Sei sulla pagina 1di 21

Copying all or any part or this text is prohibited unl ess given permission by the author.

Copyri ght CD 2 019 by A si Wind

Many thanks to my dear friends for their proofreading:

Marc Kerstein, Michael Blau, Jamy Ian Swiss, John Graham, and Laura Alexander.

Contents

1. 3-D Telepathy 7. Double Digits Force 11. Noah 27. Gang of Four

3-D Telepathy

One of the reasons I don't use the center tear often is because it's not always possible to justifY tearing the billet right after you have instructed someone to write on it. In this routine, the use of the center tear is logically motivated.

EFFECT: Three spectators each write down information on a billet. The billets are folded and mixed. A spectator randomly choose one of them, and the other two are torn into small pieces (one is torn by the performer, the other by a spectator). The performer correctly reveals the information on the chosen billet. When the other spectators ask, What about what we . wrote?, he then divines the information on the other two billets, as well.

1

NEEDED: You will need three pieces of paper and

three pens. Blank index cards are the perfect thickness and 2112 11 square is a good size, although other sizes can work as well. Test the pens to make sure they are not

the kind where the ink bleeds through to the other side

of the index cards.

PERFORMANCE: Hand a piece of paper and a pen to each of three people. Ask the first spectator to write down a two-digit number, such as a portion of an

pin code, birthdate, etc. ~any number that's

meaningful to him. Take a pen and draw a line across

address,

the

center of the billet with a little X to the left of the

line

to indicate where the number should be written.

Instruct the second person to write down the first name of a person with whom he has an emotional connection with. Again, draw a line with an X indicating where he should write.

Finally, ask the last person to draw a simple drawing of something that he can relate to on a personal level. On

this billet, draw a square in the middle to restrict him

from drawing outside the center of the billet.

Once they are finished, ask all of them to fold their pieces of paper in half twice, once in each direction.

Have one of the spectators collect all three billets and

mix them up behind his back (or under the table). Once

fmished, ask him to place them onto the table.

"Since thiJ iJ quite difficuLt, I am onLy going to try to gaUd whatd written on one of thue p~perd,but you wilL deciJe which one itd .'Join/! to be." Ask a spectator to slide forward the

2

one billet he wants you to concentrate on. P ick

up one

, of the other two (unchosen) billets and ask him to pick ,

up the other unchosen one. "Tear it up into small piecedjt&t

Like I'm doin/!." You demonstrate by tearing your billet,

but in reality, you

are performing a center tear ~the

type wherein you glimpse the information as you tear, rather than the type where you steal the center piece.

(Many good versions have been published by Al Baker, Richard Osterlind, Bruce Bernstein, and Ran Pink, to name a few) .

Let's assume that you peeked the secret number; commit the number to memory and continue shredding the billet while asking the spectator to drop his torn pieces onto the table.

I have discovered that if you ask someone to tear a

folded billet into small pieces, the information written in

the center of the billet will remain intact. In other words, the spectator performs the center tear for you.

If you look closely at the torn pieces on the table, it's

quite easy to tell which piece contains the written information; look for the only piece that has folded edges on two sides (forming an L shape) . Once you identifY that piece, drop your pieces on top of his, and secretly grab that piece. Since it's quite small, stealing that piece goes unnoticed. Let the stolen piece rest on

your right fmgers, so that your hand appears relaxed.

A short recap: you have committed to memory the

information (a number) from the billet you tore, and you have the center of the other billet resting on your fingers.

3

Point at the folded (chosen) billet on the table and say,

'1 think thid 6eLongJ to the person who i! thinking ofa number: "

Of course, this statement will change depending on whatever category of information you peeked during the center tear. For example, ifyou peeked the drawing,

you would say, '1 think thi.t 6eLongJ to the peNon who drew a picture. "

With your right hand, reach into your trouser pocket, deposit the stolen piece, and remove another billet from your pocket. Pick up a pen and write down the number that you committed to memory. Place the paper face down onto the table. Pick up the folded billet from the table and unfold it . Be casual about it but make sure no one else can see what's written on it. This is how you discover the second unknown piece of information. Let's assume you see a drawing of a flower. Pretend you are reading the billet with the number and say

something like, "So why {.1 [45] JztJnificant to your

You need to destroy this billet, otherwise your audience could discover the fact that the information on it doesn't match your divination. So tear it into small pieces and drop them onto the rest of the torn billets as you say,

aOfcourse, you couLd bave cbosen to deJtlYly thi! one} and keep

anotber:" Turn over y ou r written divination; in our example, it would read "45". Your initial claim was that you are only going to try to reveal one of these billets, so you should act as if the demonstration is over.

