hiding a card and yet show the faces of four different cards in the process while keeping the pogus card in position. COMMENT: As false counters eventually discover during the creation of packet effects and routines, the order or disposition of the cards after a false count is done is sometimes important, especially if you want to avoid making open, illogical, or gratuitous maneuvers to restore a requisite arrangement. Many false counts, while disguising the number. and condition of the cards, result in muddling the arrangement or botching the relatedness of the steps im the routine. Olram's Hidden Count is flexible in that the order is easily restored by simply repeating the count. Jack Avis published his Siva Count in EPILOGUE #11 (March-1971), which was applied to an effect called "The ‘Lost Ace Trick". His count, while hiding a 5th bogus card and showing the faces of the other four cards, results in altering the order of the cards. For example; all five cards are moved to different positions and the bogus card goes from the center to the bottom. You cannot repeat the count to re- store the packet's order. THE WORK: 1) Arrange the five principal cards in the following order from the face: AC - AH - bogus card (face down) - AS - AD. These can be any five cards, de- pending on the routine you wish to perform. For the purpose of this description, the above cards will suffice. Furthermore, what follows is only a brief explanation of the mechanics. Detailed notes on this count will appear in COUNTS & CONCEPTS and MARLO'S MAGAZINE - VOLUME 5. 2). Hold the cards face up in either hand, depending on your counting style. The mechanics are quite simple. Take the bottom card (AD) at the count of “one". Take the top card (AC) onto the AD at the count of "two". 3) Do a two card push-off to count the AH onto the other two cards for "three". Place the Tast card (AS) on top of all. The resultant order from the face is now: AS ~ AH ~ bogus card - AC - AD. The bogus card is still in the center. Repeat the mechanics of this count and the cards are back in original order. (Application Note: This count can bé applied to "Devilish Miracle" or the so-called Hofzinser Ace Problem. ) In addition, you can apparently show both sides of the cards during this count if you alter the grip and use the wrist turn displays used in versions of the Olram Subtlety. You must, however, side-jog the 2nd card taken and push the “double” onto and to the left of the first two cards in order to “hide” the bogus card's other side during the Olram Display. This should ‘be evident to seasoned false-counters. ADDED NOTES ON THE OLRAM HIDDEN COUNT: To give an excuse for the Second Count simply call out the names of the cards:which you do not do in the initial count. The other important element is that the same mechanics, used to show the faces of the cards yet hide the 5th card, are used to show the backs of the cards. Briefly - Take the bottom card on the count of "One". Take top card of packet on count of "two". Double Pushoff or Block Pushoff on count of "Three" and taken onto first two cards. Last card taken onto top of packet on count of "Four". The order of the Aces will be re-arranged but the 5th card will remain centralized. To show the faces, then backs of the cards, and yet retain the original order of the Aces, proceed as follows: Begin by doing “Olram's Hidden Count" face up. Turn packet over and repeat the same identical mechanics to show 4 face down cards. Turn packet face up and again repeat the same mechanics but this time call out the names of the Aces. Turn the packet face down and repeat the "Hidden Count" mechanics as you point out the color back of the cards. Aces are now back in their original order. Note that my addition to the Opec Count and the Hidden Count is the idea of taking the Towermost card first. This is what makes these counts work. THE OPEC COUNT: In counts such as the EImsley. or Jordan you can not use the same mechanics, on the back and face of a packet, at the same time. By that I mean that if you do a face up Elmstey Count, then turn packet face down » you can't repeat the same mechan- ics and still conceal a card. Even the so-called Underground Elmsley can't be done, on both sides, without exposing the card or cards you may want to hide. The same goes for a Jordan Count. However, an Underground OPEC Count will enable you to do just that. Assume cards are in left hand. The card or cards you wish to conceal are just under top card in a supposed 4 card packet. On the count of "One", left hand takes bottom card. On count of "Two", right hand does a Block Pushoff. Left hand takes this Block but reloads its single card to under card in right hand.. On count of "Three", left hand takes top card of the two from the right. The last card, in right hand, is taken or placed to under the cards in left hand on the count of ‘Four". . Now turn packet over and repeat the exact same mechanics of the “Under~ ground OPEC Count and the hidden card or cards will not show. You can again turn over the packet and repeat thé same mechanics. Again turn over packet and repeat the same mechanics. Continue as often as you like - the card or cards you wish to hide will not show. So much for "Countroversy" and frankly, I'm getting fed up with all the un~ founded accusations, based on hearsay, gossip, and downright fabrications based on envy. Therefore, in the future, I intend to run a list of names, from A to Z, that have re-invented or ripped off ideas. This can be all proven by the public. record and not by hearsay, gossip, or fabrication. But for now let's get back to some more ideas on the "Convincing Control”: : Tn. the 1979 Volume #3 of the Magazine, Pages 46 to 49, was described a .method of reversing a selected card while an out-jogged card was assumed to be the selection. This same identical procedure can be done with a number of cards. For example, when you out-jog the. first X card, and reverse the actual selection, make sure the reversed card will be no more than:two or three cards from the position occupied by the out-jogged X card. Also this first card must be chosen or touched when it is in the upper third of deck. Thus you now spread the cards and have a second card touched and noted- somewhere around the center. As before you out-jog the X card while secretly reversing the actual] selection. Spread the card further to have a third card touched and noted in lower third of deck. As before, out-Jjog the X card while secretly reversing actual selection. Table deck, with three cards still out~jogged, push al] three cards into deck.: Now say the magic words, "This is mine - mine - mine." Ribbon spread deck to reveal the three selections face up and in their apparent original positions. If you do this for a magician whom you haven't sean for years and never intend to see again, then after the cards are revealed. face up, turn to him and say, "What do you mean this is yours?" Anyway, in this Volume #5, you will find an easier method of doing the same effect. It may not puzzle another card man but will be found effective for laymen. : In the event that the above suggested "Triple Reverse” effect is too much to handle with a full deck, then I suggest you cut deck into three equal packets. Now all you do is the identical reversing actions on each packet thus out~jogging an X card in each packet. With the packets tabled as for the Ist selection to be named. Push out-jogged card flush, then ribbon spread the packet to reveal face up selection. Repeat this procedure on remaining two packets. In this Volume, in the section on "New Approach Convincing Controis", if ‘you study Figs. 3-4-5-6 you.will note that the card above the chosen card, Fig. 5, will act as a “Cull Card”. With cards held as in Fig. 4, left. thumb contacts at Teast two cards that are to the right of the card chosen. Right hand keeps its por- tion of cards up-jogged, Fig. 4, but as both hands are lowered, left thumb, pressing on its. two cards, moves to the left as does the right hand. The actual selection is now under the cards in right hand. Right fingers can pull the selection further under the spread if need be. Left thumb keeps the X card, assumed to be the selection, in place -as right hand moves inward to alongside the cards in left hand. This leaves the X card out-jogged ~ Fig. Ji. The card under spread is .- run to bottom of deck as per Figs. 12 to 15. : To show the flexibility of this "Cull Card" you can have two cards, that are together, noted and controlled to the bottom of deck while Teaving 2 X cards out-jog- ged. In-this case you will have to get 2 cards into the position shown for one card in Fig. 5. At Fig. 4 you will have spectator remembering the two cards at face of the up-jogged right hand portion. Also make sure you have another spread of 2 cards to the right of the two noted cards. Place your left thumb onto these 2X cards. As before, when you lower both hands, left thumb pulls its cards to the left as at the same time right hand also moves to the left. This brings thé 2X cards into the I ESET TOR nS SSE SEESE SESE ao TRE A RET COTES BASEN ENTE EE SESE EEE OT NTE TRI ENTER ED TEE TTT SOE EYAL EY TENA ht Inne position previously occupied by the two selections which are now under the spread of cards held by the right hand. Right fingers can pull the two selections further under the spread. From here execute the same actions as described for one card except here you will leave 2 X cards out-jogged, side by side, while controlling the actual se- lections to the bottom of the deck. Don't forget to use the left side of the out~ jogged card or cards as an aid in running the rest of the cards above those under the spread. When you consider the extensive treatise given, in this Volume, on the Convincing Control, plus such additional ideas as the "Cull Control] Cards", then per- haps it will again be referred to under its original title of "Convincing Control”. While the "Mario Card Cull", using the Aces, shows the right hand moving away from the portion of cards in the left hand you: can keep the spread together and still cull the Aces, or any required cards, as long as the card to be culled is set undér the "Cull Card". Right fingers, because of the "Cull Card", can quickly pull the Ace to under the spread without any undue separation of cards at this point. If a crimped card -is used, as the initial "Cull Card", then when alt required Aces, or selections, are culled to the bottom, the crimped card makes it easy to quickly position required cards for a palm off of these cards. In this Volume, in the section on "Card To Wallet", is the "Transposition Card To Wallet"effect which uses a borrowed deck. The obvious improvement, that will be.made by those not confident with Pip covering, is to use one’s own deck and a dup- licate card; however, it is much more effective to use a borrowed deck plus a Stranger Card as the duplicate. Since the Red pips on certain decks vary, as far as the shade of the color Red, it is best to use a Black Card as your duplicate Stranger card. Assume you will use a 4S as your Stranger card. Have this in your shirt pocket. On getting deck. openly remove the 4S and KS and table them face up. Have a card se- lected but retain deck. Hand a Sharpie pen to spectator for signing his card. During this you turn around so you can't see the card he signs. During this time you place the Stranger 4S face down under top card of deck. On turning around spread deck, between both hands, for return of the card. Get a break above this card. Do a Cover Up Cut to get thé selection above the Stranger Card. Pick up tabled 4S and KS. Hold them face down as you shift them about. Make sure the 4S ends on top. Do a Double Turnover to show the KS. Turn card(s) face down onto deck. Deal off top card, 4S now, to table, then place a coin onto it. Do a Triple Lift, holding cards from above by the ends, to clearly show the 4s (Stranger Card), then place card(s) into shirt pocket with face towards body. Now do the Transposition part of the effect first: This leaves signed card and Stranger Card still in your shirt pocket. Next, go into the supposed trapping of the signed card, between the 4S and KS, then its eventual vanish. While spectator is checking the rest of deck your right hand removes the signed card from shirt pocket and loads it into the Wallet you have had set-up in your left inside coat pocket. AT] this will become