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Table of Contents

INTRODUCTION ..................................................................................................................................3
DANGER! UXB!..................................................................................................................................... 4
IT IS DONE ............................................................................................................................................ 7
LISP ACES ............................................................................................................................................. 9
UNDER 21.............................................................................................................................................13
JAZZ JOKERS.....................................................................................................................................16
THE INNER EYE ................................................................................................................................19
THE BEERGLASS EFFECT ..............................................................................................................21
MATCHING STAYNES......................................................................................................................24
YOUR NUMBERS UP........................................................................................................................ 25
BONUS: FRIENDS A PRESENTATION .......................................................................................26
AND FINALLY .................................................................................................................................... 28

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Were back with a brand new volume of card effects! However youve
arrived here at The Underground Collection Volume 2, welcome!
This time, the routines are extremely varied we have our takes on
classic plots and routines, some innovative new ideas, some
presentational angles and more!
Some of the highlights:
Check out Danger UXB for one of those fool yourself effects its a
merging of two ideas from Ed Marlo and Richard Vollmer, with a
presentations approach borrowed from Tom Frame! A true cocktail of class
with an explosive result!
Theres a new handling of the classic Jazz Aces effect and while were on
the topic of classic plots, something weve been having much fun with:
A new version of Henry Christs classic card effect Christ Aces with a
presentation that in the right environment goes down a storm! In the
wrong environment, of course, you may end up in hospital but at least
there youll have plenty of time to practice your moves!
But lets not cherry-pick find out what it is in here that you like most by
working through each effect. Everyone will have their own preferences so
best begin this is the fun bit!
Until next time, enjoy this collection!
Jamie Badman & Colin Miller
The Underground Collective

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Danger! UXB!
The magician introduces the deck and explains how it represents an
unexploded bomb! To defuse it, the correct wires must be found and
removed the correct wires are represented by the Aces.
What follows is a sequence where the Aces are lost and three of them
found. The stakes are raised for the final Ace which is eventually located
in an impossible manner!
Method and Presentation
The presentation for this routine is as critical as the routine itself, so Ive
interspersed the method with the patter for the effect. By all means
detach the presentation from the method and attach your own but I
think youll find this all works together particularly well!
So first, introduce the deck and remove the four Aces.
Disaster has struck! Terrorists have decided to plant a bomb in this very
building and it looks just like a deck of cards a very complicated
bomb. 52 wires and only by removing the 4 correct ones will the bomb be
defused! The four correct wires shall be represented by Aces.
But the terrorists have built a very difficult bomb to defuse; the Aces are
hidden amongst the other 48 decoy wires!
Place the four Aces on top of the deck, jog shuffle a couple of times,
adding six cards to the top of the Aces so the situation is now that the
deck has the Aces at positions 7-10 in the deck. Follow this up by an outfaro of the deck. The faro must be perfect but the cut does not have to be
But luckily for us, there are four heroes in the building to save us
members of the elite UXB defusing team! One of the team steps forward
and examines the bomb but can see no signs that might give away the
whereabouts of the defusing wires
Ask a spectator to examine the sides of the deck for any marks, crimps
etc that might aid in the task.
He is, however, a professional and mustering all of his powers he
reaches forward with his pliers and cuts!
As you say cuts, cut the deck, approximating the cut to halfway down the
top half of the deck ie the top quarter. Look briefly at the card cut to if

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its an Ace, point this out, remove it and place it on the table. If its not an
Ace, remove the top card of the tabled pile and reveal it to be an Ace!
Phew! The first guy cut the right wire! But just look if hed cut above,
hed have cut the wrong wire
Show the face card of the held packet.
And if hed cut below again, the wrong wire!
Turn over the top card of the tabled packet and replace it on top of your
held packet. Place the held packet back on top of the tabled cards, pick
them up and give them a false cut.
Then the second member of the team steps forward and makes his cut
Repeat the sequence above.
Number three steps up to the bomb and nervously examines the bomb
then boldly steps forward and snip!
Repeat once more the cutting sequence. Follow this up with an in-faro of
the cards and then a double-undercut, moving one card from the bottom
of the deck to the top. Again, the faro needs to be a perfect weave but not
necessarily a perfect cut.
One more wire to go but time is running out because when that third
wire was snipped, the bomb began to tick and three displays lit up, each
revealing a countdown!
The fourth member of the UXB team said dont worry; I know what to
do we need to enter the code to defuse this thing Ill deal down with
each countdown and if the number shown equals the countdown, I stop
then move to the next. If I reach the end of a countdown, its dead. When
Ive finished, the total should give us the code we need
Explain that court cards represent 10 and proceed pick up the deck and
deal down cards, counting backwards from ten as you do so. If at any
time the number you call out corresponds to the card you deal, stop that
deal and move to the next backwards countdown. If you hit One with no
match, cover the pile with a face down card from the deck.
Do this until you have performed three countdowns.
At this point, either three piles are covered, or you have some uncovered
If there are some uncovered piles:
The UXB expert examines the displays and totals the numbers