The strongest magic you can perform is the kind of magic that people challenge you to do, like: make my wife disappear, or tell me the lottery numbers. Although I don't yet have impromptu solutions to those requests, with this routine you are setting up your audience to

4

challenge you to reveal the other two thoughts that were committed to paper. So wait until someone challenges you, and while you wait, it's very easy to unfold the torn piece of paper you deposited in your pocket and position it in finger palm; then find a moment to secretly glimpse it. As far as the audience is concerned, the trick is over, and so finding this moment should not be difficult.

You now have the other two pieces of information and it's up to you to determine how to reveal them.

5

Double Digits Force

This was inspired by Chan Canasta's psychological riffle force.! This is not a card force, but a method that will enable you to force two one-digit numbers. It is a very useful tool that can be used in various ways. You can use it for tricks like ACAAN, Book Tests, a Magic Square, or any routine that requires a force of a two- digit number. I am not offering a full routine here, just a description of the force itself.

EFFECT: You riffle the deck of cards with the faces toward a spectator, and ask him to choose two random numbers (card values) that he sees. The two numbers he chooses are your force numbers. What's interesting is that the participant genuinely sees many different

1 Chan Canasta: A

-Britland, page 75.

Remarkable Man (2000) by David

cards rime past, and therefore the procedure looks as fair to him as it does to the audience.

SETUP: Let's assume you want to force the numbers two and five. Remove the four Twos and the four Fives, along with all twelve court cards. Shume the court cards and arrange these twenty cards as follows from the top down: Three court cards, a Two, a court card, a Five, a court card, a Two, and so forth, until you run out of cards. (There will be two court cards together at the end.) Place this stack on top of the remainder of the (shuttled) deck and put them inside the box. You are now ready for the force.

PERFORMANCE: Remove the cards from the case and casually false shulfle the deck; it's important the audience thinks the cards are shuffled to eliminate the thought that the cards are stacked. Hand the deck to a spectator and ask him to go through them as you say,

"LOU can dee the card« are thoroughLy dh4jled and are aLL

d?fferent, correct?" Even though the top portion of the deck is stacked, it's very hard to spot a suspicious pattern when examined casually.

Take back the deck, and hold it in your left hand with

the face

tbrouob the cardd, and they.'1o by, 1 want you to remember any two d{(ferent numbers that you dee" I'LL go through them dLowLy, dO you have enough time to dee two d?fferent numbers. " The stack consists of twenty cards, so with your right fingers at the upper ends of the cards, start riming about twenty cards from the top of the deck. I

"I'm going to riffle

toward the spectator.

Say,

8

recommend looking away during this procedure to

make it seem even fairer than it already is. When you have finished riffling the cards, say, "Do you have two numbers in mind?"

Because you rimed through almost half the deck, the illusion is that he had many options to choose from, but in reality, because the Twos and Fives alternate with random court cards, the only two numbers he could possibly have seen are two and five, and therefore he ends up with those in mind.

"Please arrange the two numbers you have in mind to form a two-digit number; for example, ?fthe numbers you have in mind are eight and six, you can make it eighty-dix or dlxty-eight. "

Since you don't know which combination he made, for some tricks, you would need to do a bit of fishing to

know which number he created. For example, you can

ask, "Did you end up with an even number or an odd number?" or "LOU can arrange the numbers where one if Lower than the otbet; which do you prefer; the higher number or the Lower number?"

For some tricks, you don't need to know which of the two-digit numbers he chose because you have outs for both outcomes. For example, for a Book Test, you can hand him the book and say, "Open the book to the page number you have in mind." It's very easy to figure out if he chose twenty-five or fifty-two just from glancing where he opens the book, or if he is looking at an even- numbered page or an odd-numbered page.