much clearer when you read "Transposition Card To Wallet". Getting back to False Counts of packets. The Busy Bee, in his review of Mario's Plus Package, mentioned that in "In Lieu Of The Hammon Switch” has seen print previously, by Ronnay of Vienna, in manuscripts accompanying his packet tricks. Well, | "The In Lieu Of The Hammon Switch" uses the idea of reloading the first card taken, as you take the second card, in order to set-up for a Block Pushoff enabling one to go into the Veeser Concept. Since the Veeser Concept has been in print long before Ronnay marketed his packet ricks it's pretty obvious, if he used the same mechanics, that he ripped off the Veeser Concept. Busy Bee also states I had a lapse of memory regarding the "Wedge", using leather instead of a coin, which he claims appeared in his manuscript on “Larry Jenning's Card To Wallet". If memory serves me right Barry Price's Wallet and manuscript was marketed months before and it contained the Wedge, using the leather, with no credit to my original Wallet manuscript of which he was well aware. But I made no big public issue of this outside of personally reprimand- ing him. for his oversight in not mentioning the inspirational source. Do you realize how much space is wasted on this kind of thing? So let's compensate by going on to something a little more positive and productive. In Lorayne's "Close Up Card Magic" ~ Pages 93 - 94 - is an item titled "Ose's Cut". This was a Triple Cut, to the table, froma deck that was held in the left hand. The following approach is a bit more sophisticated and will puzzle any~ one especially if you mix in the “Combi-Null Cuts” from "Marlo Without Tears" on Pages 73 to 77. To begin, deck is tabled lengthwise in front of yourself with the hands at each end. of deck. Right hand cuts off a third of deck and places it forward, Slightly to your right, just in front of deck. Right hand cuts off half of the bal- ance of the deck and places this portion to in front of the Ist portion. The final: portion is placed to in front of the 2nd portion. The three packets form a slight angle to the right. Right hand picks up the packet nearest you, the Ist portion, to place it onto the 2nd portion but in an end-jogged position, to the right, for about an inch. Both packets are now placed onto the 3rd portion but also in an end-jogged position to the right thus the packets are stepped. Drag the assembled packets to- wards yourself, then square up the cards, using both hands at their respective ends, in the classical manner. This type of Tabled Cut is acceptable in most places - picking up the deck into your hands, for the cut, is not. ee As in Volume #4 the Volume #5 contains suggested ideas in the "Foreword" which is something that no other Foreword has. Even if you never do any of the things in this Volume you should enjoy reading the various ideas, techniques, and effects within the following pages. After all, you don't have to do Erdnase to appreciate hin. WITH BEST WISHES ZSwek feb nnn nnn nnn eee NEES SES ENN ES SAIN LAE SESS PE NAN EEN SL NEN TITERS EA TERT NR KAKI KR KIKI KK REE KK KEK KEERE KEE KR ERK ® THE FURTHER ADVENTURES OF PUNCH % FR KEK RRA RIAK AKER ERK EK ERA KK KERR EERE The following treatise deals with the possibility of controlling 52 cards of the deck without resorting to a one-way deck approach. In other words, to give the spectator a choice of a Full House consisting of either Aces and Kings, Queens and Jacks, Tens and Nines, Eights and Sevens, Sixes and Fives, Fours and Threes, or Four ofa kind Deuces Wild. These choices to be made, by the spectator, after he has shuffled the deck. With the choice of a Full House made the performer now deals out Seven hands of Poker to get the specified Full House. Obviously using a One Way Deck approach you can give the Spectator even a much more flexible choice since he can name any two sets of cards to make up his choice of a Full House; however, this then requires the performer to remove those cards, under the pretext of showing that all eight cards are in the deck, then to turn them end for end as they are re-inserted into various parts of the deck to insure good distribution after the spectator's shuffle. At any rate, the following is for those who may want a more sophisticated method and in the process master five dealing positions plus a Strike and Pushoff Second Deal. For those who may want to use the 52 card control but do not want to go beyond the Second’Deal they are now using, a method other than the Punch will also be described. In Volume Four of this Magazine a description of Putting In The Punch has already been described but briefly it is to-use a sharp needle and a thimble. The thimble is so that you do not hurt or accidentally prick your finger while using the needle point to punch or prick the card. All punching of the cards is from the face. The card it- self is placed on a fairly hard surface so that the needle will only indent the card rather than puncture it. For further details I suggest you check out Volume Four. Let's begin now with.... PREPARATION OF THE CARDS: 1. Assuming you know how to Punch the cards the Following Fig. 1 is a template showing . the position of each Punch, from the face of the card, for the A-K set, Q-J set, 10-9 Set, 8-7 set, and the 6-5 set. That accounts for only 40 of the 52 cards. The next set *~DEUCES ScRATCHED AK QF 10-9 ~— 3-4 Scrarce MARic -e7 6S -FACE oF Carp Bact or Carp * 6-S - 6-7 10-9 QJ A-K Fig. 1 Fig. 2 of 4-3 is taken care of by using the needie to put a white line scratch on the back in the borders of the card as in Fig. 2. That leaves the Deuces and these aré Scratched Marked in the same borders but at the corners. Once you make such a Template you start by first marking or punching the Aces and Kings, then follow on to each succeeding set until all the 40 cards have been Punched. Conclude by Scratch Marking the remaining cards as shown in Fig. 2. 2. If you are using cards such as Bee cards, then the. scratch mark is put into the Dia- mond that is in the approximate position as that shown in Fig. 2 above. Further on in this treatise I will get back to the subject of Scratch Marking brands of cards such as Bee cards or their facsimiles. For now I will describe the various dealing positions and techniques of Second Dealing for each specific Punch Position. The first Punch Po- sition, for the Aces and Kings, has already been described in Volume Four of the Magazine but to Save you the time in looking for its misplaced position a brief description ‘ollows: 3. The deck is held as in Fig. 3. The left thumb moves back, to the left, very slightly as in Fig. 4. The left thumb now pushes the top card forward as in Fig. 5. Assuming you did not feel a Punch your right hand takes the top card as in Fig. 6 to sail it for- ward to the table. Since the left thumb moved to the right, when pushing over the top card, it will be back in the position of Fig. 3 after the removal of the top card. Thus it is again in position to again move to the left, as in Fig. 4, in order to feel if the new top card is punched. Fig. 3 Fig. 4 Fig. 5 4. When the left thumb feels a punched card the top card is now moved downward as in Fig. 7; however, this downward move- ment occurs as right thumb comes over to the position shown in Fig. 8. In other words you are using the "No Touch Theory" and the action shown in Fig. 7 is never seen. The Second card is now pulled for- ward as in Fig. 9 and 10 showing the card about to be sailed to the table. The Second Deal is continued until ready for the Punched card to be dealt into your hand: Further technical detaijs are in VoTume Four. | 5. In the above it is important that the right Ist and 2nd fingers press and brush against the backs of the left Ist and 2nd fingers thus this pressure plus the right thumb's press- ure insures an easy take of the Second card. This also applies to the next two positions taken for a Second Deal. ‘ THE SECOND POSITION: 1. In order to now contro] the Queens and Jacks the deck is now held as shown in Fig. 11 where the left thumb rests at the next Punch Position. 2. The left thumb moves the top card to the right thus also extending the left thumb as in Fig. 12. The top card is also moved slightly over the outer end of deck. Right thurlb's joint moves to a point in front of the left thumb nail as in Fig. 13. (It will now be the underside of right thumb's outer joint that will contact the top card at its ex- treme outer edge. At this point it will be the underside of the right thumb's bone joint that presses down on the card. Only the right Ist finger is extended but the curled 2nd finger also brushes against the back of the left Ist and 2nd fingers to create the required pressure points. Right 3rd and 4th fingers are curled in towards Fig. 11 the palm and if will be the right énd finger and ea, “ey thumb that will take the card's upper right corner with the right Ist finger extended across the card's upper end. This Take is shown in Fig. 14. Bi Wy OO Oy RRA RRS D RAND 3. Once the top card is removed the left thumb will be extended towards the outer right corner as in Fig. 15. As the right hand sails it card the left thumb slides back to the position shown in Fig. 11. During this movement, back to’ the left, the left thumb will feel if the next card is Punched or not. If it is not, then the left thumb pushes over the top card and the deal is continued as already shown in Figs. 12 to 14, 4. Assuming that the left thumb now feels a Punched card this time left thumb again moves the top card to the right. Right thumb comes over to position itself exactly as if to take the top card; however, this time left thumb moves the top card in a slight downward arc in order that left thumb contacts only the second card as in Fig. 16. Remember it is the underside of the bone joint of right thumb that contacts the second card. Fig, 17 shows the under side of right thumb with contact point marked. if EEE REE NST SEMESTERS SRST SOLAR SLR IS LAE SENN NI UR A PS ETS EEE ANTE INTEL TNH SEIT f RESO EERE BUREN PERRIS RORY REO RCN Xx Ns C/ Fig. 18 Fig. 19 5. Second card iS now moved out while the left thumb pulls back top card. This is shown in Fig. 18. Once second card is clear the left thumb will be back in the position already shown in Fig. 11 or the starting position. Right hand sails out its card and the Second Deal is continued. It is important that during the Second Deal the left thumb always moves in the same way as when dealing the top card. In other words, do not freeze the left thumb when you go into the Second Deal. Fig. 20 6. Some may prefer to use the ball of the right thumb to contact second card but in this case, in order to get a fine brief, use the inner side of the thumb as shown in Fig. 19 where the line denotes the contact point. Also, in this case, the right thumb will move across top end of deck, and in front of left thumb, as shown in Fig. 20 where note how the tip of right thumb points directly to the left. Try both contact methods and choose which you feel is best for you. THE THIRD POSITION: 1, To control the Tens and Nines the left thumb moves to the Punch Position shown in Fig. 21. Left thumb pushes the card to the right and slightly forward over outer end of deck as in The Second Position. This enables right thumb to move to either the position shown in Fig. 22 in which the bone joint of right thumb wil] contact the card or to that shown in Fig. 23 where the inner side of the ball of the thumb will contact the card. To clarify the slightly curled right 2nd finger also contacts the back of the left fingers, during either a top card deal or Second Deal, Fig. 24 shows the position of right hand fingers as they approach to take a card while Fig. 25 shows the bottom view where the Slightly curled right 2nd finger can still contact the back of the left 2nd finger. 