CARD
CONSPIRACY
Vol.
1
Peter Duffie & Robin Robertson
Illustrated by
Joseph K. Schmidt
Cover Art by
Eveline Taylor
Edited by
Matthew Field
Published
by
Duffie & Robertson
i
FIRST EDITION
© 2003 by Peter Duffie & Robin Robertson Printed in the United States.
ELECTRONIC EDITION
© 2007 by Peter Duffie & Robin Robertson
All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known, or to be invented, without written permission.
INTRODUCTION TO ELECTRONIC EDITION
Welcome to Card Conspiracy Vol.1 – Electronic Edition. This is an electronic facsimile of the first edition of this book that was published in 2003. Now out of print, we are delighted to be able to offer this publication as a PDF. Here is a brief guide to the easy navigation system in this PDF.
___________________________________
Hyper-links: The Table of Contents is fully hyper-linked. Every entry in the Table of
Contents links to the starting page of the item.
Link-back function: At the bottom of any page (not just the last page of a section) you can
click on the page number and you will be instantly taken back to the Table of Contents.
Text Searchable: The PDF is fully word-searchable using the FIND function in Adobe.
___________________________________ We hope you enjoy the book and thank you for purchasing it.
Peter Duffie & Robin Robertson November 2007
CARD CONSPIRACY, VOL. 1
Preface ...i
Chapter 1 - Biddle Force ... 1
Description of move (plus examples) ...1
26 Faces North...3
Double Knavery...4
25 Faces North + 1 South...6
Chapter 2 - Concealed Allerton Control... 7
Description of move ...7
CAC Visitor ... 10
Only Joking... 12
Anti-Matter ... 13
Anti-Matter Revisited ... 14
Final Control - description of move... 15
Chapter 3 - Cut Force...17
Description of move ... 17
Diminishing Matches ... 18
Beastly Assembly ... 20
Faith Counter ... 21
51 Faces North... 23
Chapter 4 - Daley’s Delight Switch ...25
Description of move ... 25
Hotel Daley... 26
The Shifty King... 28
Repelling & Attracting ... 29
Double Rouge et Noire ... 33
Daley’s Do-as-I-Do ... 34
Chapter 5 - Daryl’s Diminishing Count ...38
Description of move ... 38
The Bad Guys Wear Black ... 39
Just a Little off the Top, Please... 40
The Repligator... 43
Blackjack & Blackjacks ... 45
Chapter 6 - Divide and Conjure (Marty Kane) ...49
Description of move ...56
S.O.P. (Slightly Open Prediction) ...59
Blackjack Transpo...60
Coincidence - With a Twist ...62
Chapter 8 - Fake & Unusual ... 64
Frazzle ...64
R.I.P. ...67
Magic Cards ...69
I'm Thinking of a Card...70
Future Choice...73
Whitewash ...75
Little Arrows...77
The Trick that Never Was...79
Chapter 9 – Gemini Count ... 83
Description of move - revised handling ...83
The Blabber-Mouths ...85
Kings High ...86
Chapter 10 – Gilbreath Principle ... 89
Description of principle ...89
The Hustler ...90
Dire Straights...92
The Paranormalist...95
The Power of Love ...97
Hours of Magic ...98
Chapter 11 – GB Switch ... 100
Description of move ... 100
GB Center Countdown ... 101
The Highly Visible Kings (including Highly Visible move) ... 102
Sequencer ... 104
Signature Peace ... 105
Chapter 12 – Hummer Principle ... 108
Description of principle ... 108
Thought Process ... 109
CATO By Numbers (Roy Walton)... 110
CATO Gets Married ... 111
CATO Gets Married Again... 112
Hummer Plays Poker ... 113
Remote Control Poker ... 114
PREFACE
One of the joys of magic is sessioning: sitting down with a fellow magician and exchanging ideas for hours upon hours, each reacting to the other, adding a subtlety here, thinking of another use there. But far too often distance separates us from our friends and, except for occasional phone calls and face-to-face meetings, until recently, we had to be satisfied with letters. E-mail has changed all that. The speed with which we can now share an idea, get a reaction, then react in turn to the reaction, makes it possible to dialogue with someone far away. It’s a new kind of a dialogue, a new kind of sessioning. You lose something because the friend isn’t physically present, but there are compensations. Sometimes an E-mail provokes an instant response, sometimes it needs to be reflected on. Many different streams of ideas can go back-and-forth, with each person able to read and respond at their own pace. E-mail allows you to read at your leisure and respond at your leisure, so you don’t have to react instantly, yet can still exchange a great deal of information in a short period of time.
This book wouldn’t have been possible without E-mail, as one of us lives in Scotland and one in Southern California. For almost two years now, we have been brain-storming magic exclusively through E-mail. Well over a thousand, perhaps several thousand, E-mails have gone back and forth during that time.
Of course, without a commonality of magical interests, nothing much would emerge from such an exchange. Happily, we found that, in most cases, what interests one, interests the other. Two extremes of magic might be self-working tricks (as if there actually was any such thing), and tricks where a large amount of skill is required (hopefully to accomplish something great). We both have a preference for an area in between: where a small amount of skill or preparation leads to a great deal of effect. If a move (or a concept, principle, or subtlety) also has wide applicability, then we’re on cloud nine, as we can brainstorm for weeks on that single move. So simple moves that get a lot done.
Usually we hit on a move and revolve around it until we’re dry, then move on to another move. Often, after leaving a move alone for a while, it will come back to the surface again and we’ll have another flood of ideas going back-and-forth. Sometimes the move becomes a standard for us, joining the small number of standard moves and principles that all of us in card magic share. These may be idiosyncratic choices, but we hope that sometimes other magicians may agree with us.
Because these ideas emerged grouped around a move, we felt that the only way to present them was in the same way, so that - hopefully - readers will also find themselves engaged in the dialogue, even if at one remove. Several of our friends did get involved in this brainstorming, and we’ve included their ideas here as well. We thank Roy Walton, Iain Girdwood, Marty Kane, and Jamie Badman for letting us share their ideas. We also thank Martin Breese for his advice and encouragement.
Each chapter revolves around a central move (or a concept, principle, or subtlety). The chapters are arranged alphabetically, and each begins with a description of the move. Though our tricks emerged in these natural groupings, often a move from one section finds its way into a trick in another section. So, if you encounter a move you haven’t heard of yet, just flip to that chapter, where you’ll find a description at the beginning of the chapter. This is a compromise to avoid describing moves multiple times throughout the book. When we mention a move that doesn’t deserve a chapter of its own, we’ve tried to describe it the first time it appears in the book, and reference it later. We haven’t bothered to describe moves that all card magicians know, such as the Elmsley Count or the Vernon Add-on.
Since this book is broken into two separate volumes, we are also including a section on sleights at the end of the volume, which contains a short description of any sleights referred to from the other volume.
We hope that readers enjoy reading and using this material as much as we have enjoyed developing it.