9

Noah

Over the years, many magIcIans have tinkered with Marlo's famous "A Matching Routine"2~MartinNash, Denis Behr, Justin Higham, and Allan Ackerman, to name a few. I have also dedicated many years to exploring this plot. I would like to share with you where it stands today, as I am sure I will make more changes and tweaks to it in the future .

EFFECT: In the first phase of this routine, a spectator cuts to a random card in the deck, and another spectator, coincidently, selects the mate of that card (the same value and color). The effect is repeated. Then, three randomly chosen cards are turned face up in the face-down deck, and the deck is shuffled; amazingly, each of the three selections lands right next to its

2 This was published in Ed Marlo 's Faro ControLLeJ Miracle" (1964) , page 31.

respective mate. In the last phasev--after the cards have been shuffled many times during the previous phases ~ every card in the deck ends up paired next to its mate.

This trick is suitable for a formal close-up show and requires a full-deck setup. However, I will also share with you a trick that you can perform immediately prior to this routine, during which you can secretly set up the entire deck for this routine. This, of course, is optional and you can simply set up the deck in advance.

SETUP: Set up the deck in stay-stack order (this is also known as a mirror stack); that is, the top card of the deck is the mate of the bottom card, the second card is the mate of the second card from the bottom, the third card is the mate of the third from the bottom, and so on throughout the entire deck; there will be a pair of mates together at the center of the deck. Note, however that for this trick, the stack must look random; new deck order is technically a stay stack, but it does not look random. The cover illustration shows an example of a stay stack.

PERFORMANCE: Ifyou do not have the opportunity or desire to preset your deck, here is the preliminary trick you can perform that will enable you to set up the deck in front of your audience. Obviously, if your deck is already stacked, you will skip this preliminary trick.

Let's assume you have just finished a card trick and your deck is shuffled. As you thumb through the face- up deck, cull all of the Diamonds and Spades~that's

.

12

.

right, you'll be doing the Hofzinser cull twenty-six

procedure by commenting

about how well-shuffled the cards are and removing the

Jokers in the process. At the end of the culling procedure, turn the deck face down; the Diamonds and Spades will occupy the top half of the deck and the Clubs and Hearts will be in the bottom half.

times .f You can justify this

((! woul() now like to present the /airedt trick in the world."

Ironically, this trick is far from fair, because during the course of it, you will be stacking the entire deck for the trick that follows. Execute a Jordan red-black overhand shuffle, as follows: shuffle off batches of cards until you are near the middle, then start to run off cards singly; once you have passed the center, go back to shuffling groups of cards until you have gone through the whole deck.t This shuffle will maintain the separation of the suits ~ Diamonds and Spades will now be the bottom half and Clubs and Hearts will be the upper half.

Turn your head away and ask a spectator to remove a card as you run the cards from your left hand to your

right; only allow him to take a card from the upper half

of the

Heart (even with your head turned away it's easy to restrict his choice) . With your head still turned away, continue running cards from your left hand to your

deck, as the chosen card must be a Club or a

3 A good resource for learning the cull is Koysta Kimlat's DVD,

The Roadrunner edt.

4 This is Charles T. Jordan 's red-black overhand sh uHle from his book Thirty Card MyJteried. (1919), page 13. Alternatively, you can do any false shuffle that doesn't intermix the halves.

13

right and say, "Look at the card, dhow it around, and return. it

to the deck. J7 By the time he is ready to

in the deck you will have gone past the center of the deck, and he will only have access to the lower half of

put his card back

the deck; therefore his card will be the only Club or Heart amongst the Spades and Diamonds. With your head still turned away, execute another Jordan red- black overhand shuffle, as described above, which makes this demonstration truly diabolical.

Turn the deck face up and say, '7'IL remove aIL the cardd I think you Jidn't choose. J7 As you thumb through the deck, remove bunches of cards from the Clubs/Hearts portion and place them scattered face up onto the table. Continue pulling cards out of the deck until you have removed the entire bottom half Square up the cards on the table and ribbon spread them from left to right so that all the indices are visible and ask, "So, none 0( tbese

card.} if yOUI'd, right?J7

.