2. Top card is taken after which left thumb moves back, to the left, as shown in Fig. 26 during which time it will either feel a Punched card or not. In either case the same dealing action, of pushing over the top card, is adhered to until a Punched card is felt. When the Punched card is felt it is dealt straight off to the right and when right hand comes over the right thumb comes in front of left thumb as at the same time left thumb arcs the Punched card downward just enough for right thumb to contact the second card as in Fig. 27 which shows right thumb's bone contact while Fig. 28 shows innér side of ball Fig. 22 Saaca ose KK x ys i vs * mi ¥ KS x x ¥ % % RK ‘ xy mf si * % BAAN Ei ; xy SARS e RXXK A ¥ Xs xy x ARAN mK eH x Si ‘ f RY x i 5 ys “ a 5 by « t ig. 28 F 3. Asin the previous deal it is important that the Punched card, which is now being retained, be also moved back and forth just as if the top. card was being dealt. In other words during each Second Deal the Punched card is moved forward, as in Fig. 27 or Fig. 28, then back to the position shown in Fig. 26 simultaneously with the removal of the second card. This way the top card deal and Second Deal are uniform in action. Also the left fingers press in against the side of deck. Especially for the third position, the left 4th fingertip must press in firmly in order to prevent the top card arcing to the left whenever the left thumb moves to the left. THE FOURTH POSITION: i. To control the Eights and Sevens you resort to a Two Card Pushoff Second Deal. In this case the deck is held in a regular Mechanics Grip with the tip of left thumb posi- tioned nearer the upper end of the deck and about center at this end. Deck is also be- veled and left 2nd-3rd-4th fingers are relaxed and its tips do not press against the Side of deck as gauges. The grip and the position of the left thumb is shown in Fig. 29. Left thumb now glides or slides, across the top card, to the position shown in Fig. 30, then follows thru by dealing over the top card as in Fig. 31. Note that the next card or cards also have moved slightly to the right. Fig. 30 Fig. 37 2. Right hand finger positions are shown in Fig. 32 as they approach to take top card. Top card is taken with right thumb on top of the card's outer right corner. The right Ast finger's third phalanx contact the outer edge of the card at this corner while the right 2nd finger contacts the face or bottom of the card at this corner. This Take is shown in Fig. 33. NOTE that the right Ist fingertip actually touches -the nail of left dst finger. Right Ist fingertip then sort of snaps off of the left Ist finger to the position shown in Fig. 33-B, . Fig. 32 Fig. 33A 3. As soon as the top card is taken off, left thumb glides across the card's back to the position already shown in Fig. 30. Thus the top card deal is continued, each card being sailed, until left thumb feels a Punched card as it slides back to the left or as in Fig. 30. At this point the Punched card is moved very slightly forward, just enough i & f f j PRRRRRER RIOR re y PARR i Qe: nM > j | | PRORR BREET PERE ee @':: és ie ERR ER f BReee RRR A f OK Fig. 36 to expose the next card as in Fig. 34. At this point the bone at the underside of left thumb presses down to engage this second card and two cards are moved to the right as in Fig. 35. Note that a third card has also moved to the right but the tips of left énd and 3rd fingers only allow the two cards to move past these fingers. Right hand is shown already contacting the cards with the thumb on top, Ist finger along outer edge and 2nd finger contacting the back of the second card. Remember that right Ast fingertip always contacts and slides off of nail of left Ist finger before coming to the position shown in Fig. 35. 4. Right Ist finger presses inward on its outer edge, to insure a firmer grip on the second card, thus the second card moves out in a slight inward direction, as in Fig. 36, as the Jeft thumb pulls back the top card only as far as the next exposed card in order ‘that the underside bone of the left thumb can contact this card in order to continue the Second Deal. 5.. The second card is now pulled straight to the right and sailed out. Remember the inward pull is only slight, then the card is moved out straight to the right to clear the deck. Right Ist finger on the edge of the card insures that your right hand doesn't come away empty. This, plus second finger pressing on the face of the second card insures getting that second card. 6. If you have pulled back the Punched card only as far as suggested, and already shown in Figs. 34 and 36, the underside bone of the left thumb will now contact the next card thus enabling you to once tiore push two cards forward. The Second Deal is continued until it is time to deal it into your hand. Continue the dealing until the desired Full House falls into the Seventh hand which is your hand. The dealing of seven hands assures a Full House especially if the distribution of these cards have been adequate. Because you don't know which Full House will be called for, there is a slight percent- age of failure but this is minimal and can be overcome by offering to repeat it. THE FIFTH POSITION: i. To get the Sixes and Fives the deck must be shifted forward in order that the left thumb be further down. This position is shown in Fig. 37 where the left thumb is more at the center of the deck. As the thumb moves from right to left it will feel the lower- most Punch which are on the Sixes and Fives. 2. The Second Deal actions are identical to that used for those cards Punched in the Fourth Position. The slight difference in the left thumb's position does not alter the described mechanics of the Two Card Pushoff Second Deal. Remember not to press too hard, with the jeft thumb, when moving the left thumb across the card. A light gliding touch is best and does not desensitize the left thumb. Once you feel the Punched card, then the left thumb's pressure can be increased as you go into the Second Deal.. Once the Second Deal has deliver- ed the card to your hand ease up on the Teft thumb's pressure as it glides across the next card or cards until you once more feel a Punched card and go into a Second Deal. THE SCRATCH DEAL: A. Since the Fours and Threes are scratched you can use either a two-card Pushoff Second Deal or the Strike Second Deal. Naturally you will have to look at the deck in order to see the scratched card and hold it back via the Second Deal. I personally feel that the Two Card Pushoff Second Deal is better as it gives you a chance to see the scratched card a card or two ahead. This due to the fact that the top cards spread out slightly during the dealing of the top card. Again dealing out of seven hands assures a greater chance of getting a Full House. if you do not get your cards in the first five rounds you then say it is a seven card Stud game. This gives you an additional two rounds to complete your Full House. THE SCRATCHED DEUCES: ‘1. Since you did not name the Deuces in the choice of Full Houses you can now have the deck shuffled and state you will deal yourself Four of a Kind’with Deuces being wild. You will be amazed how in a seven hand game you can hardly miss getting four of a kind especially since you do not state a specific four of a kind. 2. As an example. I have just shuffled the cards and am ready to deal. Seven Hands of Poker. On the first round I got a 5H. On the second round I got a QH. On-the third, fourth and fifth rounds I dealt a 28-2D-2H thus getting four Queens. Obviously when you see a scratched Deuce you will hold it back so it falls to your hand. With a Two Card Pushoff Second Deal I can see whether the 8th card is a scratched card or not. If it is not, then the 7th card is dealt fairly. If the 8th card is a Scratched card a Second Deal is made. In the case of a Strike Second Deal, where you can't see the next card, you must deal a Second on the 7th card, if that card is not a scratched card, on the chance that the next card may be the scratched card. This procedure naturally applies to the Punch Deal. If you do not feel a Punch when the 7th card is reached, then you must deal a Second on the chance that the next card is the desired card. 3. Now Ttet's Took into how you can take advantage of the Punched cards in connection with the scratched Deuces. I have just dealt myself three Deuces and a Jack for four Jacks but I still have one card coming. Here you switch to the Punch Position which denote the Aces and Kings. On this last seven card round I got a King for four Kings. It could have been an Ace. Even if you only have the Deuces either Punched or Scratched you can See what an easy and impressive Poker Deal this can be. THE SCRATCH MARKED DECK: 1. The Walter Scott manuscript mentioned that Scott could feel a scratch on the back of a card. It didn't state what kind of a scratch or how deep. Anyway I experimented with scratching the standard brand of cards but found it too impractical even with deep scratches. However, by using the plastic coated cards the scratches could be felt as easily as the Punch. This due to the fact that the Plastic coating is a hard finish and a scratch on its surface will hold up even after many shuffles. The Scratched Deck is handled just like a Punched Deck but the advantage lies in the fact that nothing can be seen on the face of the cards. In most cases the scratch, which is a short white line, blends in with the design on the back and is tess apt to be spotted. 2. -The scratch is a downward scratch for about an eigth of an inch. The template pic: tured in Fig. 38 is used to scratch the cards and conforms to the same positions as al- ready given for the template on the Punch Deal. It is assumed that the scratches on the template are not put on every card but each Scratch Position is put only on the specified eight cards of each set. The template is put onto the back of the card, then using a sharp needle insert it thru the slot and scratch the card downwards. After marking the Aces and Kings get the next set, consisting of the Queens and Jacks, using the template’s Queen-Jack position. Continue with each set of 8 cards up to the Sixes and Fives. 3. The Fours and Threes and the Deuces are not io scratched on the back but use a marking ink to 6-5 | «— siors e mark the positions already shown in Fig. 2. i If using non-border cards, then the inking is TempLare TMS SWE UP put into the same position but within its dia- WHEN PadrING mond or square such as on the No. 75 Double Diamond Back "21" cards or the "Professional Gambling Cards” sold by Hoyle. The Second Deal BACK OF CARD i handling of the scratched cards is identical to | 6-9 that of the Punched cards. The inked cards are dealt with visually. | £-8 THE SIGHT MARKED DECK: 1. Here the scratch marks are used to basically mark the cards so that they can be spotted by : sight as compared to using touch. While almost Fig. 38 - any deck can thus be marked the Fig. 39 shows the scratch mark positions on an Aviator back while Fig. 40 shows the scratch mark positions on a Bee card. ‘The scratches are put at both outer Teft portion of the card and lower right portion of the card. Again only the mark, that denotes a specific set of cards, is used on each different set of eight cards. 2. Basically you must memorize each scratch position so that you will know which Scratch position represents which eight cards. Blue Back cards will show up the scratch better than Red Back cards; however, if your vision is good the Red Back cards are recommended. Note that the Bee cards are marked with scratches in the three dia- mond squares near the top edge at both Tower right and upper left corners. Also three diamond squares are scratched at the left and right side edges at the same corners. This takes care of all the sets from Ace to Three. The Deuces are scratched in the central diamond at both top and bottom edges of the card. The Aviator card has fairly sufficient circles between each is a short white dividing line. The scratch is made in line with this white line thus the third circle scratch goes from the top of the color border to join the white line and denotes the Ace-King set. The first circle from the left side has a scratch to denote the Queen-Jack set while the corner scratch denote the Ten and Nine set. Similar spacing along the left side of the card denote the Eight-Seven and Six-Five sets. The Deuces have the sixth squares, in the small border of squares, scratched out or whited out. 3. The best Second Deal to use for the cards is the Two Card Pushoff Second Deal be-~ cause the left thumb, which is across the-deck at about center, does not cover any of the marks. Regardless of which combination Full House the spectator calls you naturally ‘recall the mark's position on the card. During the deal your eyes keep focusing on that particular spot which denotes that combination. During the deal your right hand will take the top card and move it inward until the card's outer end is past the inner end of the deck and then the right hand sails the card to the table. This inward action is important in that it gives you time to read the new top card of the deck to see if it is one you need. Fig. 42 4. If the card now on top of the deck is a card you need the previous inward deal gives you time to push over two cards as close together as possible. Fig. 41 shows these two cards clearly but in actual per- formance the two cards should show no more than its white borders. With Bee cards or any other deck with similar borderless backs you do not have to be that precise. The second card is moved inward in the same way as the top cards were. This is shown in Fig. 42 while Fig. 43 shows the card about to be saijed to the table. As Fig. 43 mentioned previously the right Ist finger on the outer edge of the upper right cor- ner of the card insures that second card with less chance of coming up with air. It also gives the left hand time to push over another two cards for subsequent Second Deals. 