Chapter 1
BIDDLE FORCE (BF)
A force/switch with several variations and uses.a) The force card is on the face of the deck. False Shuffle, keeping it on the face, then have a spectator cut off half and set it aside, saying, "We only need
half the cards for this."
b) Pick up the remainder in right hand Biddle grip, held from above by the ends, with a break above the bottom card. Tell the spectator that you're going to turn cards face-up until told to stop. Each time, pull off a card with the left thumb, then flip it face-up using the right-hand cards (Fig.1).
At first, each time, ask, "Now?" before pulling off the top card, so the spectator gets used to the fact that he should stop you before you pull off a card.
c) Keep flipping over cards until someone calls stop. At that point, peel the top card onto the face-up cards loading the force card underneath (Fig.2), and retaining a break between the two cards.
d) Steal back the card above the break under the deck as you peel off the next card and turn it up. Continue turning the next few cards face-up, as you say, "You could have stopped here or here or here, but you
didn't." Flip all the remaining cards face-up onto the left hand cards, then
spread to show a single face-down card - seemingly the one they chose - among the face-up cards.
MULTIPLE CARD BF
Using BF to force/switch more than one card.Say you want to force the two black Jacks. Have them back to back on the bottom. The packet is face-down in Biddle grip with a break above the bottom face-down Jack (the one above it is face-up.)
a) Start the flip-over count until stopped, then pull off the face-down card loading a Jack as normal and keeping a break.
b) Continue the flip-over count stealing away the upper face-down card. When stopped again, pull off the face-down card genuinely, but get a break over it. Continue flipping over several more as usual, remarking that these could have been chosen, but weren't. Finally flip the remaining cards over face up on top. There are two options, depending on whether you want to reveal the cards now or later.
REVEAL NOW - Turn the packet face-down, executing a Turn-over Pass,
then spread revealing the two face up Jacks. The reversed card remains hidden at the bottom.
REVEAL LATER - Take a break under the second face-down selection
before flipping over the remaining cards, then casually cut the packet taking the cards above the break to the back before spreading to revealing two face-down cards. Again, a reversed card remains hidden at the back.
BF TWINS
A simple application of the Biddle Force.Simply locate two matching cards (black Jacks, red Threes, etc.). Control one to the top and one to the bottom.
1. Have a spectator cut the pack in half. Pick up the bottom half and do BF, then lay the packet aside face up for this spectator. Pick up the other half, shuffle the top card to the bottom, and repeat with a second spectator. At the end, the spectators have located two matching cards.
BF DOUBLE LOCATION
Another simple application of the Biddle Force.Control two chosen cards, one to the top and one to the bottom, then do as above. The two chosen cards are the two found in each packet.
BF DOUBLE TWINS
Using the multiple card version of BF for a double twins effect.
You need two sets of twins, say black Jacks and red Threes. Arrange them on table as:
Face-up Jack - face-down Jack - face-up Three - face-down Three, then place the deck on top.
1. Get a break secretly over the bottom two cards, then proceed as in Multiple Card BF until the spectator stops you, then load two cards, not one, under their card.
2. Continue as above as they pick a second card. Finish in either of the above two ways. When the deck is spread, the cards they picked are next to their matching twins.
26 FACES NORTH
Inspired by Stewart James' famous puzzle: "51 Faces North."
WORKING
1. Openly divide the deck into reds and blacks. Ribbon Spread the black cards face-up and have one chosen (because blacks look better in contrast to reds than reds to blacks).
2. Pick up the red packet and fan it face-down. Insert the black chosen card face-down, outjogged in the fan. Turn the fan up to show the chosen black card among the reds. Turn the fan back down again, close the fan, then control the chosen card to the bottom. A pass or a multiple shift using just one card work equally fine here. False Shuffle, keeping it on the bottom.
3. Invite another spectator to try to locate the black card. Take the cards face-down into right hand Biddle grip with a thumb break above the bottom card. Pull cards off with the left thumb, then flip them over with the right hand packet. Each time ask the spectator "This card?" before you pull off with the left thumb.
When they stop you, carry out the Biddle Force to apparently leave the card face-down. Continue to turn over a few more cards, saying, "You
could have stopped anywhere," then make a one-hand fan with the
remaining cards, turn them face-up to display all reds, then add them to the top of the left hand cards.
Spread the cards so they can see a single face-down card among the reds (Fig.1). Flip the spread over and the chosen black card is face-up. Black among the reds.
DOUBLE KNAVERY
An expansion of “26 Faces North.”
WORKING
1. Before you begin, cull the four Jacks to the top with the two reds on top of the two blacks, or vice-versa. We’ll assume the blacks are on top. 2. Hold the deck face-up, saying, “I’m going to show you half a trick, so
we only need half the deck.” Obtain a break above the two black Jacks at
the rear then spread through and upjog all the red cards (you upjog the opposite color to that of the Jacks at the rear). As you get to the rear of the deck tilt the cards slightly so the audience cannot see the faces and
leave the two red Jacks downjogged then close the spread. You don’t want anyone to see that you left two red cards untouched, nor do you want the presence of the Jacks known.
In similar fashion to the Vernon Add-on slide the lower two Jacks forward until they align with the outjogged reds (Fig.1). Now reposition your hands so you can strip the two sections apart and place them face-up on the table side by side.
POSITION CHECK: The black half has the two red Jacks at the rear and the red half has the two black Jacks at the rear.
3. Turn to a spectator and say, “First, you can decide which half we will
use - the reds or the blacks. The other half will be discarded.”
It doesn’t matter which half you use so this choice is fair. Let’s say he wants the reds. Pick up the blacks, spread them between your hands, casually splitting the spread at the center, saying, “You don’t want me to
use these?” then place the right hand section below the left to centralize
the Jacks. Drop this half face-up to one side and ignore it till the end. 4. Pick up the reds and turn the packet face-down, saying, “OK. We use
the reds. This also means we have to deal with the notorious “Red Devils,” the two red Knaves, or Jacks.” (for blacks call them the “Princes
of Darkness”) The Red Devils have a magnetic personality that attracts
them to each other. No matter how much I shuffle the cards, they stick together.”
As you speak give the cards an Overhand Shuffle running the top two cards to the bottom.
Continue, saying, “Also, their magnetic personalities make them rather
easy to find because your brain detects the magnetism. Let’s try that.”
5. Invite the spectator to try and locate the Red Devils. Here we use the Biddle Force except two cards are peeled off at the stop-point rather than one. However the technique is the same as the single card version. Hold the cards face-down from above in right hand Biddle grip, with a thumb break over the bottom two cards.
Pull cards off with the left thumb, then flip them over with the right hand packet, as you ask the spectator to call stop at any time. When he does, you count the next two cards face-down onto the face-up left hand section, but in doing so you release the two cards from the break below them as you pull off the first card. Keep a left little finger break under these next two cards in the process, a task that is practically automatic. You now continue through the rest of cards, flipping each card over as before, but as you pull off the next card into the right hand, preparatory to flipping it face-up, Biddle the two above the break cards back under the right hand cards. Continue flipping cards face-up until the end.