Under the guise of continuing to eliminate cards that you think are not the chosen card, you are now going to put the deck into stay-stack order. Let's assume that the card at the face of the tabled spread is the Nine of Hearts. Go through the cards, remove the Nine of Diamonds, and place it on the right end of the spread (on top of its mate) as you say, '7 don't think thatd your

car~ eithe!: J7 Note the card in the

spread to the left of the

Nine of Hearts and pull out its mate from the cards in your hands and place it on the right end of the spread. (To make this process a bit faster, pull out a few cards at a time and lay them down, rather than handling each card individually.) Once you are l~ft with only a few cards in your hand you'll notice that there's only' one

14

card that belongs to the Clubs/Hearts portion; that card is the chosen one. Remove that card and place it face down onto the table and ask, "What Wad the card you chose?" The card he names will be the card you just placed face down; turn it over and conclude the trick.

Place the final few cards onto the face of the spread in the order that mirrors the last few cards on the other end of the spread, placing the mate of the chosen card last (so it is on top). Place the chosen card under the last card of the spread on the left (and use it to scoop up the deck if you'd like), and you will have arranged the deck into stay-stack order.f Although it's unlikely that anyone would ever notice that the cards are separated by suit, Clubs and Hearts on the left and Diamonds and Spades on the right, pick up the cards, cut exactly between the pair at the center (the red Nines, in our example) and perform a faro shuffle (out or in) and the deck will still be in stay-stack order, but with all four suits alternating.

This trick is a very powerful demonstration on its own, but it's also a great way to set up for the next routine. However, you can omit this trick, and just perform the following effect, if you have the opportunity (and desire) to preset your deck in stay-stack order.

Now that the cards are stacked, you can execute a few full-deck false shuffles as you ask a spectator to your

right to help you, "Please, place the deck under the table and cut off a small packet of cardd from the top of the deck. J7 It's a

good idea to demonstrate cutting a small packet of cards

5 The idea of surreptitiously stacking cards in this manner was inspired by the maestro, Juan Tamariz.

15

as you give these instructions to prevent confusion. After he takes the cards under the table and cuts off a small portion of cards from the top, say, "Leave the small

packet under the table and Dring up the rest." Retrieve the

rest of the cards from him, spread them face up, and address someone who is sitting across from the first

spectator. Say, .(7 want you to «elect a card at random) )) as

you note the lowermost card in the pack; let's say it's the Five of Hearts. Go through the cards and look for its mate, the Five of Diamonds.

Injog the second card above the Five of Diamonds, and

as you

by

sliding the inner left corner half an inch to the right

with your right thumb; all corners of the card should

square the deck, angle the injogged card

protrude with the (figure 1).

exception of the outer left corner

1. /
1.
/

16

With the cards in right-hand end grip, keep your right thumb on the inner left corner of the angle-jogged card and the right ring finger on the outer right corner of the jogged card (your right hand prevents the angled card from showing). The angled card will act as a long card and will allow you to do the dribble force without having any visible break in the deck." Start dribbling cards onto the table as you say, "Please callout) (Stop) anytime." Time it so that as soon the spectator starts moving his lips you are ready to stop exactly between the angled card and the card below it.

If the card at the face of the dribbled cards is the Queen

of Clubs, ask, "Whatd the cLodedt card to the Queen 0/GIUDd)

u it the Kin.tJ of GlUDd) the Jack 0/ GlUDd) or the other black

Queen?" Most likely they will reply, "The other black Queen". This is a great opportunity to say, "Great) so you

prefer the Queen 0/ Spaded and not the Jack or Kin.tJ of Club», ))

If they answered the question any other way, I would

respond with, "ll7ell the closest card to the Queen 0/ GluDd U her twin card) the Queen 0/ Spaded." Depending on their

reply, you decide how to respond; in one case you treat it as if you were giving them a choice and in the other case you inform them about mates.

packet of

cards under the table; another packet is face up on the table with the stopped-at card on top; the rest of the cards are in your right hand. Ask the first spectator,

"Can you dhow lld where you cut the deck?" Once he brings

A quick recap: one

spectator is

holding a

6 Th is handling of the dribble force can be found in The Vernon

Chronicle),

VoLume

One:

M inch, page 94.

The Lo,}f Inner

17

Secret»

(1987)

by

Stephen

the cards up from under the table, ask him to turn them face up, and the card at the face will be the mate of the stopped-at card. Place the cut-off packet to the right of the tabled portion, and allow the audience enough time to digest the first climax. Then spread both packets to

display that none of the other cards match. ('If you cut the packet anywhere e&e, it wouldn': be a match. "

had

After the first climax, you will need to reassemble the deck back into stay-stack order. Place the cards in your hand face up on top of the left pile, then pick up the combined pile and place them on the pile on the right. You are now back in stay-stack order.