4. If you use the Bee card marks you will be able to spot the up-coming card-or cards much quicker due to the fact that the scratch marks are almost at the edge of the card. In this case it is almost like an edge marked deck except that you can clearly see the scratch looking at the top of the deck as compared to watching the left side of the deck. "SCRATCHED DECK AS A READER®: 1. The above scratched deck can be used as a marked deck in certain “Take A Card” effects. As example, take the effect where after a card is removed from a freely shuffled deck you run thru the faces of the cards in order to add and cancel out cards as you reach totals of 10 and eventually calculate which card was removed. In using the scratched deck when the card is- removed you note the position of the scratch on this card. This tells you to which group of 8 cards it belongs. Now all you have to do is check over only those remaining 7 cards to, in one rapid run thru determine which card is missing from this group. What use you make of this information is up to’ you. 2. The above is not going to take the place of a marked deck that will give you both suit and value; however, a deck marked for suit and value will not enable you to do an effect Tike the Seven Hand Poker Deal. With the Scratched Deck you have two things going for you. As an example, here is a subtle uSe of the scratched deck. Have the deck shuffled, then ribbon spread it face down. Have any card removed. Note its scratch po- sition to determine to which group it belongs. Assume the card belongs to the Ace-King group. Have the card returned to the center of the deck. You can give it a couple of False Cuts and False Shuffles if you wish. At any rate you retain the selected card's estimated position. With cards facing you spread thru the deck to the estimated posi-~ tion. I find that in the central section I have two Red Kings and the AC. I state your card was a Red card. If he says "No", counter with "Don't tell Me." Now you know his card is the AC and use it as you wish. Had his answer to the statement of "Red" been affirmative the next statement would be on the suit. Regardless of the answer you now definitely know his actual selection. 3. There will be times when you will get .'breaks' in that the noted card will be the only one in that central section. On the other hand, due to bad distribution of the group in question, you may find as many as 5 cards, in the central section, belonging to that group. In that case it is up to you to get it down, with a little fishing, to the specific card. ONE WAY SCRATCH DECK: 1. This idea is to scratch the deck so that the marks are all in the sate place and at One corner only. With border cards the scratch can be put in either the. position used for the Tens and Nines or that used for the Eights and Sevens. See Fig. 39 for these positions. Decide which scratch position you will use and put the scratch in that po- sition on every card but only at the one corner to create a one way deck. 2. If you decide to use the Bee cards, which is preferred for this work, then the-. scratch mark that denotes the Eight-Seven in Fig. 40 is the best. Scratch all the cards in that one spot. When you bevel the deck you will see a white line in a Blue Strip. If you push some top cards, in a slight spread to the right, you will clearly see these lines. The scratch lines show up clearer in a Blue Back deck as compared to a Red Back but either color should give you no visual pyoblems. 3. With such a one-way deck you can now give the spectator a choice of any combination Full House he names. In other words, he is not restricted to any particular groups of cards. As example he can say, “Deal me a dead man's hand, Aces and Eights." Suppose he says he wants a Full House consisting of Sevens and Fours. You up-jog the Sevens and Fours and in removing them, swivel them out to the right, you turn them end for end. Openly alternate the cards so they run 7-4 etc., from top down. Now re-insert the cards into different parts of the deck and hand it to the spectator for shuffling. 4. Your excuse for removing the cards is to show the spectator that these cards, all of them, are in the deck and none are missing. Do not say, “Held out." On receiving the deck: you take it in left hand. Bevel the deck slightly to see if a white line is evi- dent or if you see just white dots. If you see white dots these are the desired cards. If a white line shows, then turn the deck end for end as you seem to square it. 5. With the deck turned properly bevel it quite a bit, to the right, in order to more clearly see the white dots or scratches. The reason for this is to make sure those cards are distributed far enough apart to insure getting a Full House in Seven Hands. If they are,then make your spiel about how he chose the cards, he shuffled but you will just dealSeven Hands and get the Full House he requested. &. Now I have just gone thru the above process of removing the requested cards, re-in- serting them, having them shuffled and getting the deck back. On beveling the deck I see the dots are fairly close in the upper portion of the deck. If I deal 7 Hands I will be sloughing off too many of the desired cards. I have two options. One: I can say, "Look, just give the deck one more shuffle to make it as fair as possible." Two:. Since I haven't as yet stated how many hands I will deal I name a lesser number of hands. This number will depend on how close those dots are. This can be any number from Two hands to Five hands. Should the dots be at the bottom of the deck have the spectator cut the deck and now proceed as suggested. 7. You can insure better distribution by placing the 8 requested cards on top of deck, then give it two Tabled Faros before passing deck to spectator. Since you Riffle ‘ Shuffled he will usually also Riffle Shuffle. . You can indicate, with both hands, a Riffle Shuffle action when you have passed him the deck. On receiving the deck you still check the dots for good distribution of the desired cards. 8. While either a Strike or Pushoff Second Deal can be used,it will be obvious the Push- off method is better since the normal beveling and spreading ot the cards will enable you to see two or three cards ahead. This is especially true when using the scratched Bee deck. You can casually spread the Bee deck between both hands as you comment about the fact that the spectator shuffled the deck and that you will not so much as cut the deck but simply deal. During this you will be able to spread,. count two sets of 7 cards each and note the numerical position of the scratched marked cards in each set of 7 cards. 9. For example, I just spread the cards and noted two scratched cards at Ath position in the first 7 cards and in the 5th position in the second set of 7 cards. Now re-square the deck for the deal. On the first two rounds of 7 cards each you do not have to look at the deck. You can make a big.point of this when working for magicians. Obviously you would go into the Second DeaT on the 4th card in the first round and on the Sth card in the second round. Since I usually turn the 7th card face up on the second round I would deal the card face up, turning it rather slowly. This enables you to thumb spread, with the left thumb, about four or five cards. When you glance at the deck you can spot the position of a scratched card very quickly. Now look away from the deck as you deal another round of 7 cards holding back the desired card. Repeat the slow face up turning of this card as the left thumb does another thumb spread of the top cards of the deck. Continue in this manner, spotting scratched cards ahead of time, until] the deal is com- pleted. COMBINATION ADVANTAGES: 1. Since the Pushoff Sécond Deal enables you to spot the three or four cards ahead, you, can combine it with a Bottom Deal, strike method, should you come across a situation where two or three scratched cards may be together. As an example. Suppose you are dealing fairly but as you are about to deal thé 4th card you see that the 5th card and the next two are scratched cards. If you deal Seconds on the Sth card you will Tose two of the needed cards. Instead of doing a Second Deal on the Sth card you Bottom Deal the 5th and 6th card, then take the 7th fairly. 2. You now have two scratched cardson top. You can afford to lose the top card and then hold. the next one with a Second Deal until it is dealt to yourseif. Another ex- ample. Suppose you are dealing and you see that the 2nd card from top is scratched. Naturally you keep holding it back via the Second Deal; however, as you are about to deal, via a Second Deal, the 6th card, you notice it is another scratched card. At once change to a Bottom Deal taking that 6th card from the bottom, then dealing the 7th card fairly. The other scratched card is now on top and you hold this back via the Second Deal. A few practice runs and you will quickly get the idea. COMBINATION ONE-WAY PUNCH AND SCRATCH: i. This in essence is a one-way deck but with both scratches and a Punch on every card, at the one end only. One may wonder what advantages this has. Well the scratches, after the called for cards have been turned end for end and deck shuffled, enables you to check their distribution. Assuming the distribution is right, you now do not need to look at the deck since you resort to the Punch Deal using whichever Punch Position you find best for you. Thus you are assured of getting five of the required cards to make your Full House. 2. One more minor point. Sometimes you may wind up with 5 cards but four of them are all the same value. In other words, you have dealt yourself four of a kind. To this you say, "I did better than I expected." During this, bevel or thumb spread the top cards to see if a scratched card is among them. If it is you then add, “But I promised you a Full House and a Full House is what you wil] get. Needless to say, you deal another round holding back the desired card so it is dealt to your hand thus getting the promised hand. THE PUNCHLESS DEAL Over the years I have experimented with methods of duplicating the 7 Hand Poker Deal but doing it with a borrowed deck. What follows are some of the procedures I have used. The first is called.... “PSEUDO MEMORY": In effect after the spectator has shuffled the deck you spread it face up, between both hands, for the ostensible purpose of memorizing the cards. You now turn deck face down, state that you will deal a Full House, name the kind of Full House, then proceed to do just that. What follows shows the flexibility of old principles which can be combined to give as yet undiscovered possibilities. 1. Having had the deck shuffled you take it and turn it face up. State that you will memorize the cards. Start to spread deck between both hands. Depending on what kind of Full House you wish to eventually deal, the required cards are down-jogged each time you come across one of them. This is a fairly standard procedure and should be familiar to most card men. 2. Assuming you have, say, down-jogged the Aces and Kings, the deck is now, on comple- tion, face up in the right hand with the required cards in-jogged as in Fig. 44. Note that they are in-jogged for about five-eights of an inch, the reason being is that you want these cards to be clear of any other cards that may have been slightly in-jogged during the initial spreading and in-jogged of the required cards. This also enables you 45 Fig. 45 to make the spreading and in-jogging of the re~ quired cards rapid and casual as compared to slow, furtive, and studied. 