6. Spread the packet up on the table so they can see the two face-down cards together among the reds. Draw attention to the fact that the red Jacks are nowhere to be seen, thus implying that the experiment has been a success.
Reach forward and slide out the two face-down cards and casually glance at them before turning them over, then freeze as you do a double-take. Say, “This is more amazing than you think. Not only did you manage to
find the only two Jacks in the packet....but they’re not red...they’re black!” At that, toss both cards face-up revealing the two black Jacks.
Pause, acting as if the trick is over, then say, “You may recall I told you
this was only half a trick?...Well, the other half of the trick is over here.”
Conclude by spreading the discarded section to reveal the two red Jacks are in the middle of the blacks.
25 FACES NORTH + 1 SOUTH
A further adaptation of "26 Faces North" and "Double Knavery".
WORKING
1. Have two spectators each choose a card, one a red card, one a black. Control the cards to the top of the deck in any order.
2. Explain that you're going to divide the deck into reds and blacks in order to find each chosen card separately. In the process load the red chosen card on the back of the blacks, and the black on the back of the reds, just as the Jacks are loaded in "Double Knavery".
3. Ask which color card you should find first. Let's say it's the red card. Set the black half aside for now, then ask the black spectator to help find the red spectator's card. As normal, use the Biddle Force to force the chosen card to be turned face-down in the middle of the pack.
4. Repeat with the black half and the red spectator.
5. At the end show that the two spectators have found the chosen cards all right, but they're in the wrong color half.
SIMPLIFIED VERSION
At step 3, simply spread the other half casually, then cut in the middle and set aside.
Now proceed as in the other two routines to have a third spectator locate that chosen card. Reveal that he's not only found a chosen card, but the one of the opposite color. The other chosen card is then revealed face up in the half of the deck set aside earlier.
Chapter 2
CONCEALED ALLERTON CONTROL (CAC)
In Bert Allerton’s classic book The Close-up Magician (Ireland, 1958), he included an unusual way of controlling a card to second from the top of the deck while seemingly simply turning it face-down in the middle of the deck (“The Eye Popper”, pp. 24-6).
Jon Racherbaumer wrote a historical analysis of the move and attempts to get around angle problems in Card Finesse II (L&L Publishing, 1992). He suggested a Ron Bauer handling and also pointed out that John Braun and Stewart Judah published a related sleight as early as 1937 (Subtle
Problems You Will Do).
Both Robin & Peter independently developed an identical solution to the problem, which Robin published in Card Modes (Micky Hades International, 1983, p.8), and which Peter kept to himself.
First let’s learn the Allerton move, then we’ll describe the slight change that we made in the handling.
a) Push the top card of the deck about half an inch to the right. Cut off the top half with the right hand, concealing the sidejogged top card (Fig.1) (more on this in a moment). Push a card off with the left thumb.
b) Use the bottom right side of the right hand cards to flip the card face-up (Fig.2). That feels a little odd, since it’s just backwards from the way you normally do it, but bear with us for a moment.
c) Push the face-up card over to seemingly flip it face-down again. Here’s where the strange move comes in. The right hand cards should be at a right angle to the left packet. The face-up card hits the sidejogged card and slides between it and the rest of the deck (Fig.3). It’s turned over in the process and ends up face-down, second from the top.
The only problem is dealing with the angles. You’ll find that you have no trouble concealing the sidejogged card with the right hand. And the face-up card scoots under it as slick as a whistle. But it’s nearly impossible to conceal the left side of the top card, where the top card is clearly seen to be pushed over to the right. The solution is simple:
Secretly push the top two cards over to the right an inch, then pull the top card back square with the deck (Fig.4).
Now there are no angle problems. This set-up can be done casually without looking at the deck, but we’ll mention other possibilities in the tricks below.
CAC VISITOR
The Concealed Allerton Control is combined with “Jennings’ Visitor” (Alton Sharpe’s Expert Card Mysteries, Tannen, 1975) for a dazzling series of sandwich effects.
Openly remove the four Kings and lay them face-up on the table to begin.
PHASE 1: The black Kings find the chosen card
1. Hold the deck face-down in dealing position, then pick up the two black Kings.
“We’ll use the two black Kings to start with. They’re well-known for always finding their man.” Hold the Kings spread, then push
them face-up into the outer end of the deck about a quarter way down - the left thumb opens a break to enable you to do this (Fig.1).
Because the Kings were spread - upper one to the right once the hand turned - this card remains side jogged when you push them flush and you only pretend to square them (Fig.2). Your right hand remains holding deck in Biddle grip. So the Kings are about a quarter of the way down and the upper King is jogged to the right.
2. “Would you help me pick a suspect. Just say ‘stop’ wherever you like,” you ask as you dribble cards from hand to hand. Flip the card they stopped at face-up, then use CAC to control it between the two face-up Kings. Square the deck.
3. “A wave of the red Kings and the black Kings find their man.” Pick up the two red Kings, fan them over the deck, then replace them on the table. Spread the pack until you come to the face-up black Kings, with a face-down card in between. Cut them to the top, then remove the sandwich and turn over to show the chosen card.
PHASE 2: The chosen card jumps between the red Kings (“Jennings’
Visitor”)
4. Say, “We’ll cut the Kings and your card into the middle of this half and
leave it on the table.” Replace the sandwich on top of the deck, with the
Kings face-up. Get a right thumb break under the top card, cut the bottom half to the top, then place all the cards above the break on the table. This will leave one black King face-up on the bottom of the tabled half, and the chosen card on top of the half in your hand, with the other black King face-up underneath.
5. Pick up a little finger break under the face-up King as you pick up the red Kings from the table. Square them face-up on the deck, then immediately turn over all four cards above the break and spread the top three to show that the chosen card has seemingly jumped between the two Kings. Use the display move from “The Visitor” here: right fingers take the three cards with the right fingers going underneath at the front, the thumb on top, and the hand is raised to show the faces (Fig.3). Using Kings is the ideal for this display, as the portion of the King underneath looks virtually identical regardless of the color of the King.
6. As you’re displaying the cards, pick up a little finger break under the top card in the left hand. Replace the right hand cards face-down on the packet, then again immediately turn over all the cards to the break and deal the face-up red Kings onto the table. The card has vanished.
PHASE 3: The chosen card jumps back between the black Kings
7. Your right hand pulls the tabled half backwards to the edge of the table, while the left hand goes beneath so that the tabled half is scooped on top. Immediately ribbon-spread the deck on the table to show there is
again a face-down card between the two black Kings. Remove the sandwich and show the chosen card.
ONLY JOKING
The two black Jacks trap a selected card, then they suddenly change into two Jokers.
To begin, cull the two black Jacks to the top of the deck then place the two Jokers on top, or simply start with this set-up.