Spread through the face -up deck as you say, "YOu couLd

have chosen anyone of thede card«. " Look for

the only two

cards in the middle that are mates (the red Nines, in our example). Injog the upper card of the pair and square the deck while angling the injogged card, preparing for another dribble force. Start dribbling cards into a pile on the table and ask a spectator to stop you anywhere. Of course, you will time it so he stops you at the midpoint (right at the angled card). Ask him if he is happy with where he stopped you. Most likely he'll be satisfied and if not, you will pick up the cards on the table and place them face up on top of the cards in your hand, and you will repeat this sequence. (Since you gave the deck a complete cut, the middle pair will be difJerent than before.)

Take one half in each hand and hold them vertically (why this is important will make sense in a second). Take both under the table and hand the right-hand packet face up to a spectator to your right. Hand the other packet face down to a spectator on your left. The

18

reason you held the piles above the table vertically is because you want the spectators holding the cards under the table to assume that they both received the packets in the same orientation, and if you held both

piles above the table face down, they would both assume them to be face down. ('I want both of you to choode a number between one and ten, but you must agree on the

to negotiate until you agree on a number:"

Once they have agreed on a number (let's say it's four),

ask them both to take the top card of their packet and move it to the bottom and continue one card at a time, until they get to the fourth card (the number they chose).

With both hands, reach under the table to retrieve the

two packets from them. "Please hand me the packet», but

keep the fourth card under the table. J) As packets up, turn the left pile face up.

Execute ribbon spreads of the packets in two parallel columns, spreading them from near the spectators toward you, and say, "Of course, you coul2 have puLLed any two cardd you wanted. J) The order of the cards in each spread will look completely random to anyone who compares the two spreads.

"Please take a Look at the cardd you have under the table and

number; dO feeL free

you

bring the

place them face down onto the table. J) This

specific wording

will help reinforce their belief that they are both holding the cards in the same orientation. (One of them will see the card face up, and the other will have to turn it over, which will make sense to them.)

Once they each have placed their c-ard face down onto the table, ask the spectator on your right to flip his card

19

over; let's say it's the Three of Clubs . Turn to the other spectator and say, "So the mate 0/the Three 0/Clubd Mthe Three of Spaded, "and have him turn his card over. You don 't want them to flip their cards simultaneously, because that leaves no room for build up and kills the suspense.

Square up both spreads and combine the two (it doesn't matter which one goes on top), obtaining a little-finger break between the packets. Pick up the two selections and push both into the break between the two halves.

Flip the deck face down and start dealing cards from the top of the deck face down onto the table, each card slightly to the right of the other, creating a spread of cards. Ask a spectator to call out, 'Stop.' Once he does, turn face up the last card you dealt, and continue dealing cards on top of the face-up card, while you ask another person to call out, 'Stop.' Once he does, again turn face up the last card you dealt. Repeat this procedure once more, so that three cards are face up within the spread. The only restriction is that you can't deal past twenty-six cards, but that's quite a big bank of cards. Of course, on the very rare occasions where you see that after the second selection you might run the risk of passing the midpoint of the deck, you can stop after having only two cards selected, instead of proceeding onto a third.

During this process you have had three volunteers select cards, but you have also managed to reverse the order of the cards. However, you need to keep reversing cards until you have reversed the top twenty-six cards. So after the third selection, keep dealing cards but this time display each of them before placing them face

20

down, as you comment, 'If you dtopped me anywhere elde you would hare chosen different card«. " Keep doing that until you see the first of the two mates from the previous climax (the black Threes in our example; once you see the first one, you have dealt exactly twenty-six cards.)

Place the undealt cards face down onto the table momentarily, square up the spread of cards (with the three selections reversed in the middle) , and flip the pile over. Note the bottom card in that pile (let's assume it is the Six of Hearts). Remember that card and perform a few false overhand shuffles (or any other false shuffle), and comment, "Erery time I dhllffle the cardd, the pOditiorM 0/ the three selection» cbanqe locations." After a few shuffles, turn the cards face down and spread them onto the table . '~d you can dee, the three face-up cardd are now in d?fferent locations." Actually, this is not true, but it will be perceived as true.