3. Turn deck over and face down into left hand. Grasp sides of deck between both hands. Left hand grasps the sides at the outer end while the right hand grasps the ‘sides of the in-jogged cards between thumb and 2nd and 3rd tingers. The Ist finger is curled on top of deck. Left Ist finger is at the outer end. Position of both hands is shown in Fig. 45. Right hand now angles s the in-jogged cards to the right. then follows Fig. 46 . thru by pressing the side of right thumb against the lower left corner of the deck in order to square off the ends of the deck itself. This action is shown in Fig. 46, an exposed view, 4. Once the ends of deck have been squared off, the angled cards are pulled back in line with deck as right hand also squares the sides of the deck's inner end plus the still in- in-jogged cards. Left hand now takes the deck into a dealing position as right hand comes over the deck as if to square the ends. During this time right thumb pushes the in-jogged cards forward untiT only their white borders are still in-jogged as in Fig. 47. If using Bee cards the in-jogs can be greater. 5. Now make your statement of dealing a Full House naming the cards it will consist of, in this example Aces and Kings. Now as to the deal- ing procedure. During the deal watch the inner end of the deck to See when the in-jogged card is about to come into play. The reason is that when the top cards are actually being dealt you can very clearly show the top of the deck as the cards ‘ are being dealt out. Fig. 48 shows the spectator‘s view when the actual top cards will be dealt. Note that the left thumb is across deck about a half inch away from the outer right corner. Right thumb comes across the top end of the card, as shown in Fig. 49, during the actual dealing of the cards. Right Ist and 2nd fingers touch and press against of o—n—— CEE NN ESE STS EE ANDI UT SPICES TN NEE OE ON LN N LS EN ER EE LET ET NTE RISES MEN NM NS EE TTS RITES DPT the left Ist finger during the deal. &. When you see that an in-jogged card is about to be next, the left hand tilts inward just enough to kill the top of deck; however, specta- tor can still see the outer end of the deck but not the face or bottom of deck. Since the card .is in-jogged you have quite a substantial brief, “at the outer end for an easy Second Deal as shown in Fig. 50. Note also that the left thumb has moved to a position on the in-jogged . card so that you are in the basic No Touch Fig. 50 Theory position. Left thumb now remains in that position during the rest of the deal. 7. Your right thumb will move in just a little deeper in order to deal the in-jogged card into your hand. The rest of the procedure is obvious as you simply continue the deal and Second Deal whenever you come:across an in-jogged card in order to get these in- to your hand. Continue until you get the Full House. 8. There will be times, during the initial down-jogging of the desired cards, there will be two cards down-jogged together. This will cause a problem when you come to this point and do a Second Deal. What will happen is that the uppermost in~jogged card will remain in place but. the in-jogged card under the top one will be dragged out. If this dragged-out card happens to be a 7th card, then you would deal it into your hand and still have an in-jogged card on top. If-the dragged-out card is not the 7th card, then simply deal it out and continue holding back the top card. This dragging out of a de- sired card will also happen when two desired cards are not actually together but in among the Seven cards you may be dealing out. Again simply deal out this dragged-out , , card holding back the in-jogged card under control. 9. There will be times when the in-jogged card is still under a top card as you are about to go for your 7th card. In this case the left thumb pulls the top card down past the in-jogged card thus making the in-jogged card available to the right thumb. Fig. 51 shows how the deal is made at this stage in order to get at the in-jogged card. 10. You will find that experience with the above will give you few problems as far as completing the deal successfully. Since you have not stated what you are about to do, when'you say you will memorize the cards, you can change your mind as to what cards you may have decided to in-jog. For example, you may have in mind in-jogging the Aces and Kings, but as you start to spread the deck you find “that there are too many Aces and Kings close together near face of deck. in this case quickly decide on another combination. "INDETERMINATE POKER DEAL": J. In effect you shuffle a deck of borrowed cards, deal out a number of hands and get yourself four of a kind. For this, on getting the borrowed deck, secretly cull any four of a kind to top of deck. There are many cull procedures in various publications to . choose from. You can use the down-jogging procedure, then simply strip these out to the top of deck as you make drop cuts to table. dust make sure.you down-jog all the face cards along with the first desired card you come to. This block of cards, plus the in-jogged cards, are then the first cards to go onto the table followed by the rest. With only the four desired cards in-jogged, you can set up for any type of Multiple Shift, either in the hands or on the table, to get the four cards to the top. 2. Assuming you have culled the four Aces to top and the deck is tabled, give it a couple of Riffle Shuffies, Keeping the top cards, to off-set any of the pre-handling of the deck. Now cut: about 20 cards of the déck to the right. Riffle Shuffle the right hand portion faster than the Jeft hand section until right thumb is holding back the four Aces while left thumb is holding back a fairly large block of cards as in Fig. 52. MALL BLOCKS Se cARDs BETWEEN ACAD Fig. 52. 3. Now release an Ace with right thumb. Now re- Tease cards from the left thumb but, at the same time, count mentally "One-Two-Three" during this release, then stop when you reach "Three". Repeat release of another Ace followed by a left hand release as you again rapidly and mentally count to Three, then Stop. Repeat this same procedure on the next Ace, etc., until you will end up with the 4 Aces separated and covered by small biocks of cards as in Fig. 53. 4. Telescope the halves into each other, then set-up the cards into a Strip-Out condition. Next squeeze the sides of the cards to result in a condition just previous to an actual Strip-Out. In other words, the right hand section is end-jogged as in Fig. 54, but more important the 4 Aces are endjogged and separated by an indeterminate number of cards. 5. Pick up deck with right hand, at the right side to cover the jogs, to place it into the left hand in readiness for the Second Deal already pictured in Figs. 48- 49, At this stage you do not say how many hands you will deal. Instead, deal fairly, counting out loud as you deal, until you reach the first in-jogged Ace with you deal face up into your hand. 6. Assuming that on the count of "Six" you dealt out the Ace. Now you do not have to say anything as it becomes quite clear that you will deal 6 hands. The rest is now ab- vious. You just keep dealing until you have dealt, via the Second Deal when and if necessary, the 4 Aces into your hand. You will be surprised, with practice, how many times you will not need to deal Seconds at all. THE INDETERMINATE PSUEDO STACK: 1. This follows the exact procedure already described except the approach in this case 1S to openly remove the Aces and placing them on top of the deck, state you will stack them in One Shuffle. Now execute the Riffle Shuffle wherein you get blocks of cards onto each of the 4 Aces. 2. Since you did not mention for how many hands you would stack the Aces, you deal fairly on the first round until you arrive at the first in-jogged Ace. At whatever number this Ace falls is the same number that you eventually deal the remaining Aces via the Second Deal whenever necessary. This is- an impressive demonstration especially if the number of ‘hands is 7 or 8 although 6 hands will get a good reaction compared to the standard 5 hands. ~ . PSEUDO TEN HAND POKER STACK: ‘1. Here the four Aces are placed on top of deck and you now state that you will give deck one shuffle and stack the 4 Aces for Ten hands. In order to insure success, right hand cuts off only about a dozen cards from the top. Riffle Shuffle in such a manner as to release fewer cards from the bottom of left hand portion while quickly releasing ail the cards, except the four Aces in right hand section. 2. You must have no less than 28 cards in the large left hand block. Any number over that up to 36 is what you should hold back. It is not that difficult if you simply hold back slightly more than half the deck. The situation at this stage is similar to that shown in Fig. 52 except in this case there will be fewer cards already meshed at the bottom and a larger block of cards held back in left section. 3. Now release one of the Aces. Next, rapidly release cards from left hand section as you mentally count "One-~Two-Three"; then stop as the next Ace is released, then at once follow through with another estimated block of nine cards. Continue in this manner until all four Aces have blocks of cards on them similar to Fig. 62. 4. Now telescope the cards setting up for a Strip-Qut and eventually arrive at an end- jogged situation, Strip-Out condition, as in Fig. 53. Place the deck into a dealing po- sition and deal out Ten Hands holding back, via the Second Deal, the in-jogged Aces so that they fal] into the 10th hand. With practice you will be surprised how few Second Deals you will have to resort to. I just shuffled the cards and on dealing them out, I used only two Second Deals as two of the Aces actually fell into the 10th position. On several occassions al]: four Aces were actually stacked in every 10th position. Only practice and a sense of estimation will show how effective this is. I just shuffled the cards again and this time I got the first 3 Aces right on the money but I had to use one Second Deal on that last Ace. So you see it is not that difficult...try it. BEST PUNCHLESS DEAL - SO FAR: Over the years I experimented with various Shiners or Glimmers with the idea that they could be used for an on the run Poker Deal. I found that while you could glimpse the.on-coming top card you did not get enough time to hold that card back. In other words, the right hand was already taking that card almost at the same time that you glimpsed it. In the gambling literature they told you how these glimpsed cards could be held back but nowhere did they tel] you how to accomplish this in a smooth rhythmic man+ ner as you continued dealing. This is far different from glimpsing and remembering hole cards being dealt to the players or so-called slow games, like Black Jack, in which you have time because of the player making up his mind whether he wants another card or not. It also worked out ali right for Stud games in which you had a chance to glimpse the top card before all bets were in and the game continued. This gave you certain advantages but nowhere, no how, nobody ever was able to call a hand and deal that called for hand in the same way as you would using a Punched Deck. This is what I wanted to do and finally developed a method that permits this despite the fact that some card experts said it couldn't be done. 1. Using a fairly large mirror is only part of the secret. The Figs. 55 and 56 show ‘the two types I use. Both can be attached to the table and the one with the Tong copper ‘tubing can be bent into shape and trapped between the thighs. These were made for me by Bob Nelson of Chicago. The easiest one to make is that pictured in Fig. 55 since it is made from one of those Cover Girl compacts. Al] you need to do is cut away the Powder Container jeaving only a flange or tab, of about a square inch, at its swivel joint. The swivel permits very wide up and down adjust- ment of the mirror. A mounting adhesive is attached to this tab. Mounting tab has a waxed paper to cover over its other adhesive side to protect it when not in use. When it is decided to attach it to the table the wax paper cover is peeled off but not discarded as it is re~ placed after you have detached the mirror from the table. The mounting adhesive will stick to wood, metal, and cloth. This means if the table has a cloth cover, as’ in some restaurants. it can still be attached to the table. 