WORKING
1. Give the deck a shuffle to begin - simply undercut half and shuffle these onto the top half. This centralizes your mini-stack.
2. Say that you will use a pair of prominent cards. Spread through and secretly downjog the first black Jack, then cut the four card stack to the rear. Turn the deck face-down. The top four cards are; Joker - Joker - Jack - Jack.
3. Lift up on the injogged Jack and turn over all four cards (apparently two), then drop one card and retain a break under the upper three cards. Lift off the top Jack with your right hand in a Biddle grip, saying, “We’ll use the black Jacks for this.” As you replace the Jack, set it about a quarter of an inch to the left (Fig.1), then move it plus the two cards below to the right as a unit (Fig.2). This sidejogs the second and third cards in readiness for CAC.
Say, “I used to play Blackjack a lot and I
have since found that I have a special affinity with Black Jacks! You don’t believe me? Would I lie (grin)??”
4. Have a card selected and execute CAC to load it under the top three cards.
5. Explain that the Jacks will produce the selected card in a dramatic way. Depending on your deck there should be a natural break below the fifth card - the face-up Joker. If not, you need to get a break there.
Now flip over all five cards then immediately spread the top three cards revealing the selection face-up between the apparent Jacks. Drop the three card spread on the table. Slide out the selection, then say, “You
seemed skeptical about my affinity with the black Jacks? Well, in fact I was only Joking!” At that, turn over the two face-down cards revealing
the two Jokers.
ANTI-MATTER
Two cards selected from opposite halves of the deck come together. Not only that, but the deck separates into red and black in the process.
Separate the deck into reds and blacks - place the reds on top of the blacks and you’re set.
WORKING
1. Carry out a couple of convincing red/black shuffles which retain the color separation of the deck. For this description we’ll assume the reds stay on top. Now dribble the cards into your left hand and ensure that the spectator stops you in the upper - red - half. Raise your right hand and ask him to remember the card. As you replace this section sidejog the selection by using your left fingers to contact the face of the upper portion.
2. Riffle down the outer corner for a second spectator to make a choice - this time you ensure he stops you in the lower - black - half. Carry out the CAC procedure to load the selection under the first chosen card in the red half All the work is over, but the trick goes on.
3. Hold the deck so you can see the indices and separate it at the mid-point where the colors meet, while saying, “I want to cut as near half the
deck as I can.” Place both halves on the table in position for a Riffle
Shuffle - top half to the right.
4. Riffle the two sections together and then carry out an open push through - so the audience see the packets pass through one another (Fig.1). This is not meant to be a shuffle, but a magical action, and was
first used in this way by Ed Marlo. As you do this, say, “This is called the
Anti-Shuffle, and it causes a strange thing to happen to a deck.”
5. Turn over the right half - blacks - and spread them face-up on the table, saying, “See what I mean? The Anti-shuffle shuffled all the black
cards into this half. Did anyone pick a black card?” One did, so you ask
for the name of the card. You look for it, but it’s not there.
6. You now ask the second spectator what his card was. It’s a red card. So you say, “Well, there’s something else the Anti-Shuffle does and I
forgot to mention it to you.” Turn over the face-down half and spread it
revealing the solitary black selection among all the reds. Then slide it out along with the card to its left to show that it not only jumped into the black section, but it found the other selection as well.
ANTI-MATTER REVISITED
This time two cards are selected from opposite halves of the deck. After an Anti-Shuffle, the deck separates into red and black, with the red chosen card in the middle of the black half, the black in the red half.
Again separate the deck into reds and blacks - place the reds on top of the blacks, and you’re set.
WORKING
1. Lift about a quarter of the deck up as you remark that you need to have someone select a card. Casually sidejog the bottom card as you replace the packet on the deck. Riffle down the outer left corner into the bottom half of the deck for a spectator to make a choice. Carry out the CAC procedure to put the selection into the top half. You no longer need the break.
2. Again riffle down the deck, but stay in the top half this time. Lift the right hand portion up where stopped, then use the Final Control (see description following this trick) to control the card into the bottom half. It’s easier if the left little finger makes a break about three quarters of the way down while the right hand is displaying its packet.
3. From here on, everything is the same as “Anti-Matter” except the conclusion. Hold the deck so you can see the indices and separate it at the mid-point where the colors meet, while saying, “I want as near half
the deck as I can get.” Place both halves on the table in position for a
Riffle Shuffle - top half to the right.
4. Riffle the two sections together and then carry out the open push through (Anti-shuffle) - so the audience see the packets pass through one another.
5. Turn over the two halves and ribbon-spread them on the table to show the deck divided into reds and blacks. There will be a single black card among the reds, a single red card among the blacks. These are the chosen cards.
FINAL CONTROL
This control, a variation on one by Bruce Elliott, was originally published by Robin in his book Handle with Care (Hades Publications, 1964). It's similar to the Kelly Bottom Placement but has advantages that will be apparent in using it. Other magicians, including Allan Ackerman, have independently developed similar methods.
a) Riffle down the deck with the left thumb until a spectator stops you. Lifts the cards above the break with your right hand in a near-Biddle grip. The right fingers at the far end extend onto the face of the half pack, with the thumb at the rear left corner, and little finger at the outer right corner (Fig.1a)
b) Your right middle and third fingers pivot the card to the right. As soon as its upper right and lower left corners meet the little finger and thumb respectively, the thumb and little finger squeeze together softly, forcing the card to buckle downward (Fig.1b).
c)Now slide the right-hand half onto the left half. Due to the bottom card being buckled downward, it will automatically go to the bottom of the deck (Fig.1c).
To control a card to the top of the deck, have a card chosen, then turn the deck face-up. Your right hand cuts off a portion and turns palm-up to have the chosen card replaced face-down on the now face-down half. The right hand then turns palm-down and uses the Final Control method to control the card to the bottom of the face-up pack (hence the top of the pack).
You can also use Final Control to control a card to any desired place in the lower portion of the deck. Let’s say that you want to bring a chosen card to thirteen from the top of the deck for a spelling trick. While the spectators look at a chosen card, hold the deck face-up in the left hand and Thumb Count twelve cards from the bottom with the right thumb, then hold a break with the left little finger. Cut off half of the deck with the right hand and turn up to have the card replaced. Turn palm-down again and buckle the card. Replace on the left hand-hand portion, controlling the chosen card into the break. The left little finger can pull down below the break to make this easier.
Chapter 3
CUT FORCE (CF)
The Cut Force, as used here, is essentially an inverted Christ Force. Robin published a handling for it in Handle With Care (Hades, 1964). In fact, that was possibly the first time that this force appeared in print. While, at the time, Robin wasn't presenting the Force as anything new (it was the handling to set it up that he was offering - "Easy Reverse for Force"), we can't find any record of it prior to 1964. That, of course, doesn’t mean it's not out there somewhere.
Moving to the present, and The James File, Vol.1 (Jogestja, 2000): There is a previously unpublished letter from Stewart James to Francis Haxton (July, 1957) in which he describes a revised handling for the Christ Force, which turns out to be the Cut Force.