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(add the totals of all the displayed cards)

And enters the total into the keypad
(deal that number of cards to the table from the remaining deck)
As he enters the code theres a moment of intense silence and then
(turn over the card on the final count to show the fourth Ace)
immense relief! The UXB team has saved the day and were all safe once
If all piles are covered:
The UXB expert completes his countdown but could not crack the code.
He has just one more chance taking it, he reaches forward and SNIP
cuts a wire at random
(turn over the top card of the third covered pile which is the fourth Ace!)
well I guess even UXB guys have to get lucky sometimes!
The worst eventuality (which is relatively rare) is if all three piles are
covered. A more involved approach here which I think improves this
eventuality somewhat is if when you cover the third pile with a face-down
card, you execute a second-deal. This leaves the fourth Ace on top of the
undealt cards, which I think is preferable to being on the top of the final
pile. You can then either simply turn it over or execute one final flashy
false-cut as you make the final revelation.
This routine has a bit of a history! Its actually a combination of two
separate effects which weve assembled together since they really seemed
to work so well together.
The first three cards are revealed using Edward Marlos method for Marlo
Miracle Aces from his manuscript Faro Controlled Miracles. The final
card is produced using a revelation from a Richard Vollmer routine LIIIkelihood from Semi-Automatic Card Tricks Volume Two (Steve Beam)
which in turn credits a Stewart James routine for its inspiration.
The presentation was inspired by Tom Frames take on Vollmers routine.
Tom Frames routine employed an unexploded bomb presentation
including the countdown after which a selection was found. Toms routine
is called The Final Countdown and can be found in Onyx #7.

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It is done
Four Jacks removed from the deck and placed in the card box. Spec cuts
deck into four piles. Magician asks spec to place one of the Jacks on top of
each pile. When spec opens box, finds one card - with 'It is done' written
on the card. Spec turns over top card of each pile... to show the four
The 'message' card is on top of the deck.
Search for the four Jacks and upjog them. When you have all four
upjogged, buckle the back card (message card) of the deck and strip the
four jacks out along with the buckled card (outjog addition), placing the
stripped out cards on the back of the deck then flipping the deck over.
Immediately spread the top four cards of the deck out into the right hand,
outjogging the second and fourth cards by half their length.
Place this packet with the deck ensuring the two outjogged cards square
with the deck. Lift up on the bottom-most injogged card with the right
thumb, moving the packet forward and away from the deck. This is Rob
Moreland's 'Subtraction Subtlety' and should leave you with a packet of
THREE cards in your right hand.
Place the deck aside, the packet into the left hand and pick up the box
from above with the right. The grip on the deck is: thumb on one long
side, middle finger on the other, both slightly extending below the box.
The forefinger is free to pull open the box flap. As the box is gripped, the
left hand gets a break under the top card of the packet.
The right hand opens the box flap and the left hand apparently pushes the
cards into the box, from their inner short end - actually only a single card
is pushed in, the rest riding under the box but held in place by the right
thumb and middle-finger which extend below the box. The right hand
holds the box upright so that the flap points up and the back of the right
hand is toward the spectator. The left hand pushes the flap 'home' and
then the right hand places the box into the left hand in deep dealing grip.
The right hand then lifts up the inner short end of the box, leaving the two
cards in the left hand which holds them in a cop position. You as a
spectator to hold their hand out - you place the box in their hand with
your right hand as you lower your left hand. When your right hand
returns, it picks up the deck and places it into your left hand, adding the
two cards beneath.

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Situation Check: The card box is held by the spectator. The deck has two
jacks on top and two jacks at the bottom.
You now ask the spectator to cut off a small packet of cards about ten
or so. By way of demonstration, cut a packet of cards from the deck,
actually performing a slip-cut. Keep the cut-packet in the right hand as
the spectator then cuts a small, similar packet to the table. Replace the
small packet in the right hand on top of the deck and have the spectator
cut another packet. Ask the spectator how well they think theyve done in
estimating ten cards for each packet and as they consider this, side-steal
the bottom card of the deck to the top. Have a third packet cut and then
over-hand shuffle the remaining cards, running the last few cards singly in
order to place the final jack on top of the balance. The spectator cuts a
fourth packet to the table.
You then ask the spectator to place one Jack on top of each pile. They will
open the box, find just one card inside with It is done written on it.
Have them turn over the top card of each pile to show that the four Jacks
have already been placed on top of the deck!