2. In Figs. 57 and 58 is shown how each is attached. The compact shiner is further out from the table's edge while the tubular Shiner the tubular shiner has the advantage of not ‘having to hold the deck as far back from the table. A left handed dealer has an even better ‘advantage in that the outer end of the deck can een -be more on the table since the lower left cor- : . vz ner indexes will be exposed in the mirror. I Fig. 57 Fig. 58 ' have tried Mylar but it does not give as clear and sharp of a reflection as does a regular mirror. 3. As mentioned previously the use of a mirror is not the answer to the actual dealing ‘and holding back of the desired cards. Any Second Deal method that moves over only one card at a time is not practical for an on the run dealing procedure. This means that the usual Strike Second Deal is out. I have dis- covered that the answer lies in a Two Card Pushoff Second Deal. There are two methods that you can choose from. The first method is that shown in Fig. 59 while the second method is that in Fig. 60 which shows 3 cards pushed over and has advantages over the First and is my own preference. Note that the Teft fingers are near the inner end of the deck. ' 4. In Fig. 61 is shown how you can see two cards very easily due to the fact that the left fingers have been kept away from the outer’ end of the deck. You are now going to deal and be- ‘cause you will push over two cards each time is under the edge of the table. In this respect at ede RY By BO Be fs) (oy Ky BY Fig. 60 / : Fig. 61 you will be a card ahead each time and this is what gives you time to hold back a card. In other words, you will spot a desired card as the second card of the two. This means that the top card will be taken and then, with no break in the rhythm of the deal, you can go into the Second Deal to hold the needed card for your hand. 5. Naturally you will have to look in the mirror but, from the spectator's view, you are ‘apparently looking at the deck. If you are using your own cards they may suspect marked cards, marks which obviously they will not find. If using a borrowed deck you can tell them you are using X-Ray vision. I make these two remarks only because there are so- called experts out there who will down-grade anything on the most minor point. Actually you Will not be doing that much looking as will be shown. , 6. Assume you will try for Aces and Kings in a Z Hand Poker Game. On getting the deck, position it so you can see the indexes in the mirror. Now casually Spread the top 7 or more cards, between both hands, as you look into the mirror. If you see a King or an Ace, note its position, then re-square the deck. These actions are excused by the lines, "This is your deck and you shuffled the cards, etc.." Since you know the position of the required card you do not look into the mirror at this time. Let's suppose you now have to look in the mirror as you deal the next round. If Lady Luck is with you, then you may have dealt out two cards fairly, but, as the next two cards are pushed over, you note that the second card of the two is a desired card. At once you now look at the Spectator as you deal the 3rd card fairly, then go into a Second Deal to hold back the needed card until it is dealt into your hand. Follow the instructions given and with minimum of practice you will find your results satisfactory. PLAYING THE PERCENTAGES: 4. This depends on the fact that even in a well shuffled deck, the cards you may have already decided upon may not have had a good distribution resulting in too many of them being dealt out during a fair deal. This idea gives you that added percentage of success and you can still state the kind of Full House you will deal just before dealing the cards. 2. What you do, after getting the deck, is to glimpse the bottom card of deck. I have just glimpsed a Four. Next, the top two or three cards are spread over in order to glimpse these in the mirror. -I see the top two cards are a pair of eights. Naturally, I would Tose one of these so I ignore these and spot the 3rd card and it happens to be a Six. Now I can state that the Full House will consist of Sixes and Fours. 2] 3. Now I deal, doing Second Deals when required, until [ have two pairs. Right now I had to deal 5 cards into my hand before getting Two Pair. At this stage you announce it is a7 card Stud Game. On the sixth round I try to get that last card which could be either a Four or Six. Well, I did not. get it; however, on the. 7th round it is an easy Bottom Deal of the last 4 to fil] the Full House, The percentage advantage con- sists in the fact that you already are assured of two cards. Many times you will not have to use the bottom card but it's there for insurance. ADDED * TIPS FOR PUNCH DEAL: ‘1, While the instruction for the Strike Second Deals tel] you to glide your Teft thumb back to the left, actually this movement is to the left and slightly downward also. This ‘downward action prevents the top card from inadvertantly arcing to the left during the deal, This is especially liable to happen when using the "Third Position" for the deal. 2. If the above still doesn't solve this problem, then place jeft Ist fingertip onto the outer right corner. This will prevent the top card from arcing to the left. When you feel the Punch, your Teft Ist finger then at once moves down to alongside of the deck thus letting you use the No Touch Theory. Once the Second has been completed again. move your left ist fingertip onto the outer right corner. I may as well tell you now that if you use this procedure for those negative minded experts, they will pounce on you. They will usually say you couldn't get away with that in a game. They also use intimidating lines like, “Too late" or "You're dead." To this I suggest the follow- ing answer - "Look, I'm no fool. I'm not going to play cards and if I were I sure would- n't be stupid enough to buck up against experts in the game - I'd be looking for Suckers. And when you consider how many sti11 fall for the Three Card Monte game, there must be plenty out there." ANY NUMBER 3 TO 10: In effect - the deck is shuffled and the spectator then has a choice of how many hands of Poker are to be dealt. He has a choice of from 3 to 10 hands and you get a winning Poker hand regardless cf the choice. 1. For the above al? you need is Four Aces and Four Kings that are scratch marked on the edges near their respective corners. That is the upper jeft and lower right corners so that no matter how the deck is turned you have the scratches to read at the upper ‘left corner. 2. The Aces and Kings are previously on bottom of the deck and alternated starting with the King as the top card. This set of cards is marked off by a crimped card above them. This condition permits fair Riffle Shuffles above the crimp. Next, cut the cards so that the crimped card is only about two or three cards from top. Below the crimp are the Aces and Kings. Do two Tabled Faro Riffle Shuffles, then cut the crimped card to the ‘bottom. The Kings and Aces are now every 4th card among the top 32 cards. 3. Depending on how many hands of Poker the spectator requested you can name what you will get. Here is the procedure that shows what to do for each number of Hands. Just keep in mind that the first scratched card you come to is a King, then the next scratched card is an Ace and so on alternating thru out On every Ath card. The scratches eliminate having to memorize the various dealing combinations. (A) FOR 3 HANDS: For this announce a 7 card Stud Game. All you have to do is deal Seconds, when required, to get the Full House which in this case will consist of 3 Kings and 2 Aces. Obviously, on the first round, the third card will not be a scratched card so you deal a Second into the ‘3rd hand to get an Ace. Also during the deal you wil] getto a point where,as you go to deal 22 (B) (D) (E) (F) into the 3rd hand, you will have no choice but to take the top card be- cause the Scratched card is further down at this stage. If you under- stand the Punch Deal you apply the same procedures to the scratched cards deal. FOR 4 HANDS: Here you will get 2 Rees and 3 Kings in the first. five cards you deal into your hand. In this case you need no Second Deal. FOR_5 HANDS: Dealing Seconds to manage the scratched cards into your hand will give you a Full House, in the first 5 cards, that consists of 3 Aces and 2 Kings. FOR 6 HANDS: In this deat you will get 3 Kings and 2 Aces, in the first 5 cards, via the use of the Second Deal at the necessary places. FOR 7 HANDS: On this deal, before you begin. you can give them a choice of whether you should get the 4 Aces or 4 Kings. If Kings are called, start Second Deal- ing, on the Ath card which is_a King, being sure to by-pass the scratched Aces during the deal. In other words, the Aces are Simply dealt out. You will know, after dealing a King into the 7th hand, that the next scratched card will be an Ace so you just deal it out into the other hands. Having just by~passed the scratched Ace you now know the next scratched card has to be another King which you hold back, with a Second Deal, until you can deal it into the 7th hand. If 4 Aces are called for, then first.cut 3 cards from top to the bottom. Now you would by-pass the Kings and get your 4 Aces instead.. Again, as you deal an Ace into your 7th hand, you know the next scratched card you come to is a King and thus deal it out fairly. Since you discarded a King you now hold back the next scratched card you come to which is an Ace. A few practice runs and you will get the idea of the dealing procedure very quickly. FOR 8 HANDS: Here again you can give them a choice of the 4 Aces or 4 Kings. If Aces are called for you just deal out 8 hands fairly since the Aces are already 8 cards apart. In this case you can now show the Ath hand as containing the sucker hand of 4 Kings. If Kings are called for, then just hoid these back via the Second Deal as needed. In this case the 4 Aces will fall into the 7th hand. Since you stop the deal after you have dealt out the Kings or Aces you have four cards in each packet. In this instance you can't show 4 Aces as a sucker hand; however, you can place the Kings on top of your cards still in your left hand. Gather the other hands so that the 4 Aces become the top cards of this portion. Do a Faro of these two packets to alternate the Kings and Aces so a King becomes the top card. Now do two Tabled Faro In-Shuffles and you are all set to repeat the effect. 23 (G) FOR 9 “HANDS: Kings are called for, you will automatically deal out the Aces during the deal. This means that, the next scratched card is a King which you hold back as required.. The 4 Aces will be distributed to the 4th-5th- 6th-7th hands. : Again you can give a choice of 4 Aces or 4 Kings in this deal. If 4 If 4 Aces are called for, then after each Ace a scratched King will be next so you will by-pass the King until you come to another scratched | card which will be an Ace and which you hold back to be dealt into the 9th hand. (H#) FOR 10 HANDS: Before going into this deat you slip the 4th card from the ‘top, a King, to the bottom.’ Now just hold back any scratched card that comes up using a Second Deal. You use the Second Deal for four rounds which wiil give you 3 Aces and a King. On the fifth round you Bottom Deal in to your hand to fill the Full House you promised at the very beginning. ANY SUCKER HAND CALLED FOR: EFFECT: The cardician states he will deal 8 hands of Poker and get the 4 Aces but the spectator has a choice of which of the other 7 hands should get a sucker hand of 4 Kings. Whatever the choice the cardician fulfills the request. 1. This $t£i11 makes use of the same scratched Aces and Kings with the set being alterna- ‘ted King-Ace etc. As before you give it two Tabled Faro In-Shuffles to set every card at 4th from each other. 2. If the Kings are called to be in the 4th hand everything is automatic and you just deal. For Kings to-fall into the 3rd hand cut top card to the bottom. ‘The 4 Kings will automatically fall into the 3rd hand but you will have to Second Deal on every 7th card in order to get the Aces into the 8th hand. This is tipped off by the scratch on the Ace so you don't need to remember any numbers. 