THE FORCE
a) Hold the deck face-up and reverse the bottom card (this is the card you will force).
b) Place the deck face-up on the table and invite a spectator to cut off a section, turn it face-down and place it on the table beside the other half (Fig.1).
c) Pick up the face-up half, place it on top of the face-down half, then immediately spread the deck across the table, showing the face-up section on top of the face-down section (Fig.2).
d) Slide out the first face-down card for the selection.
DELAYED ACTION
In some instances it may not be appropriate to spread the deck immediately. In this case you can employ the psychology of the Cross-cut Force and delay the selection process after the cut. So, after the spectator cuts off a section and turns it over onto the table, simply pick up the face-up half and drop it on top, saying, "We'll just mark the cut." Then, after suitable delay, reach down and spread the deck.
DIMINISHING MATCHES
A simple matching effect using the Cut Force.
Before commencing, cull any two matching pairs to the top of the deck, but alternating. For this example make them two red Twos on top of two black Jacks, so you’d have a red Two, a black Jack, a red Two, and a black Jack on top.
WORKING
1. Hold the deck face-down in dealing position and get a break under the top two cards. Now undercut half the deck, turning it face-up on top. Pick up to the break and lay the packet face-up in front of a spectator on your right.
Get a break under the top two cards of the half remaining, and carry out a Braue Reversal. That is: cut about half of the cards from the bottom and turn them face-up on top. Then the remaining cards under the break are turned face-up on top. Place this packet face-up in front of a spectator on your left. We'll assume both spectators are opposite you.
2. Invite each spectator to cut the top half of their packets, turn them face-down, and place them to their left (Fig.1). You pick up the remaining packet for each and place it on top of their packet “to mark the cut.”
3. Ribbon-spread each half deck in a line from the spectator toward you (Fig.2). Slide out the first face-down card in each ribbon-spread, then turn them over together. Both are red Twos.
PHASE 2
4. “Puzzling, eh? Well, maybe we’re using too many cards. Let’s try it
again with less cards.”
Gather up the right spectator’s spread into your hands. Push over all the face-up cards then catch a break under the first face-down card. Square the cards briefly then lift off all the face-up cards plus the face-down card and put these back in front of the spectator.
Repeat with the left spectator.
BEASTLY ASSEMBLY
An instant assembly of Four Kings with a surprise kicker to end with.
The finish with three Sixes as the mark of the beast is borrowed from a routine by Jackie McClements that appeared in The Crimp magazine. Patter-wise, this routine should be presented with tongue firmly in cheek.
WORKING
Before you begin, cull three Sixes to the top of the deck with the King of Spades below them. So the order from the top is; Six, Six, Six, King.
1. Begin by saying, “This deck houses four Kings, who are also black
magicians. They do quite amazing things.”
Spread through and upjog the three loose Kings, then spread to the back and grasp the last four cards as a unit then add them to the three Kings as you strip them out (Fig.1). Finally, turn the seven-card packet face-down and place it under the deck.
2. Turn the deck face-down to bring the Kings face-up on top. Lift off all seven cards in a right hand Biddle grip. You’ll now carry out an ATFUS but without the extra card. We’ll call this ATFUS Minus 1. Proceed as follows:
Pull off the first three Kings onto the deck in a small spread (Fig.2), naming the suits of all four Kings, then apparently gather up the three Kings under the fourth (really four cards) held in your right hand. In fact, your right hand leaves the three Kings on the deck, then your left hand turns (right hand remains static) and deposits the deck face-up on the table (Fig.3). This leaves four cards in your right hand - the King of Spades with the three Sixes behind it.
3. Turn the packet face-down and deal the four cards into a T-formation with the King of Spades in front as leader (Fig.4). Turn the King face-up saying,
“The King of Spades is the darkest of them all and so he’s looked upon as the leader.”
4. Invite a spectator to cut off a section from the deck and turn it face-down onto the table. Reach forward and pick up the remaining face-up section and place it square on top of the face-down portion, then immediately spread the deck across the table. The upper half is face-up and the lower half is face-down.
5. Explain that each magician will attempt to enter the body of another being, and that you require three random victims. Reach down and push out the first three face-down cards (the other three Kings) and place these on top of the leader King.
Now reassemble the deck then place a third on top each of the apparent face-down Kings, saying, “First, each magician gets buried alive....they
like that. This releases their souls.”
6. Now pick up the King packet and tap it against each pile, then snap over the three face-down cards revealing all four Kings.
After a suitable pause, say, “And if you
have any doubt that these Kings are really black magicians...well...they left their mark behind,” as you flip over each
pile to reveal three Sixes (Fig.5).
FAITH COUNTER
A card is selected and cut back into the deck. The selection could be the Ace of Spades. The spectator freely cuts the deck and turns over the card cut to - it’s not his card, but it might be a Seven spot. From the point of his cut, he counts down to the seventh card and is not only surprised to find his card there...but it’s also face-up!
The plot is based on “The Fair Count” from Paul Rosini’s Magical Gems. The method of the revolving block employed here has its roots in Ed Marlo’s “Magic Seven.”
WORKING
1. Cull any medium to high valued spot card to the top of the deck. For this explanation make it a Seven spot.
2. Spread the deck face-down from hand to hand and invite a spectator to pull out any card. As you do this, injog the seventh card from the top (always the same as the value of the top card).
Close up the spread and get a break under the seventh card. Now turn the deck face-up by doing a Braue Reversal - so you finish with a face-up deck sitting on top of seven face-down cards.
3. Take the selected card and place it face-up on the deck, saying, “It’s
best if we all see your card because, who knows, it might be a long time before we see it again!” Apparently cut the card into the deck - in fact,
carry out a Double Undercut to take the card from top to bottom (face to back). It's best to use a triple action here to confuse anyone watching the progress of the selection.
4. Place the deck face-up on the table. Invite the spectator to cut off a section from the deck and turn it face-down onto the table. Reach forward and pick up the remaining face-up section and place it square on top of the face-down portion, saying, “I’ll just mark the cut for the
moment.”
Point out that the card currently showing on top is obviously not the selection, saying, “Let’s see if the other card you cut to is your card.” 5. Pick up the deck and spread off all the face-up cards and place them to one side. Flip over the top card of the face-down section remaining in your hand to reveal, not the selection, but a Seven spot. “Hmm. That’s
not it either, but seven is my lucky number, maybe it’s yours too?” Drop
the Seven spot onto the table.
Hand the cards you are holding to the spectator and ask him to count down slowly to the seventh card. The seventh card will be face-up and it will be his card.
END NOTE: You may have noticed that in Step 4 a Christ Force can also
exposing the reversed cards while cutting is high and we recommend the Cut Force as explained.