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Lisp Aces
This is a two part routine using a Cutting the Aces introduction in to our
own version of Henry Christs fabulous Ace Routine from Cliff Greens
Professional Card Magic.
From top of the pack down any two Aces, Eight of Hearts, any eight cards,
the other two Aces, the Eight of Clubs, the rest of the deck and finally, the
reversed Eight of Spades. The Eight of Diamonds is not used so it can
form part of the central deck.
For ease of handling you may also wish to put a breather crimp into the
Eight of Clubs, but this isnt essential.
Part 1: Spectator cuts to the Aces
This is our handling of what we believe is an Ian Baxter effect. We use this
because its SO much better than just taking out the Aces, to lose them
again. In the Christ effect, it never made sense to me that you would run
through a deck, upjog the Aces simply to show that you can lose them
and the find them again.
After a brief explanation about estimation, card cutting etc you offer a
demonstration. Get a break above the two Aces (under the Eight of Clubs)
and say I am going to cut about 13 cards Cut this small packet to the
table and place the rest of the deck to the right of it. This little packet is
your gauge, see if you can cut that amount from the top of the pack to
here You point to the right of the large pack. The spectator cuts. Now
try again, using the gauge You instruct the spectator to cut from the
large pack and place to the right of the pack he just cut.
Position check, you could have four piles, we shall call them from left to
right 1, 2, 3 and 4
Pack 1 will have 2 aces on top, followed by Eight of Hearts, the 8 X cards
and then the Eight of Clubs on the bottom
Pack 2 will have the reversed Eight of Spades on the bottom
Pack 3 two Aces on top
Pack 4 just a bunch of cards
Now for the revelation: You look the spectator in the eye as you lift the
top cards from pack 1 and Pack 3. Use eye contact at this point for subtle

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misdirection. You pause for a second as you look at the cards, slowly turn
them over to show two Aces Wow good start as you say this drop the
two Aces face up onto packs 2 and 4 and immediately turn over the top
cards of 1 and 3 The spectator has successfully cut to the four Aces!
Lay the Aces on the table in CHaSD order from RIGHT to LEFT (DSHC) and
lay them face up in front of the cut piles 1 2 3 & 4
1 2 3


Part 2: Lisp Aces

Now you will assemble the cards as per the Christ effect, with a slight
modification, follow this carefully
Pick up the cards behind the AD and fan them f/d, pick up Ace of
Diamonds and place it into the 3rd position from the bottom, I usually pull
it across to the right so it looks like its central, close the fan clearly
showing no breaks.
Pick up the Ace of Spades and drop it face down onto the top of the cards
in your hand, pick up the pack belonging to the AS and drop it squarely on
top of the cards in hand, again clearly showing no breaks or control.
Pick up the cards behind the Ace of Hearts and drop them onto the cards
in hand, as you reach for the Ace of Hearts get a break under the top
card. Place the Ace of Hearts on top and double undercut these two cards
to the bottom.
Turn over the Ace of Clubs onto its cards and then drop the cards in your
hand on top, square on the table.
You have cleanly lost all the Aces in the fairest manner possible now the
fun begins.
You may change your patter to suit, the patter we often use borders on
being a little non PC. Perhaps even a touch offensive but theres a time
and a place when this is appropriate and works extremely well! We have a
milder approach which well describe at the end but for now, bear with
Tell the spec that we find the aces using voice control ask him to say Ace
of spades at the deck, spread the deck across the table displaying 8S
face up in the middle, clearly show no other face up cards act a little
confused Mmmmm do you have some kind of speech impediment pal? A
lisp or something, the deck must have heard you say Eight of Spades and
not Ace of Spades? as you say this place all the cards above the Eight of
Spades in a face-up pile to the table. Get a break under the two top cards
in your hand (face up Eight of Spades and the face up Ace of Spades),

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place them carefully onto the tabled face up pile OK, OK this eight may
be able to help, lets count 8 cards you the count 8 cards face up onto the
tabled pile displaying the Ace of Diamonds on the last count Well thats
good, we got an Ace at least
Leave the AD aside turn over the cards in you hand and drop them face
up onto the tabled face up cards, turn the whole lot over and square.
OK try again, say Ace of Spades the spec does his best See there you
go, I heard it, you have a lisp you cant say your SSSSs properly! You
then shout ACE OF SPADES spread the deck showing the face up Ace of
Spades: See I can do it, but then I dont have a speech defect, unlike
Put the Ace of Spades aside with the Ace of Diamonds and place all the
cards below the Ace of Spades to the top as you reassemble the deck. Get
a break under the second card. OK lets try for the Ace of Hearts, go on
give it a go!. The spectator at this point will be a little bemused, maybe
even offended as he says Ace of Hearts turn over the double showing
the Eight of Hearts.
See you lisped again, I heard it! turn the double back and say OK lets
spell A C E O F H E A R T S you do exactly that spelling one card for
each letter face down onto the table, the on the final letter will be the Ace
of Hearts.
Drop the deck on top of the dealt cards and pick them all up. Position
check Top card 8C second card AC you know whats coming
OK lets try Ace of Clubs. The spectator dutifully repeats: ACE OF
CLUBS to which you reply Ah its getting worse, youre also dribbling and you just spat at me!. Obtain a break under the top two cards and
turn over the top card showing the Eight of Clubs!
Now you can end here by taking the top two cards as one and do the
Shapeshifter Change displaying the AC! The Change is accomplished by
taking the double by diagonal corners in one hand (the right hand if youre
right handed) from above in a kind of biddle-grip. The other hand
grasps the two free corners and pulls down, bending the card. The lower
hand then releases the cards, one corner fractionally before the other. The
effect is that the pair spring back and rotate around in the process the
card appears to change!
The move can be found, described in exacting detail, in Marc De Souzas
excellent book De Souzas Deceptions.
Obviously a top change or any kind of dramatic ending will suit, we like
Shapeshifter because its quite visual.