3: For the Kings to fall into the 2nd Hand you wil] cut two cards from top to bottom. This again sets the.Kings to fairly fall into the 2nd Hand. As to the Aces you will Start Second Dealing on the 6th and 7th cards to get jet the Ace; however, again the scratch ‘on the card tips you as to when to start Second Deating. 4. For Kings to fali into the Ist hand, naturally you cut the top 3 cards to the bottom and the Kings will be dealt fairly into the ist hand. The Aces will be held back on the 5th-6th-7th deal of cards but again easy, because of the scratch, with no memory work. 5. For any hand above 4 you simply deal Seconds to hold back the King for that particu- Tar hand whether it be Bth- 6th-7th. The 4 Aces, in this case, will automatically fall into the 8th hand. This is a very impressive demonstration for either laymen or magi- cians, especially if you point out that you do not shuffle the cards in order to get a sucker hand into anycone of the other 7 Hands. THE STRIPPER DEAL: iJ. This idea can be used for any of those previous deals in which a Strip-Out condition jis used to control the desired cards. The deck can be freely shuffled by a spectator and 24 you stii? can deal a Full House in a 7 Hand Poker Deal. Since the cards themselves are not marked in ‘any way it will puzzle those looking for marks, Punches, or a One-Way deck. All you need is a Stripper Deck the backs of which do not have any one-way design or mark. 2, You can previously turn, end for end, the cards you wish to control or you can have the spectator name any combination. In this case you would remove the eight cards that comprise the requested combination and after showing them place them onto the deck ina turned end for end position. Give the deck two Tabled Faro Riffle Shuffles, then pass the deck to the spectator for an additional Riffle Shuffle. 3 On getting the deck make sure the wide ends of the 8 cards are at the inner end. Holding the deck, by the sides, between both hands the right hand, which is holding the sides at the inner end, strips the 8 cards inward for up to its white border or slightly more if you wish. Place the deck into your left hand for dealing. The rest is simply holding back the in-jogged cards as required for them to fall into the 7th hand. THE STING: J. This is very good and will puzzle magicians simply because you use an unmarked Bee deck. The secret lies in the fact that at times you will come across a Bee deck in which the Diamonds are slightly larger at either one end or one side. By turning the required cards end for end you can éasily distinguish between the larger diamonds and the smaller ones. é@. Ifthe larger diamonds are at the end of the card, then the large diamonds should be at the upper end. By watching the upper end you can tell when the larger diamonds show up and thus hold them back via the Second Deal which can bé either a Strike or Pushoff type. 3. If the larger diamonds are at the side, then the required cards are turned so that the larger diamonds will be on the right side of the deck. This is the easiest position for spotting them as compared to having them on the left where they more or less blend in with the shorter diamonds making it more difficult to quickly distinguish the larger diamonds. 4. You may have to purchase several decks of Bee cards to come across such a deck but ‘the search will be worth your trouble. - IMPORTANT NOTES - For those who have already practiced the Ist Position for the Sécond Deal, as described in Volume Four of the Magazine, may find changing to the 2nd or 3rd Positions too much of a departure as far as the way right hand takes the top card. In this case one does not have to change the Take Position of right hand, only the position of left thumb to enable. one to use the Ist-2nd-3rd positions. The following brief descriptions for each Position should clarify the procedure. _ UST POSITION: 1. This is the original Position as described in Volume Four and.uses the "No Touch Theory", Left thumb is positioned as in Fig. 62 and pushing the top card slightly for- ward, while right thumb moves in front of left thumb to contact the top card at the outer left corner. In this manner the top cards are dealt until a Punch is felt when the Second Deal is used. During the Second Deal the right hand Take appears the same as for a.top card. In Fig. 63 is shown the Second Deal using the same Take action of the right hand. wo N S = 1 = 6 3S 1 TO or 2, Pe £ eo 6 ma o 4 an pry te 3500 os ape vog own vo TPep - -—s £6 espa Ox “au soe =3r a2" or = = Sao —8e2 set saee cain oo ; oc wo? ON) Ee os ces “= Qe a ae Ss PSEnS ple —sp an 5 S64 Be See nals =O Soo se vf Ba 6 ee DD Ba os ag w S a? ep SEPER son ax gc oD Ses 9 92h 660 Sag EOO nv 2s PHYMOPrOS oO RHE Sem : Lee @ Son uw. 8L°f San | Ore 2 OY. Sop FP eres Bom SES stl @ sSenesanun uo n i 5 SEL Pores cas Oo pes Po. = ALULPDO OD Ay eae wd tem © 5 sss © em o a ate YVNSHSSGCS ven - 9% Velo i Pp XYXr OBA OF - Bs Af ae iow 88 eG a_s wxa i OG =e ofaors o Eegs oO | cee oe oc 8 ys SVoSPre gow Heg co 6 Ny vet re EROMeSCE aa Ow eel OS > oes ov Pw moO so Bu © aD YW qe op po A eas = See w Back eo5 ene Boares wn cMen 2 = o2 w evo = ~S2v0oo mn O a chu au £P2 SeoPeremns noma mo ns Sap eo 5 oO D aa - G53 a Sa pemoea ae ™ 3 a es a’s 25 oS s0S7 Oe 1 OSE fav +o E> ass NPA Ps SS lw Sst of Hew SU sie oo Sov a = Bae > b, 4 Sor Orn o pee ape Peo gra) pe ge aw : OPE cee st On = 8 Om ep Oo = . oe nn + wo wer ov es “5 SEow apos pSos 7 wo Sor moro & mH —- On 3 i ERacsatiess 1 ap al sa £&o | VSSSSRS SSE OVUGB FQHoO avy > SS asec oP Lo Feseuees 3 $2 ere oF : Ro Se Foe Sas SSSR. OS ComN eeo.5 ES gf i oe S53 PHO SSIES Cm ae G — Aen Mook 2 SBE ic " Pra = eos 4 ofr an = om o — ANU <= Pere me a” 3 Po Ser bb wong & . OFe SB Lf << oO aw «xe & wn Pues wea rLos YW Oo Se s go28 Qo ers Bo oo. Go aea™ veo” oa cv eec gf DEuvu = i a) = 3 cad oO SO = =so Ps NEP A APE — ss no EE NI CEN eR SLORO S nR ERA E ENO EDREEC YY PY SACRE PRR CT ERE 26 5] SS ao thumb will push the top card further to the right as well as slightly forward over the top end of deck. In Fig. 67 is shown the right thumb's po- sition during the top’card deal. Once the top card is grasped and being moved off, the left thumb cocks back to the 3rd Position as shown in Fig. 68. During this cocking action.the left thumbs movement is more inwards and slightly to the left as compared to a straight to the Teft movement. This inward action of the left thumb prevents the new top card from accidentally arc- ing to the left thus preventing the left thumb from feeling a possible Punched card. Fig. 69 2. When the left thumb feels a Punched card you go into the Second Deal as pictured in Fig. 69 where, note, that the left thumb must continue it's pushing action of the top card to conform to the fair deal. While freezing the left thumb will not be as evident in the dst and 2nd Positions it will be in the 3rd Position because of the left thumb having to move the top card further to the right in order that the right hand's thumb can contact the top card's outer left corner without the Take looking awkward or too much different from that used for the Ist and 2nd Positions. “MODIFIED MECHANIC'S GRIP: 1. This has the appearance of the deck being held ina Mechanic's Grip when in reality it is not as the left Ist finger is not curled or placed around the outer end of the deck. Instead the tip of the left Ist finger is placed on- to only the beveled outer right corner as shown in Fig. 70. Left thumb is in the 3rd Punch Position. 2. Note that the left Ist finger itself is out of the way or below the deck. Only fts tip is across the beveled outer right corner. This Modified Mechanic's Grip permits you to still use the same dealing actions as already shown in Figs. 62 to. 69 inclusive and prevents the top card from arcing to the left especially with the left thumb in the 3rd Punch Position. Thus with the Modified Mechanic's Grip you can still use the No Touch Theory Second Deal because the left ist finger is stil] out of the way. ON THE 2 CARD PUSHOFF 2ND DEAL: I. The Two Card Pushoff Second Deal can be made more deceptive from a visual stand point if the right thumb touches the top of the nail of the left thumb while the tip of right Ist finger touches the top of the nail of the Teft Ist finger. -In'Fig. 71 is shown the posi- tion just before a Second Deal. Note that during this position, right sidé of the pushed over cards is further in towards the right paim. This gives greater cover for the Second Deal as there is less chance of it being seen coming out from under the top card. 2. Left thumb contacting and pressing onto the top of the nail of left thumb can be used and applied to a Bottom Deal of either a Strike or Pushout technique; however, this contact of thumbs must be made whether you take the top card or bottom card thus when the right thumb Slides off of the teft thumb, your right hand takes either the top card or bottom card as required. As previously mentioned a Bottom Deal can be used in connection with a Second Deal in which the desired cards are edge-marked or scratched near the edge so that you can quickly spot whenever two or more are close together and one or two may be sloughed off if only the Second Deal is used. "MORE PUNCHLESS APPROACHES" The Crimp has yet’to be fully explored and applied. The following is a step in that direction. With this approach you can use any borrowed deck, give the spectator .a choice of any combination Full House, then after some shuffles, including the specta- tor's shuffle, you deal 7 Hands of Poker and get the desired cards. J. On receiving the borrowed deck ask the spectator to name any two sets of four of a Kind. Assume he’ names Fours and Fives. Begin by removing the Fours and Fives, then arrange them in an alternated order of Fives and Fours from top down. This is all done under the guise-of making sure that these named cards ‘are all there. 2.- Have spectator shuffle remainder of deck. While he is doing that you hold the eight card packet face down, by the sides, with left hand. Right thumb and Ist finger grasp inner left corner of packet with thumb below and 1st finger on top, the uj upper side of packet is now facing you. Right thumb and Ist finger’ now crimp or bend the “inner left corner of the packet to the right. This crimping action is shown in-Fig. 72. This is completely hidden from the spectator’s view aS well as yours because the cards in left hand are held in a dealing position, Mechanic's Grip, during the action of crimping the cards as in Fig. 73. UPWARD CRing Fig. 72 3. When the spectator has finished shuffling the balance of deck your right hand grasps the inner sides of the 8 card packet to place it on top of deck. At this stage the right hand remains at right end of deck in order to conceal the crimped condition of top 8 cards which is shown in the exposed view of Fig. 74. 27 28 4. Both hands are now at their respective ends of deck. Split deck as close to half as Possible, then give it a Tabled Faro Shuffle or a Butt Type shuffle. This does not have to be perfect but is used to insure a good distribution of the 8 principal cards. Right hand will automatically cover the crimped corners during this shuffle which should be of an In type. Once an uncrimped card or cards cover the uppermost crimped card the next Faro Shuffle can be done. quite openly. “5. After two such Faro Shuffle pass the deck to the spectator asking to give déck a shuffle implying only one although if he does more than one, it will not matter too much. He will not see the crimps because they will be on your side of deck. When you get the deck back hold it in left hand as for dealing, Tap the lower right corner of deck gently against table tep. During this action the lower left corner will be uppermost and facing you when you can quickly see if the crimped ¢ards are well distributed to insure getting the desired cards in 4 7 Hand game. If too Many crimped cards are close together you can have the spectator give it several more shuffles under the pretence of making everything absolutely fair. . . 6. If the crimped cards are fairly separated but all near the upper part of the deck, then you can State you will deal 5 Hands of Poker and get a Full House. Since you do not state how many hands you will deal, until after the shuffles, this does not tip off your changé of plans. The deck js casually’ turned end for end so that the crimped cor- ners will now be at the upper right corner of deck. AT that remains is to deal until you spot the upward curve of the card's upper right corner, then go into the Second Deal in order ‘to hold back the desired card so it is dealt to your hand. In other words, the same procedure uséd in the actual Punch Deal is applied to the crimp method; however, the type of Second Deal that is best for crimp work is the Two Card Pushoff Second Deal especially in the case of Belly Crimps. 