51 FACES NORTH
The following simple method for the Stewart James classic card problem is a variation on George McBride’s solution, “A Face in the Dark,” that appeared in Abacus, December 2000, and is also a close relative to a Karl Fulves version that used the Balducci Cut Deeper Force that appeared in his booklet 51 Faces North. This present version meets all the conditions imposed by Stewart James. While one condition states that a Force is not used, in many of the methods published by Alan Slaight in The James
File, the spectator is “forced” to leave the predicted card face-down! How
else would he do it? I leave you to decide on that one...
WORKING
1. Take any shuffled deck and glimpse the face card then shuffle it to the top (or glimpse the top card if you have a method that isn’t obvious). Let’s assume this card is the King of Spades. Remove a pen and paper from your pocket, saying, “I’m going to write a prediction, but unlike
most magicians I’m going to share the content of my prediction with you from the outset.”
Write the name of the card you glimpsed - KING OF SPADES - and leave the paper lying on the table for all to see.
2. Hold the deck face-down and catch a break under the top card. Now carry out a Braue Reversal as you turn the deck face-up. This leaves your predicted card face-down under the face-up deck. Place the deck on the table in front of a spectator.
Note that you could instead glimpse the bottom card and leave it there. Then use the Stripout Reverse Switch technique (vol. 2, chapter 25) to reverse the bottom card as you turn the face-down deck face-up.
3. Invite the spectator to cut off a section - turn it face-down and place it beside the lower section. Reach forward and pick up the face-up section and drop it on top of the face-down section, saying, “That marks your
cut,” then pick up the complete deck and give it to the spectator. The top
4. Tell him to deal the cards into a pile on the table one at a time and to look for the King of Spades. If he sees it he is to deal it to one side, otherwise, he keeps dealing.
Once he reaches the face-down section, say, “Now there’s the card you
cut to. Deal that face-down onto the others. Now deal through the rest of the cards, turning them face-up as you do so...and keep looking for that King of Spades!”
Of course he won’t find the King of Spades. Finally ask him to spread the deck. One down card will be evident. This is the card he dealt face-down. Ask him to remove it and turn it over revealing it to be the King of Spades.
Chapter 4
DALEY’S DELIGHT SWITCH (DDS)
“Daley’s Delight” (as Bruce Elliott termed it) is one of the most beautifully subtle switches in all card magic. It was invented by Dr. Jacob Daley and first appeared in Phoenix #220.
The original description, and the accompanying single illustration, in
Phoenix #220 were ambiguous and did not make it clear which arm
needs to cross over. Later Bruce Elliott reprinted the move in his 100 New
Card Tricks, with three illustrations that carefully showed all stages of the
move. Unfortunately the illustrations showed how to do the move wrong. It isn’t clear whether this was a misunderstanding on Elliott’s part, the illustrator’s, or perhaps Daley had not yet realized that there was a “jump” if done the way shown. Perhaps because of these incorrect illustrations, most magicians either overlook Daley’s Delight as not convincing, or do it as illustrated in a less than convincing manner.
a) Assume that you have two cards face-down on the table, one on the left and one on the right. Pick up the card on the left between left first finger and thumb, the right card between right first and second fingers (Fig.1a). The hands come together and deliberately switch cards; that is, the right hand takes the left hand’s card between its thumb and first finger, while the left hand takes the right hand’s card between first and second fingers (Fig.1b).
b) The natural movement is then to reverse directions, since you’ve just switched cards. Instead, without pausing, your right arm continues its movement to the left, crossing over the left arm, as your left arm passes under the right arm, and moves to the right (Fig.1c). Both hands lay their cards down. You have actually switched the cards twice, once openly and once by crossing your arms. This leaves them back where they started.
Note that this can be done exactly opposite, with the right card picked up between first finger and thumb, left between first and second finger. In this case, the left arm has to cross over the right. The rule is that the hand that takes the upper card crosses over. This makes the movement continuous; if the hand taking the upper card crosses under, there is a suspicious “jump” in the movement.
Either of the two ways of doing this will look correct, as long as the hand taking the upper card crosses over. But it is important to settle on one of the two correct methods, and be consistent in using it. That way, it becomes “muscle memory” and doesn’t require any thought.
HOTEL DALEY
A transposition between three Kings and two Queens based on Ed Marlo’s classic “Hotel Mystery” (Let’s See the Deck, 1942).
“The Hotel Mystery” is usually (mis)credited to Henry Christ. In fact it is apparent that Henry Christ had nothing to do with the plot at all. The plot is Ed Marlo’s. He gave it the story and he also gave it the name “The Hotel Mystery.” This is a story trick. Without the story it is not “The Hotel Mystery,” but merely a standard transposition. Even Christ himself says in the very first sentence of his original trick (The Jinx, January 1940, page 496); “From the days of Jordan this effect has been more or less
standard.” Here he is referring to the idea of two sets of cards
transposing, because that’s all Christ had. Nothing more.
WORKING
1. Run through the deck and remove the two red Queens and also three Kings (two blacks and a red). Place the rest of the deck aside as it is no longer required.
2. Place the two Queens face-up in your hand, saying, “Two red ladies.” Then place the Kings face-up on top with the odd color (red) in the middle, saying, “Three young guys.” Spread the cards and turn the red King face-down at its position (Fig.1), saying “The red King is the
leader of this trio.”
into the same hotel - the three guys shared one room, and the two girls shared another.”
As you say the above line, take the packet - still face-up - into a right hand Biddle grip. Count the first King into your left hand. Count the second King (face-down) onto the first but retain a break below it. As you count the third King steal back the face-down card below the remaining two Queens. Immediately turn your left hand palm down and deposit the Kings face-down on the table to your left, saying, “That leaves the two
red ladies,” thus drawing attention away from the cards on the table.
Count the top Queen into your left hand then place the remaining double on top. Turn the packet face-down and place it on the table to your right. 3. Pick up both piles in position for Daley’s Delight, as you say, “During
the night the three guys decided to sneak along to the girls’ room. However, at the same time, the two girls decided to sneak along to the boys’ room. And so, they passed each other like ships in the night.”
As you say the final sentence, do Daley’s Delight, apparently swapping the piles over.
Then immediately spread both packets (Fig.2). Everything appears as it
should - the three Kings appear to be on the right now (the face-up King makes the positions clear) and the Queens, therefore, must be on the left.
4. Say, “After they both found empty rooms, the leader of the guys
realised what had happened, so he decided to sneak over to the other room and have the ladies all to himself...”
Remove the face-up King and insert it between the apparent Queens. Pause for moment, then continue, saying, “...and there was much
laughter from the ladies...but not from that room....in fact they were back in their own room again!” At this, flip over the two right hand cards
revealing the two Queens.
Finally flip over the two cards surrounding the face-up King revealing all three guys, as you say, “In fact it was all a dream!”
THE SHIFTY KING
A spectator signs the back of an Ace and a second spectator signs the back of a Two. You tap each card with a King and the signatures on the backs of the cards transpose. Only the three cards are used.