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Tailor the performance to suit. Colin usually goes for the jugular when
performing for friends, they know me and can take a joke, for strangers
we recommend you calm it down and play it by ear. If you actually have a
lisp you could probably get a good laugh out of this for obvious reasons.
We are not sure if this would be suitable for a spectator who actually has
a lisp, they may have hang ups about it
So an alternate presentation can quite easily be that the deck is hard of
hearing and then when you ask the spectator to call out the Aces, claim
that the deck is mis-hearing what the spectator is saying. This is a less
edgy approach to the presentation that some may find more suitable to
their performing style.
Now heres an interesting fact
When youve finished performing Lisp Aces the deck is automatically
stacked for a performance of Misdirection Monte an effect found in
Jamies manuscript The Underground Change!
And theres a very obvious presentational ploy to use in this case heres
how it goes.
Situation: The four Aces are on the table. Take one of the aces and lose it
in the middle of the deck. Spread through the deck and locate the Eight of
Diamonds, placing it face up on the table. Explain how youre going to
show the spectator an effect that requires sharp eyes rather than a clear
voice perhaps that will be more suitable!
Perform Misdirection Monte (the deck, as I say, is already stacked for it).
When you ask the spectator, at the end, where they think the eight is
have them turn that card over theyre correct!
Now say Imagine if wed still been calling out the cards instead of
watching them I think it would look something like this
Turn the apparent Aces over to reveal that theyve transformed into the
remaining three Eights!

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Under 21
A game of BlackJack is played out between the magician and an imaginary
opponent (or the spectator if you have one handy!). As the game unfolds
it seems quite clear that the magician is going to win but wait
somehow the spectators cheated he now has the winning hand well
two can play at that game the magician reveals his hand once more to
show that he now has 21 and collects his winnings!
This routine is quite difficult but it looks very clean and convincing.
Theres a video of this effect available on our website so please take a
look so that you can get a real feel for how it should look. Were
particularly proud of this effect and we hope you like it too
From the top of deck:
6C, JS, AS, 8S, Red Queen, Face up Red Queen, Rest of Deck.
First, deal out two Blackjack hands consisting of two cards per player, the
first card dealt face down and the second card dealt face up on top of the
first, sidejogged to your right. One hand to the spectator and the other to
Turn over the spectators cards, ensuring that the face up Ace is placed to
your left and comment on the total 17 a kind of difficult hand.
Now turn the spectators card face down again but execute my
Underground Change on the left hand card (the Ace) as you do so. Now
square the two cards ensuring that the switched card goes underneath the
other (ie the card on your right goes on top of the card on your left).
If you dont know the Underground Change, Ill describe it briefly here,
along with Marlos excellent Breakless Curry. Actually, since learning this,
its become apparent that the way we do it differs from the original Marlo
technique in so far as the Marlo approach uses gravity more, while we
tend to pin the cards, rendering the movements entirely mechanical.
Anyway, here are the required descriptions of these moves:

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Ok, first, heres a brief description of the Breakless Curry you can find
a more detailed description in Jon Racherbaumers magazine The
Hierophant which is now collected together in a superb hardbound
So heres how it goes:
Theres a face down card on the table and you hold the deck in your left
hand. Now push the top card to the right but pivot it on the left pinky,
which lies at the near right of the deck, so that the pushed-off card ends
up at an angle, slightly off the right hand side of the deck.
The left forefinger holds the angled card in place at the shallow V formed
at the far short end of the deck by the deck and the angled card and this
holds a pressure between it and the left pinky.
The left hand descends onto the tabled card, the left thumb stretching
across the tabled card to contact it on its long right side. The thumb
pushed down on the right side of the tabled card causing the left side to
lift upwards slightly (assuming the surface has some give!). The tip of
the left forefinger pulls up on this lifted edge and raises the card to the
deck as the left middle and ring fingers push the angled card to the table
and over as the left thumb helps the tabled card gather to the deck.
The net effect is that the tabled card is pulled on to the deck as the angled
card is pushed away from the deck and over.
The appearance is that the tabled card is simply turned over! You can see
this in action on our website on the Misdirection Monte movie (in the
Underground Change effect section or on the Under 21 movie on the
Underground Collection Volume 2 effect section.
Now the Underground Change - once again this is brief and if you would
like to pursue this move further then we recommend the full manuscript
but this should be sufficient:
The move starts as a combination of The Breakless Curry Change and a
two-card push-off. Your pinky is positioned along the right side of the
deck, but down near the inner corner, where it will act as a pivot point for
the remainder of the move. As the top two cards are pushed off together,
they pivot on the left pinky. Your left middle and ring fingers ride beneath
the cards and your right first finger is positioned in the shallow V formed
between the double card and the deck at the outer right corner.
Stretch your left thumb across the back of the top card and pull it back
flush with the deck. The card second from top will remain angled.
From this point the move is executed in exactly the same way as the
Breakless Curry Change. The only difference here is that there is a card
on top of the one you are switching but this card will not hinder the
move in any way!