Ask someone to cut the cards a few times, then do another false shuffle and turn the cards face up and say,

"So thNe cardd hare been thoroughly dhuffled and cut by me and

by you." Spot the Six of Hearts and cut it to the face. Hold these face-up cards in the right hand from above. Pick up the other pile with your left hand, turn it face up, in dealing grip, and execute a weave shuffle of this half into the right-hand half (the Six of Hearts should remain on top), but do not square the packets into each other yet.

Push the interlaced outer half of the deck halfway into the inner half. Push the outer portion farther into the inner portion, pushing predominantly with your right forefinger so that the outer portion shifts and is angled to the left (figure 2).

21

With your left thumb, square the protruding corners of the upper half (figure 3) so

With your left thumb, square the protruding corners of the upper half (figure 3) so that they emerge at the inner right corner.

(figure 3) so that they emerge at the inner right corner. 22 Keeping your left little

22

Keeping your left little fmger in the vertex where the two halves meet will help keep the two packets separated (figure 4, right hand omitted for clarity).

separated (figure 4, right hand omitted for clarity). 4· The goal is to get the angled

The goal is to get the angled portion sidejogged, and currently only the inner end is sticking out. The following action will be easier if you do not apply too much pressure on the deck so that there is less friction.

With your right little finger (figure 5, from below, left hand omitted for clarity), pivot the outer right corner of the angled portion to the right until it is sidejogged (figure 6, right hand omitted for clarity) .

Spread the cards face up onto the table; three cards will be seen reversed. Say, "Three cardrf ended up randomly in locations. JJ Very carefully, slide each reversed card to the right to reveal the card under it. Then slide both the reversed card and the card underneath it out of

d~fferent

23

the spread. Once all three pairs are out the spread, turn up each of the
the spread. Once all three pairs are out the spread, turn up each of the

the spread. Once all three pairs are out the spread, turn up each of the face down cards to show that all three cards have landed right next to their mates.

Although all the cards in the deck are now arranged in pairs, the face-up spread or cards should look like it's

24

completely shuffled, because half the cards are sidejogged and therefore hidden from view." Remark,

'Thede cardd are thoroughly dhuffled J

but maybe we can do

domething about that." Square the deck. A few false shuffles and cuts will convey the premise of the grand finale, that you are controlling every card into position, next to its mate. You will now handle the climax as Marlo did. Dramatically deal pairs of cards from the tace of the deck onto the table, gradually building speed, until the entire table is covered with matching paIrs.

7 This is the ribbon spread hideout, which Dr. Jacob Daley attributed to Dai Vernon.

25

Gang of Four

With the kind permission of Dani DaOrtiz, I share with you my take on one of his mighty tricks, "Twin Souls" from the DVDQue Ram, which Dani made with Christian Engblom.

EFFECT: The performer ribbon spreads a deck of cards face down on the table and then, from one end of the spread, he turns one card at a time face up, one on top of the other. He asks a spectator to call out, 'Stop' at any point. Let's assume the stopped-at card is the Ten of Spades. The performer places that card face up onto the top card of the spread, and the rest of the dealt cards face down on top of the Ten of Spades. Right now the only card facing up in the spread is the Ten of Spades. After squaring and respreading the cards, mystically, all four Tens are all face up.

26

27

On the DVD, Dani includes two methods for the get- ready to this miracle (one of them by Engblom). I performed the trick quite often but wanted to find a way to do the get-ready in the course of a previous trick. My get-ready happens during a slop-shuffle sequence, which acts as a prelude to this trick. I find these two tricks complement each other nicely when performed back to back.

PERFORMANCE: Have a spectator shuffle the cards. Take them back, and execute a ribbon spread of the

cards face up, to display their mixed condition. As you

say,

{i1J you can dee} you dhl~fIled the cardd very well,}} scan

t,he de~ka~d note the positions of the four Tens (or any Iour-of-a-kind you wish to perform this trick with). The four Tens need to be distributed throughout the deck, and none can be next to each other. More often than not, your four-of-a-kind will be scattered throughout

the spread. If you

ri~htne:ct to each other, remove one of the Tens, along with a few random cards next to it, and replace them somewhere else in the spread as you say, {{we can dhulile

the cardd M much rul we want. }}

see that two or more of the Tens are

Square the deck and hold it face up in left-hand dealing position. Thumb off cards from the top of the deck into your right hand until you come to the first Ten. Once you have thumbed off all the cards above the first Ten into the right hand, turn the right hand palm down and insert the first Ten face up into the face-down, right- hand packet (figure 1).