This is a no-deck version of the Peter Kane “Signature Transposition” plot that appeared in Jerry Mentzer’s Card Cavalcade, Vol.1.
WORKING
1. You need two spectators to assist you whom we will refer to as A and B. Remove the Ace of Hearts, Two of Hearts and the King of Spades. Discard the rest of the deck. Hold the three cards face-up in a fan with the Ace at the face, followed by the Two, and the King at the back, as you say, “Here we have a one, a two and a King.”
2. Square the cards, keeping them face-up in dealing position. Turn your hand and Glide back the face card then slide out the Two spot and place it face-down in front of spectator A, saying, “You’ll be number one...” Then slide out the bottom card (apparently the Two) face-down in front of spectator B, saying, “...and you’ll be number two.” Finally snap the King face-up, saying, “...and I get the ‘shifty’ King.”
Alternatively:
Hold the cards in the opposite order, with the King on the face with the right hand. Your left hand comes over, palm-down, and grips the Ace and the Deuce, with fingers on the face and thumb on the back. Your right hand grips the King with thumb on the face (Fig.1). Both hands turn over at the same time, the right palm down and the left
palm up. As the left turns, the thumb pushes to the right and the fingers pull to the left (Fig.2). This reverses the position of the Ace and Two. Both hand come together again so that the three cards are now fanned face-down.
Table the leftmost card face-down on the left. The next card goes in the middle. Finally snap the King face-up.
Note: This Monte Switch was popularized by Trevor Lewis and published as “Monte Plus” in his book ESOLC (Trevor Lewis and Phil Willmarth, 1981).
3. Give each spectator a pen and have them sign the back of the card in front of them. Place the King on the table for a moment.
4. Pick up the signed cards, one in each hand, saying, “Let’s swap them over.” Here you do Daley’s Delight, but as you make the switch you turn both hands inwards so the cards finish face-up (Fig.3). The Two is in front of spectator A, and the Ace in front of spectator B. All appears as it would, had you really exchanged the cards.
5. “Now please sign the face of the other
card. Who says we can’t all get along.” Each spectator signs the face of
the card in front of him.
6. Pick up the King, saying, “You may remember I called him the ‘shifty’
King. Well that’s because he’s very good at shifting things. Watch.”
Drop the King face-down on the Ace, then place the Two on top of all. Pick up the packet and turn it face-down. Slowly reverse count the cards back into the left hand, then deal the top card in front of the spectator A, the Shifty King in the middle and the final card in front of spectator B.
“Those are your signatures on the back, aren’t they?” They’ll agree that
they are.
Tap card one, then tap card two. Now tap card two followed by card one, then say, “He’s done a bit of shifting. Can you guess what he’s shifted?” Ask spectator A to turn over the card in front of him—the Two spot— revealing that it now bears his signature on its face as well. Spectator B now does likewise to complete the surprise.
REPELLING AND ATTRACTING
A three phase routine in which pairs of same color Queens keep repelling Aces of the same colors.
As you openly remove the four Queens and two opposite colored Aces, cull the other two Aces to the top of the deck. Remember the color of the top Ace; we'll say it's black.
PHASE 1a - The Kosky Switch.
1. Pick up the two red Queens and turn them face-down in the left hand, then place the red Ace face-down on top, getting a break below it. Now place the black Queens face-down on top of these cards, followed by the black Ace on top of all. As you do this, say, “Red Queens and red Ace on
the bottom….black Queens and black Ace on top.”
2. Turn the black Ace face-up and deal it on the table. Flip the black Queens face-up, then pick up the red Ace underneath. Use the Kosky Switch (vol. 2, chapter 15) as you appear to sandwich the black Ace from the table face-down between the two face-up Queens (i.e., outjog the top black Queen as you peel it onto the packet – add the tabled Ace face-down square with packet – place the remaining double on top of all, injogged. Now proceed with the switch. As you remove the sandwich, fan it to show the face-down card in the middle, then lay the cards on the table to your right.
The right hand takes the top face-down card and uses it to flip the bottom two red Queens face-up. Put the face-down Ace between them and lay these cards on the table to the left.
“But same colors repel.” Make a magic gesture and turn each packet over
to show the Aces have been repelled to the opposite packet.
PHASE 1b - Pure Gall.
3. Drop either pile on the other. The Aces are up, the Queens face-down. Fan the cards in the right hand and pull out the two face-up Aces with your left hand. Use your fingers and thumbs to flip both packets over: Aces face-down in your left hand, Queens face-up in your right.
"We have to reverse them again." Of course, this is two reversals, so
there is no change in position.
Put the top face-down Ace between the top two face-up Queens, the remaining face-down Ace between the other two face-up Queens. Put the top Queen packet on your right, the other one on your left.
“But same colors repel.” Magic gesture and the Aces have repelled to the
PHASE 1c: Daley's Delight.
4. Push the face-up Aces in front of their packets, then turn the Queens face-up as well, so it's clear the Aces don't match the Queens. Now you're going to do a variation of the Daley's Delight Switch.
Each hand simultaneously picks up a face-up Ace, thumb on top, first finger below. The second fingers come to the thumb side, then the thumbs release, allowing the Aces to pivot face-down between the first and second fingers (Fig.1a-b-c). Your left hand immediately shifts the first finger onto the face of the card so the Ace is between thumb and first finger.
Then do Daley's Delight and lay the Aces on the Queens. This results in two reversals, so the Aces are back where they started. Put the Aces between the Queens.
“But same colors repel.” Make a magic gesture and show the Aces have
once more repelled to the opposite packet.
PHASE 2: Marty Kane’s Version.
Assemble the cards face-up so they read from face to rear: red Queens, black Queens, red Ace, black Ace. The red Queens are at the face. Say,
“Let’s keep a closer eye on the Aces this time.”
5. Hold the packet from above in right hand Biddle grip. Name all the cards by color and value as they are displayed. The left thumb pulls off the first red Queen into its hand. The second red Queen is pulled off and a left pinkie break is taken beneath it. As the first black Queen is pulled off, the broken red Queen is stolen beneath the right hand packet. The second black Queen is pulled off. The final three cards are placed onto the
packet. The left thumb pushes the face card to the right, displaying the Aces. Square the packet and turn it face-down.
6. Acquire a left pinkie break above the second card from the bottom. Flip the top card face-up onto the packet, displaying a red Queen. The right hand grips the right side of the Queen and lifts it from the packet. The right hand returns to the packet, its fingers underneath the Queen flipping over all the cards above the break, while maintaining the break (Fig.2).
This displays the other red Queen. Place the first red Queen onto the packet, sidejogged an inch to the right. Flip all the cards above the break face-down onto the packet as the break is lost. Deal the top two cards into a spread on the table to your right.
7. Turn the left hand palm down so that the packet is brought face-up. The right hand slides off the red ace at the face and slides it face-up between the tabled cards. The left hand turns palm up and spreads its cards. Openly remove the bottom card, turn it face-up and insert it between the spread pair in the hand. Use this spread to tap the tabled spread. Finally reveal that the Queens have repelled away this time.