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So now you have those moves under your belt read on!
Comment on your face-up card an eight then suggest we take a look
at your other card too
Turn your cards over, executing Marlos Breakless Curry on the two card
packet as you do so this switches out the eight, unknown to the
spectator, and switches in their Ace!
The apparent total of your hand is an Eight plus a Jack 18 just beating
the spectator!
Suggest that the spectator might find this a good time to indulge in a
little cheating!
Now spread the spectators cards face down again, this time with the face
down Six to the left and perform a second Underground Change on it as
you turn both of the spectators cards face up to reveal that he now has
two Queens! 20 beating your hand!
Congratulate the spectator on his skills
But suggest that he may not be the only cheat in the room
Have the spectator turn over your face down card to reveal that you now
have a Jack and an Ace of Spades the perfect 21!
Probably the hardest moment here is the packet turnover incorporating
the Marlo/Curry switch. It takes a lot of practice to ensure this works
properly but its definitely worth the effort. I have a number of routines
now that use this technique and it opens up quite a number of new and
interesting possibilities

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Jazz Jokers
Eight cards are used: Four Jokers and Four Queens. The Queens are laid
on the table in T formation and the Jokers held in the magicians hands.
One by one the Jokers are placed on the leader Queen and a Queen
placed with the Jokers but each time the Joker returns to its packet and
the Queen to the leader. At the end, everything is clean and examinable.
Some years ago I (Jamie) met another magician in Davenports during my
lunch break and a brief, slightly (only slightly) heated discussion took
place. The essence of the conversation was regarding methods used to
accomplish effects. The other magician claimed that method should never
matter so long as the effect was as strong as possible. My argument was
that provided you do not sacrifice any strength of the effect, the method
can also be inherently satisfactory to perform and therefore the
preferable approach because the choice of method should be one that you
not only can perform well but one which you actually like performing.
I still stand by this some things just feel good to do, with cards. This
routine is my take on Peter Kanes wonderful Jazz Aces routine but the
method I use is my own and one that fits me like a glove. Please try it out
and see if it fits you too!
Oh, please note that in the write up I pay attention to the orientation of
the cards and my method builds this in so that it all works how I like it.
You can ignore this aspect of the method if you like it probably doesnt
need to be this exacting.
You need four identical Jokers and four Queens. Place the four Jokers on
top of the Queens and the Jokers should be oriented towards you.
First, spread all the cards as you explain youre using just eight cards
four Jokers and four Queens. Have them examined if you wish.
Now youre going to split the packet apparently in to two packets one of
Jokers and the other of Queens, using Karl Fulves Mechanical Switch
(Packet Switches Volume One):

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Holding the packet in the right hand in a pinch-grip on the long right hand
side of the packet (thumb on top, fingers below), peel the topmost Joker
in to the left hand. Repeat for the second card, making sure that when
you do so, the entire first joker aligns under the right hand packet as you
do so this is in order to condition an upcoming action.
Peel the third card just as you did the second. For the final Joker, you
perform a block pushoff with the right thumb, pushing over the Joker and
the three cards beneath it to the left as you steal the left hand cards
beneath the remaining single right hand card.
It should appear as though you simply peeled the four Jokers into the left
hand but in fact the situation should be that the left hand packet has one
Joker above three Queens and the right hand packet should have one
Queen above three Jokers.
The only really tricky thing to watch during this switch is that the right
hand cards remain nicely squared after the switch you dont want to
flash here!
Now turn the right hand cards end over end so that they are face down
and hold them at the left finger tips while you remove the right hand. The
left hand packet is in left hand dealing grip as this happens the two
packets clearly never truly meet.
Take the top card of the extended packet with the right hand and place it
to your left, face down on the table. The next card is placed to the right of
the first card, the third card is placed to the right of the second and
finally, the fourth card is flashed face up then placed in front of the centre
card of the line of three, nearest your body. This, you explain, is the
leader Queen.
Turn the left hand cards end over end and retake in the left hand.
Place the top card of the left hand packet on top of the leader Queen.
Take the left-most Queen and place it second from top in the Joker
Now snap your fingers or whatever it is you do when working your magic
Well at this point I use the Orion Count to show the Joker packet still
contains four Jokers but Im not at liberty to explain this count here
the alternative to this is simply to take the cards in to right hand biddle
grip, flash the bottom card of the packet, turn the cards back face down
and peel the top card of the packet into the left hand. Repeat this for all
the cards. This is Ed Marlos Flushtration Count.
Now turn over the Leader Queen packet to show that it contains two
Queens! Turn this back face down again.