28

up into the face-down, right- hand packet (figure 1). 28 With your left thumb} push a

With your left thumb} push a few more face-up cards underneath the right-hand packet. Turn your right hand

palm up and in standard slop shuffle fashion, you will continue to turn the right hand up and then down, thumbing cards underneath the right-hand packet until

y ou come to the second Ten. (How many groups of

cards you thumb over and how many times you invert

y our right hand will vary, depending on how far apart

the first two Tens are.) Once you see the second Ten, rotate the right hand palm down, and insert the second Ten face up within the bottom half of the upper, face-

down cards (figure 2). Continue by thumbing off more cards underneath the right-hand packet.

half of the upper, face- down cards (figure 2). Continue by thumbing off more cards underneath

29

Keep repeating the slop shuffle actions until th re e Tens are face up w ithin the face-dow n cards in your right

Tens to be in

the lower portion of the face-down packet closer to where the two halves are face-to-face. Continue with the slop shuffle sequence; that is, rotating the right hand palm up and -palm down, and thumbing ofT cards with y our left thumb, underneath the right-hand packet.

Once you get to the last Ten, turn your right-hand palm down and then thumb off the last Ten onto the bottom of the cards in the right hand. Turn your hand palm up again and place the rest of the cards on the underside of the right-hand packet.

hand ~again,y ou ideally want the three

Turn over the entire deck. As a position check, the order of the cards now should be: the top half is face down, except for three face-up Tens distributed in the lower portion of this half; the bottom half is face up, and the fourth Ten is face-up on the bottom.

Hold the cards in dealing position with your left hand. With your right hand, cut off about a quarter of the deck and turn this packet over as you comment, "Some cardd are face down. rr Place these cards back on top. Cut' somewhere in the bottom half of the deck, turn the packet over and say, '/1nd eome are face up. " Continue displaying the deck in this fashion a few times to demonstrate that the cards are mixed in a face-up / face- down condition.

Finally, cut the deck in the middle, at the juncture between the face-up and face-down portions. The natural bend in the deck should help here. Double check that you've cut at the right spot by turning the

30

right-hand portion face up; if there's a card face up on each packet (and neither are Tens) then you have successfully cut the deck at the right place.

Place the right-hand cards face down onto the table and immediately place the left-hand cards face down on top of the tabled packet. Right now one Ten is face down on top of the deck, the rest of the cards are face down, ex cep t for the three face-up Tens somewhere in the bottom quarter of the deck.

By now, the audience is convinced that the cards are shuffled in different orientations. Spread the cards face

d ow n between your hands without spreading the

bottom portion of the deck; it will look as if all the cards are now facing down. This first effect could be

p resented as a stand-alone piece or routined with the

next efTect. Mter all, both effects are about controlling

the orientations of the cards.

Square the deck and thumb ofT two groups of three cards with your left thumb into the right hand and one more card, for a total of seven cards, as you remind

y ou r audience, "Rememba; we hoth thoroughly dhufJled thede

card«. " Square the deck while obtaining a little-finger

break beneath those seven cards.

With your right hand in end grip, lift the cards above the break as your left thumb, placed on top of the deck, slides off the top card (a Ten) onto the rest of the deck, in slip-cut fashion. Rotate the cards in your right-hand

face -up and say something along the lines of, '/1nd every

way." Replace this

packet face down on top of the deck, and the Ten is now

positioned seventh from the top.

one 4 thede cardd i.f facing

the dame

31

Hold the cards with your right hand in end grip, and

swing cut three-quarters of the deck into your left hand.

(The cards left in y ou r right hand should contain three reversed Tens.)

With the smaller packet in the right hand, place the inner end of this packet against the outer end of the larger packet in your left hand, and execute a weave shuffle (it doesn't have to be a perfect weave) of the smaller packet into the lower part of the larger packet.