7. An important feature is the removing of the crimp as you deal the desired card to your hand. This is done by right hand taking the crimped card by its upper right corner, Thumb on top, Ist and 2nd fingers below, then turning if face up to the table. As the right hand places the card face up to the table, the crimp is removed by pressing the face up card against the table thus enabling the right thumb and fingers to bend the now Tower right crimped corner upwards as in Fig. 75. Thus if you have the five tabled cards examined there will be nothing to find. 8. There will be 3 crimped cards remaining in the deck and the problem is to eradicate the crimps. Riffling the corners of the deck doesn't quite do it, neither does doing face up shuffles, or Faro, or Butt shuffles which _ include the springing of the cards and even Pressure Fans. Which all shows how powerful a crimp can be. The best procedure is to turn the deck face up so that the crimped Fig. 75 corners are at lower right corner. Now deal the cards 1g. ‘face up to the table by taking them at the lower. right corner, thumb on the face with Ist and 2nd fingers below. In this way the crimp is re- moved as the card is pressed face up to the table while the right thumb and fingers pull upward on the crimped corner thus removing it. Your excuse is to actually remove the rest of the cards originally named in order that all 8 cards may be examined. You can also ribbon spread the cards face up, left to right. then remove the cards by taking them at the lower right corner. During the removal the right thumb’ and fingers have to pull upward, in order to grasp the card, thus taking out the crimp. SECOND METHOD: : ‘This uses a fairly well known crimp which is usually put into the performer's cards long before the deck is to be used. Here you use a borrowed deck and very quickly put in the work. What is more the work jis easily removed while the cards are within the deck. 1. Assume that the spectator has named Aces and Kings as his choice of 8 cards. Re~ ‘hove these from the deck and openly alternate them in Ace-King order from the top down. Again the excuse is to make sure al] the named cards are in the deck. Have the balance of. the deck shuffled while you hold thé 8 cards face down in left hand as for dealing. 2. While the spectator is shuffling the deck, you quickly and casually execute the following actions. Right hand comes over to grasp the ends of the packet. Under cover of the right hand the left hand bends the sides of the 8 cards downwards only as far as that shown in Fig. 76. The next two actions are done openly. Right hand bends the.ends of the packet downwards, over the curled left Ist finger, only as far as that shown in Fig. 77. Follow by pulling the ends upward only as far as that shown in Fig. 78, then relax the cards back into a dealing position into left hand. Right hand grasps the sides of the packet with the right Ist finger pressing down onto the packet just enough to straighten out the curve of the packet but not enough to remove the actual crimp. Fig. 79 3. When the crimped packet is placed on top of deck the situation is as shown in Fig. 79 where the crimp is exaggerated for clarity. With deck tabled give it two Tabled Faro Riffle Shuffles, then pass the deck for the spectator to shuffle cards. On getting deck, hold it-in left hand and tap its lower end against table top. During this tap action, also relax the left hand grip which will ’ cause the cards to separate at points where the crimped or beTlied cards lie. This is shown in Fig. 80 which again is an exaggera~ tion for clarity. This is not seen from the spectator's view and Tet's you see if the cards are well distributed for the eventual Fig. 80 deal. 4. Assuming everything is all set for the deal, obviously you will hold back the bellied cards, as required, via the Second Deal which again is best using the Two Card Pushoff Second Deal. ‘With practice even. the smallest of curvature can be spotted as the bellied card arrives on top of deck. Especially if the left hand holds deck tilted forward so that the operator can see the inner end of the deck. In this way you can see how close to top is the next bellied card and when it does arrive on top, it is easily seen as shown in Fig. 81. If it is necessary to go into Second Deal at this time simply tilt your left hand inward slightly as you go into a Second Deal. 5. When right hand deals the desired card to your hand the work is taken out at the same 29 30 Fig. 81 time. In this case the right hand takes the card by its right side and in dealing it to the table the card's left side is pressed face down against the table while right hand bends the card's right side upwards. This action is shown in Fig. 82 just before the card is eventually flipped face up. This action is repeated for every card deait face up into your hand. The work is now out of the tabled cards. To remove the work still on the cards remaining in the deck, simply bend the sides of the deck upward and downward a couple of times when the bellied crimp will be taken out. Do not confuse the Bellied Crimp with the Snap Crimp. The Snap Crimp is more of a permanent crimp and usually applied to ones own cards. &. The two crimp methods just described can also be used for those Pseudo Shuffle Stacks which used the in-jogged card's approach. In other words all those items des- cribed under the use of in-jogged cards can be done using the crimps instead. Their strength lies in that you can do these things with any borrowed deck of cards. If you use your own deck, then it must be one that can be thoroughly examined for the more ob- ‘vious things such as marks of any kind or a one way deck. Especially if you intend doing some of these for magicians. TIPS: I, Using the Art Altman-angling technique, from his False Shuffle or "Fan Multiple Shift" you can apply it to a Red-Black separation as a very disarming feature. For ex- ample: You spread deck between both hands, faces of deck towards yourself during which time you secretly up-jog, say, the Black cards and down-jog all the Red cards for about five-eights of an inch. Now turn deck over Sidewise and face down into the left hand. Right hand now comes over the deck and seemingly squares the ends of the cards. Actuaily you execute the Altman Angling Technique as in Figs. A6 to 51 of the Altman False Shuffle. All that remains is to go into the Strip-Out action thus separating the colors. The Altman Angling Technique can also be used as a preliminary action, after a Faro Shuffle, to set-up for a fine-jogged Incomplete Faro as required for either an easy Side-Steal or for a Double Faro. PUNCH TIP: In the section on the-Punch Deal there is given a combination of Five Punch Locations taking care of A-K-J-Q, 10-9-8-7-6-5 value cards. A sixth Punch location can be put into the border at the upper Teft corner. This means that the scratch-mark, used on the 3-4 combination, can be eliminated. With the Sixth Punch in the upper left corner of the cards I find using a Two Card Pushoff Second Deal is best. Thus with a 6 Punch Combination you have 3 Punch Combinations using a Strike Second Deal and 3 Punch Combinations using a Two-card Push-off Second Deal. ON KARL- FULVES'S SHUFFLE OFF "T'LE not Listen to neason...Reason always means what someone ekse has got to say." - Ms. Gaskell "He who knows only his own side of the case knows Little of that." - John Stuart Mike This tract is likely to be as boring as the one instigating it. So what follows is bound to be dreary and polemical, composed by a would-be polemicist with no heart for such frippery. For awhile I was content to let this sleeping dog eternally slumber. But Fulves has a talent for arousing my dander, for making me responsive to his antic essays. His latest stunt is a tract called SHUFFLE OFF, which focuses fresh attention on an oid cause celebre concerning the Shank and Zarrow shuffles. It consists of his feckless and incondite notes on Marlo's THE SHANK SHUFFLE, notes he thought wise to publish "before it's too late". Strange business! Herb Zarrow has never publicly stated his views on this matter. He has been silent all these years. Now Fulves chooses to defend him by issuing an odd, unsatisfactory, and political tract. It takes a blow-by-blow approach, starting with the front cover and haphazardly proceeding to the last page of THE SHANK SHUFFLE. And despite its comparative brevity, its contents are repetitive and dis— junctive and accusatory. Its political force, if any, depends on a receptivity to its implications and innuendoes rather than the veracity of its evidence. His evidence is slim, almost non-existent. Fulves, henceforth called K., uses an old and sly technique by concocting a subtie mix of cool claims: mixed with accusatory interro- gations. His questions are not rhetorical, but are meant to cast asper- sion&.and shadows and to create suspicion and doubt. This puts Marlo on the defensive. K. begins by claiming that the title and author of THE SHANK SHUFFLE are "a portent of things to come", He asks: Why didn't Frank Shank write the Book? Why not ask, “Why didn’t Vernon write his INNER SECRETS OF CARD MAGIC series? Why did Lewis Ganson do the writing?" Or: "Why was SHUFFLE OFF written by Karl Fulves and not Herb. Zarrow?" THE SHANK SHUFFLE is a technical book aimed at experts and devoted to explaining the mechanics of a specific false shuffle. In addition, there are other ideas, applications, and effects. it is not a propagandizing tract. 31 I SSCS EEE IS TE TTT TO TCE NET PME ETERS SLIM T NSF NTT CN NEM OY BEEN ESTAS TETAS LET SEN TEN 32 K. questions the Shank-Zarrow meeting that took place in May of 1956. He points out that Mario's account is "one man's opinion of what he thinks he recalls happening sixteen years before he wrote about it." As Emerson once wrote (about history), "Time dissipates the hard angularity of the facts." Whose memory is flawless? Zarrow's account would be no less subjective or undimmed. One fact cannot be disputed: Fulves was not present at the Shank-Zarrow meeting. He is in no position to judge first-hand accounts of this meeting. K. incorrectly reports that the publication of THE SHANK SHUFFLE resulted in a lawsuit. No suit was filed, One was proposed and subsequently dropped. If there had been any illegality involved or any real basis for a lawsuit, Zarrow would have vigorously pursued it. K. incorrectly reports that THE SHANK SHUFFLE was preceded by private cotrespondence between Marlo and Zarrow. He also alludes to all this correspondence, implying that certain unpublished letters would shed further light. If this were true, Zarrow would have publish- ed them long ago or at least would have given K. permission to publish them in SHUFFLE OFF. The fact is that the relevant letters have already been published, K. quibbles with Marlo's assertion that the Shank Shuffle preceded the Zarrow Shuffle by. many years. Strictly speaking, all claims of this type are hearsay. Verification is difficult. There is no reason to doubt that Zarrow was doing his shuffle prior to its publication in THE NEW. PHOENIX. Marlo. merely said that Shank was doing his shuffle a number of yedrs prior to his 1956 meeting with Zarrow. Several living magicians from Chicago can substantiate this claim. Norman Osborn, for example, attests that Frank Shank-was doing his shuffle in 1949. This is what he wrote to Fulves on April 11, 1983: Dean Kank, _ 1 fust féndshed reading Shuffle 064 and decided to unite you a fetter concerning same. Perhaps T can shed some Light. T'22 go back to the year 1949, I was 20 years old, working and Living with my parents, I had received a telephone call fiom a fellow who wanted some magic lessons. His name was Dix. He told me he owned a tavern, and wanted to know some magic, 40 he could perform behind hts bar. T- found out a Little Later that some magicians were hanging out at his tavern. On November 5, my 21st birthday, T went into his tavert gor the fist time. T met some of the fellows and thus started a great fttendshio to this very day.