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Now, reverse count the face down Joker packet, obtaining a break under
the third card as you do so. When you are done, perform a double
turnover to show a Joker. Turn the double face down again and
immediately deal the Joker onto the leader Queen packet.
Drop the Joker packet on top of the next Queen then pick up this packet,
ensuring you do not rotate it in the process. Turn it over sideways and
perform an Elmsley Count to show that it still contains four Jokers. As you
do this Elmsley Count, obtain a break under the third card.
Turn over the Leader Queen packet to show that the Queen has travelled
Finally, turn the Joker packet face down once more, maintaining the break
and turn a double face up to show a Joker. Turn this double face down
again and take the top card and place it on the Leader Queen packet.
Drop the Joker packet on top of the final Queen.
Pick up the Joker packet again maintaining its orientation, turn it over
sideways and show it just contains four Jokers. Turn over the Leader
Queen packet to reveal that the last Queen has travelled!

So there you have it same effect, different method. Something about
this method just clicks with me I think it looks extremely fair and clean
and is a perfect routine to execute very slowly a challenge routine.
Jazz Aces is a wonderful plot for experimentation feel free to mutate this
thing as much as you like until you have a version that works for you too

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The Inner Eye

A spectator selects a packet of cards from the deck, peeks at one and it is
lost in the packet. The spectator places her hand over the packet. The
magician concentrates a while then declares that the spectator has (for
example) 17 cards beneath her hand. She lifts her hand and counts the
cards 17! She replaces her hand the magician then declares that her
card was the 2H! It is correct! He then concentrates one final time and
with some effort declares that the 2H is the 8th card from the top of the
packet she lifts her hand and counts to the 8th card the 2H!
A logical combination of two concepts: The deck is marked on the back so
that the magician can tell what the face of a card is by checking the
marking on the back. The deck is also in a memorised stack order.
On completion of this effect, the deck is easily reassembled back in to
stack order so that further miracles with a memorised stack can be
The spectator is requested to cut some cards from the deck and place
them to one side then from the lower packet, cut off a number of cards
and keep them by placing them in front of her.
You then casually replace the lower portion of the remaining deck on top
of the original upper portion and place these to one side.
Ask the spectator to peek at the top card of her packet and remember it,
then cut the packet and complete the cut.
At this point you must glimpse the mark on the back of the top card of her
packet (the selection) and remember it she then cuts the packet after
which you request that she places her hand over the packet.
You are now ready for Revelation 1. You simply glimpse at the mark on
the back of the top card of the deck translate that card to its stack
position number. Subtract from this number the stack position number of
the spectators selection. The result is the number you call out as the
number of cards in the stack!
The spectator counts her cards, one by one to the table your statement
is shown to be correct!

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The cards in her packet are now in a reversed order. Glimpse the mark on
the top card before you ask her to cover the cards again. Translate that
card to its stack position number.
Revelation 2 is simple just name her card you glimpsed that earlier!
For Revelation 3, recall the stack position number of the top card of her
covered packet (the last card you glimpsed) and subtract from that the
stack position number of the selection. Add one to this result and declare
that the spectators card is at that position from the top of the packet!
The spectator lifts her hands and deals down to that position then reveals
the card at the named point it is her selection!
Clean Up
Have the selection placed on top of the counted cards.
Take the remainder of the cards from the spectator; quickly reverse the
order of these cards with a run-overhand shuffle. Place the packet of
cards with the selection on top, on top of the cards in your hand. Place all
these cards on top of the deck. All you need to do now is cut to the first
card in your stack and the memorised stack is back in order. We often put
a breather crimp in the last card in the stack so we can easily cut this

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The Beerglass Effect

The spectator is given a deck of cards to keep safe. A second deck is
introduced and spread face down. You fairly remove a card, face down
and place it to one side. The spectator then names a number from 1 to
52. You then ask the spectator to select a card which is also placed to one
side and you name a number.
You recap you have each removed a card and named a number for each
others unseen card. The spectator is instructed to open the safe deck
and deal the cards down to each of the numbers the cards at those
positions are removed turned over and upon turning over the
selections, found to match exactly!
Both decks are in memorised stack order. One deck the deck from which
the selections are made, is also marked on the back. The decks should
have contrasting backs.
Proceed as described in the effect, having the spectator make safe one
deck, and then from the other deck you may remove any card. It does not
matter which card you remove in fact, for fairness-sake you may ask a
second spectator to choose one for you. This is placed face down, to one
Now have the spectator name any number from one to fifty-two.
Emphasize how fair and free the choice is. As soon as they name their
card you must estimate a cut in the deck you need to cut or pass so
that the named card is less than five or six cards from the top. You must
not cut deeper, however. If you do happen to cut too deep you will need a
second cut to rectify this.
Now have the spectator remove a card but not so fairly
Note the stack number of the top card of the deck and spread the cards
counting from that number until you reach the target card (the one whose
stack number has just been named by the spectator). Cull this under the