The following actions are described in "Noah" and consulting the illustrations there will give you an understanding of following. Push the interlaced smaller packet halfway into the larger packet, pushing predominantly with your right forefinger so that the smaller packet shifts and is angled to the left.

With your left thumb, square the protruding corners of the smaller packet, so that it emerges at the inner right corner. Keeping your left little fmger in the vertex where the two packets meet will help keep the packets separated.

The goal is to get the smaller packet sidejogged, and currently only the inner end of the packet is sticking out. The following action will be easier .if y ou do not apply too much pressure on the deck so that there is less friction.

With your right little finger, pivot the outer right corner of the smaller packet to the right until the packet is sidejogged.

By holding the cards with your right hand in end grip, the back of your hand will cover the sidejogged cards.

the

32

Execute a ribbon spread of the deck on the table From left to right. Since the side-jogged cards contain the three Tens, an even and consistent spread should prevent any of them from showing. This is the ribbon

spread hideout.

At this point you need to force the seventh card. I will explain two methods with which you can achieve that.

Method one. Ask a person to name a number up to ten. If the chosen number is low (like three or four) ask another person, "Can YOll gire me another «mal! number :" Add them together, and you are going to be in one of the scenarios below.

If they choose five, remove five cards from the spread and ask another person, "Do you prefer one or two more?" If they say "one more", slide one card to the side and the next card is the force card, and if they choose "two more," slide one card over (on the count of one) and on the count of two, flip the second one over (the force

card).

If the number chosen is six, slide six cards off to the side and then flip over the next card (the force card) .

If they say seven (as you know, seven is a common choice), count to the seventh card from the right end of the spread and flip it over.

If they choose eight, pick up two cards at a time and place each pair, one on top of the other, as you count,

33

''Two} [oia; <fix} eight. J} This way of counting will bring the seventh card (the force card) to the top of that pile.f

If they say nine, you do another version of the curious count. Pick up three cards at a time, dropping each group to the table as you count, "Three} <fix} nine; thald

to the top

ex actly nine card», }} This brings the force card of the pile.

If they say ten, say, "A numb er up to t en. }}

Method two. My preferred way is to rely on a timing force, as follows: Turn one card at a time face up, dealing one on top of the other as you say, (~ you call «ee, lhe<fe are all different.}} By the end of this statement

you

by

saying, "If/e don }t Ileed many card.:!} .10 otop me whenever you

Like. J1 If you time your pacing right, you can anticipate when your spectator is about to call out, 'Stop' and time

it so that he stops you after you have flipped the sixth or the seventh card. Both scenarios are perfect because if he stops you on the sixth card, you could say, "WouLd you Lilce one morel" If he says yes, flip over the next card , and the force card is the last card turned over. If he says no, point toward the next card in the spread and say,

will

have

turned

over

four

cards.

Proceed

force card. Of course

with this kind of approach there 's more risk, but if you nail it, the payoff is much stronger. If he stops you

"YOu eltopped me here. JJ Turn over the

8 This procedure was published under th e name "a curious count" in The Pallbearers Review (O ctober i968), page 210. While contributed by Fred G . Taylor, he did not claim it and th e inventor is unknown. I learned it from Juan Tamariz.

34

prematurely , or way after the force card, you

resort to any equivoque techniques you are comfort " II with. (Details of such techniques are beyond th e Sl 't I II '

of this description.)

Once you have managed to force the Ten, place it 1:11'\' up onto the top card of the spread, and put the re st (I I the cards that you removed face down onto the face-III I

Ten,

This is an excellent moment to recap the fairness 01' tilt' select ion procedure . As y ou move y ou r fmger across t h . s p read, say, " YO u cou Ld ha ve ,!topped m e Oil allY 4 tb«. I, ' card«." This statement also draws t h eir attention to th ' fac t that right now, there's only one card facing up ,

w ithout your having to say it explicitly .

Squa re the deck carefully, without exposing any of th e hid den face-up cards p rematurely . "Because you cbose the Ten of [whichever suit], I wi11 try to make all the other Teru tum face up. A I a matter offact} I ba ve already done that. JJ Spread the cards slowly to build up the suspense; all four Tens are now face up.

11

' 1' ( It

t I

spread to the right, continuing the ribbon spr ' ,II I.

35