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Note that if the card you had removed at the start has a stack
number between the top card of the deck and the target card you
will need to count one less.
Perform Hofzinsers Under the Spread Force with this card and place it to
one side. If you dont know this force, it is worth your study time
investigating it Roberto Giobbis Card College books provide a good
source for this sleight. (By the way two years on and still reeling from
some of the superb card work we witnessed at the Eastbourne IBM
Convention in the UK! Nice one Roberto write a book on your card magic
It is now your turn to name a number from one to fifty-two:
Check the marking on the back of the card they originally selected you
now know the identity of their card! Translate the cards identity to its
stack number and name this as your chosen number!
Place the deck aside and pick up the two selections. Place them briefly
together and turn them over, then place them face up onto the table,
reversing their original positions. This action should be casual and unseen.
This is easy to do and can be covered, in any case, by your asking the
spectator to remove the safe deck from its case.
Have the spectator count down to the lowest number and place that card
face down beside whichever card apparently had that number named for
it. The count then continues to the second number and that card is placed
beside the other selection. Both cards are turned over and they match
And there you have it a double Any Card at Any Number!

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Sometimes an effect can seem complicated when written, even though its
not so heres a condensed summary of what happens for your easy

Card A is placed to one side

Spectator names a number from 1-52 (N1)
Spectator removes card B from the deck and placed to one
side. This card is forced. It has the card with stack number N1
Magician names a number (N2) this is the stack number of A.
Cards from other deck are dealt, stopping at whichever is the
smallest of N1 & N2. The card at this position is removed.
Deal continues to the second number. Card removed.
Reveal all four cards as matching.

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Matching Staynes
Ok, heres a routine that utilizes a Stay Stack. Its useful, when using the
Tamariz memorized stack, to have some Stay Stack routines at
your disposal, since you can move the Tamariz stack to a Stay Stack very
easily as explained in the book Mnemonica.

The deck is fairly shuffled many times then the deck is cut into two
halves and two spectators given half the cards each. One spectator turns
her half face up. Each spectator deals cards to the table in synch until
the spectator dealing face down cards says stop. At this point, the top
dealt face up card and top dealt face down card are placed to one side.
This is repeated twice more. When the face down cards are revealed, they
are the mates of their face up partners!

As already mentioned, the deck must be in a Stay Stack order. This is
where the 1st card is the mate of the 52nd card; the 2nd card is the mate of
the 51st card right through the deck to the 26th card mating the 27th.

You can perform as many perfect faros as you like. These can even be off
centre shuffles provided the cut is perfect. Now, this is pretty much self
working from this point in. It does not matter which spectator has their
cards face up so make a point of letting them choose!
Have the spectators deal the cards together, calling stop when they desire
and setting the cards aside. Make sure no peeking takes place! When they
are done, retrieve all the dealt cards and the undealt cards and
reassemble the deck; if you counted the number of dealt cards, you can
assemble the deck by placing the two undealt packets together then
placing one of the other packets on the bottom of the deck then shuffling
briefly by running X-3 cards and returning them to the top of the deck
this places the cards back to Stay Stack order. Finally, reveal the three
pairs to show the match
Return these cards to the deck placing three on top and three on bottom,
in such a way as to maintain the stack and youre ready for another StayStack miracle!

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Your Numbers Up
Stay Stack again! This is kind of similar to the previous routine but this
time, two spectators are involved
The deck is fairly shuffled many times the deck is then split between
the two spectators. who each think of a number and deal to the card at
their number. They then swap halves and deal to their number again. The
two sets of cards are turned over and found that they match in mates!
As already mentioned, the deck must be in a Stay Stack order. This is
where the 1st card is the mate of the 52nd card; the 2nd card is the mate of
the 51st card right through the deck to the 26th card mating the 27th.
You can perform as many perfect faros as you like. These can even be offcentre shuffles provided the cut is perfect.
Then the deck is cut into two halves and two spectators given half the
cards each. Each spectator is asked to think of a small number say up to
12. They are then to deal cards to the table up to their number and place
the card at their number to one side. The dealt cards are place on top of
their packet. They then swap half-decks and are told to turn their packet
face up and yet again, deal to their number. They place the face up card
at their number on top of their other face-down card. The dealt cards are
placed back on the face of their packet.
The cards, of course, match!
The deck can easily be reassembled back to stay-stack order: Simply
place one pair inside the other, take one half, and add the four cards to
the top and then place the remaining half on top of all. The deck is now
reassembled back to stay-stack order.

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Bonus: Friends a presentation

If youre reading this manuscript and you dont have Simon Aronsons
books then you really should. They contain some of the brightest
memorized stack material ever conceived. And one of the strongest of
these is his effect Past, Present and Future from his book Simply Simon.
This is a presentation for the effect; we like this approach because it
provides nice meaning to the effect, involves groups of the spectators
and the finish is endearing.
Its really designed for a situation where there are a number of spectators
who all know one another. Youll be able to spot a central character who
appears to know everyone well and this is the idea person for whom you
should perform this. It is also best if the group of people includes some
people between, say, 25 and 35. This is perfect for the revelation of the
second card.
This is purely the presentation. No key mechanics for the effect are
described herein; simply enough for you to be able to use this
presentation if you already know the original effect. We hope you like it.
Id like to do something for you now thats more than just another card
trick its about something far more important friendship. You seem to
know everyone here pretty well, but no doubt you know some more than
others and perhaps one or two not very well at all. Id like some cards
to be selected, each card to represent a group of friends
The first selection is in many ways the most important. It is also the
most mysterious. It will represent the friends you have yet to meet;
people who, in the future will become your friends. So please, cut deep
into the deck and remove the card you cut to and place it to one side;
perhaps place it in your pocket for the time being; we need not know
what card youve chosen right now
The second selection represents your oldest friends; people youve
known for years and with whom youve shared both good and bad times
but regardless of what you have been through, you still stick together and
are there for one another so please, pick up the cards remaining on the
table, give them a mix then look through and select one to represent your
old friends. Place the rest of the cards on the table. Show the card to
some of your friends if you like! Now place that card on the small packet.

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Finally we need a card to represent your current friends. Certainly this

will include everyone here with you today and no doubt many more
people for this, just cut off some cards from the large pile, look at the
card youve cut to and show it to everyone here, then shuffle the cards
and place the packet on top of the other pile.
Now, we have three cards chosen and between those three cards weve
covered every friend youve had and every friend youll have in the future!
I think youll agree, this is way more than a card trick! One more thing to
do though; pick up the remaining small packet of cards and deal those
cards on top of the deck and stop whenever you like. Turn over the top
card and place the rest on top. This face up card represents this moment
in time
Ok, well deal with your current friends first of all. You showed this card
to everyone here, right, so I want everyone to concentrate on the card.
Ok the gentleman over there is thinking Red the lady next to him is
thinking of a diamond and you youre thinking of a six! The card for
your friends here today is the six of diamonds!
And your past well you fixed a moment in time by that face-up card,
remember well start from there. Please, would anyone here regard
themselves as being a good friend of this lady? Ok, and of you all, does
the number 28 mean anything to you? It does? Why ? Its your age! Ok,
well this may be pretty strange for you then lets count from our
moment in time 28 cards
The cards are dealt and on the 28th card, the Past card is revealed!
Finally we have our future card. The card that represents friends you
may one day meet. In many ways, the most interesting of all the cards.
Certainly this is the card I find most interesting indeed, many years ago
someone showed me this and my future card meant so much to me, I
kept it here in my wallet its the eight of clubs
Remove the eight of clubs from your wallet
I believe that one day Ill do this for someone and their card will also be
the eight of clubs and if that happens then perhaps well be friends!
Please, remove the card from your pocket and lets see what it is
It is shown and it is the eight of clubs.

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And Finally
We hope you have enjoyed this small collection of effects and
presentations! More importantly, we hope that you have found within
something you will use; theres nothing more gratifying to us than
knowing that other magicians are using our ideas.
Also, if you have any ideas of your own youd like to chat about or if you
have any feedback youd like to offer us regarding this manuscript please
feel free to contact us using the emails below:
Jamie Badman:
Colin Miller:

Until next time, take care!

Jamie & Colin - The Underground Collective

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Whispers from the Underground

We trust you enjoyed this manuscript; we at the Underground Collective are proud to have been
able to bring it to you.
Rumour has it you can nd more effects and manuscripts at our website: - you can visit there and browse.
For the time being, take a look at a few of our offerings below.
If you have a product youd like us to consider for publication through our site, please contact us
The Underground Collective.

Other effects available from
The Underground Change

Imagine an effect that resides snugly in your
wallet. An effect that packs such a punch
when you perform it that your spectators get
goosebumps just thinking about it. Someting
with such impact that people talk about for
years to come. Heirloom is that effect - and
its nally here!

The Underground Change has been creating a

storm amongst card magicians around the world.
It is a brand new, very versatile and practical card
move invented by Englands Jamie Badman. Those
who have been lucky enough to see it feel that it
is something very special in a time where little is
truly new any more.


Sensory Projection

Imagine having a spectator just think of a word...

imagine being able to be able to pluck the letters
of that word out of thin air and slowly rebuild
that thought in front of the spectator as though
you had drawn it directly out of their mind!
Panagram makes this pipe-dream a reality;
Panagram truly is the last word!

The Mind-Reading ideal uses no props, no

gimmicks, no devices. The spectator thinks a
thought and the mind-reader tells them what it
is. Traditionally this was thought to be a dream;
an un-attainable goal. No longer. Now we have
Sensory Projection...

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