PHASE 3: Queens Gather Aces.
8. Casually put the black Ace face-down between black face-up Queens and the red Ace face-down between red face-up Queens, but make sure the Queen on top in each case matches the suit of the Ace. Pick up the deck and get break under top card (a black Ace, remember). Drop the black Queen packet on top and Double Cut to the break. Drop the red Queen packet on top and imitate a Double Cut, actually cutting first a quarter of the deck from bottom to top, then another quarter.
"The Queens act a little differently when they're in the full deck." (Yeah,
seen. Push the sandwiched Aces and Queens plus the card underneath the last Queen onto the table.
9. Take the top two cards off and lay them on the right of the spread, then the next two to the left. Lay the next two in front and last two at the bottom, forming a diamond (Fig.3).
Say, “In the full deck,
each Queen finds its matching Ace." Turn the
face-down cards face-up in place to show that this is just what has happened.
Notes: The inspiration for this effect was Marty Kane’s “Ms. Matches”,
which was in turn an elaboration of Peter Duffie’s “Bold Widow” from
Abacus, October 1996. Peter’s effect was inspired by Alan Brown’s [Karl
Fulves’] “Black Widow” from Pallbearer’s Review, May 1969.
DOUBLE ROUGE ET NOIR
In Dr. Jacob Daley’s “Rouge et Noir” (Phoenix #287), a spectator mixes five red cards with five black cards, then successfully separates them with the cards face-down. Here, appropriately enough, his Daley’s Delight switch is used to accomplish this effect with two spectators.
There is no preparation needed, other than a deck of cards and two willing spectators.
WORKING
1. Turn the deck face-up and deal the first ten red cards one-at-a-time onto the hand of a spectator on your left, whom we’ll call Bob. Then deal ten black cards onto the other spectator’s hand, whom we’ll call Bill. Note that you will have automatically separated approximately ten blacks in the process of removing the reds, so this goes quickly. Set the deck aside - it won’t be used further in this trick.
2. Hold your left hand out and ask the first spectator to turn his red cards face-down, mix them, then deal five onto your left hand. Then turn to the other spectator and have him deal five blacks onto your right hand. Then have them lay their remaining five cards down in front of them on the table. So you've got five cards resting on each palm and there are two five card packets on the table (fig.1).
3. Use Daley’s Delight Switch as you appear to exchange packets and put five opposite colored cards next to each spectator’s five cards. It’s easy to get into position for this. The packets are face-down on each palm. The left hand merely retracts the thumb and first finger slightly so the packet is held between them. The right first finger comes up above its packet beside the thumb. Then do the switch as normal, with your right arm crossing over your left.
4. Make a mixing motion with your hands as you ask each spectator to mix their ten cards together. When they’re satisfied that the cards are mixed thoroughly, ask each to pick them up.
5. Hold your left palm up as you tell the spectator on your right “Bob,
would you please put Bill’s five black cards on my hand. Oh, and do it with the cards face-down, please. Just pick any five cards one-at-a-time and put them on my hand.” While Bob is busy, turn to Bill and ask him to, “Try to find Bob’s red cards and put them on my right hand.”
6. When they’re finished, ask them to square up their cards and lay them back on the table. Again do Daley’s Delight Switch as you cross your arms and lay the cards on top of their tabled packets. Look at each it turn and ask, “How do you think you did?” After they’ve responded, turn both packets face-up simultaneously and ribbon-spread them lengthwise to show Bob has his ten red cards back and Bill his ten Blacks.
DALEY’S DO-AS-I-DO
Now that you’re comfortable with the Daley’s Delight Switch, here’s a routine in which it’s used over and over, with no one the wiser.
Remove the Ace through Four of Hearts and Spades, then set the deck aside as it won’t be used. Lay out the Hearts face-up right to left, front to
back, in front of the spectator and the Spades to match, in front of the magician. See layout below:
PHASE 1 - Front/Back/Right/Left
1. “I’m going to give you a set of directions, which we’ll both try and do
the same. First turn all four cards face-down. Now exchange the positions of the two front cards. Now the two back cards. The two on your right, and then the two on your left.”
While the spectator follows your directions, you do the same, except that you use the Daley’s Delight Switch every time. Throughout the routine, always use Daley’s Delight on all switches. Don’t try to make your actions mirror the spectator’s; simply follow the directions yourself: exchanging (?) first the front two of your four cards, then the back two, etc. Your actions will be the mirror opposite of the spectator’s, which will lead him to believe that this is somehow involved. When you are using the switch on the right or left cards, turn your body slightly that way, but use the normal switching otherwise.
2. Turn your cards over to show the Ace through Four of Spades back to their original positions (they never changed), as you say, “We’re back
where we started.” When the spectator turns his cards over, they are now
reversed front and back, right and left, as follows:
PHASE 2: Left/Right/Back/Front
Place the spectator’s cards back in their original position to begin.
3. “That didn’t seem to work. Maybe we need to change the sides first
this time.” After the cards have been turned face-down again, switch the
two on the left, the right two, the back two, and finally the two in front.
“Ok, mine are back in place. Let’s see how you did. Hmm...not so good.”
Again the spectator’s cards are reversed.
PHASE 3: Back/Front/Right/Left
Again replace the spectator’s cards in their original positions.
4. “Maybe we should start in back. Let’s try it again.” This time exchange the back two, the front two, the right two, and finally the left two cards.
“I’m in order again. How about you? Still not right, huh.”
PHASE 4: Success! Front/Back/Right/Left/Diagonals
5. “I think I know what’s wrong. You need to use my cards.” Exchange your Spades for the spectator’s Hearts.
6. “You’re going to get it right this time. I can feel it in my bones.” Exchange the front two, the back two, the left two, the right two, as you did the first time. But now make two more switches, which brings the spectator’s cards back to their starting position without him realizing it.
“Now exchange two diagonal cards. That’s right, either diagonal pair. Now exchange the other two diagonal cards.”
Turn over your cards to show that once more they are in their original positions. But when the spectator turns over his cards this time, he’s finally got things right. “Congratulations, I knew you just needed to use
Chapter 5
DARYL’S DIMINISHING COUNT (DDC)
It’s hard to find the origin of this simple but effective technique for counting N+1 cards as N, while automatically doing a Double Lift to display the last card. Elsewhere (Micky Hades' newsletter The Letter #41) we termed it “Daryl’s Diminishing Count” (DDC) in honor of Daryl Martinez, who has mentioned it several times in his writing.
The first mention Nick Trost was able to find was in Daryl’s For Your
Entertainment Pleasure (1982), but even Daryl isn’t sure if it’s original
with him, or when he first wrote it up.
Let’s assume that you supposedly have a packet of four face-down cards, but actually have five.
a) Grasp the packet from above with the right hand in a Biddle Grip.
b) Your left thumb pulls off the top card into the left hand (Fig.1).
c) Repeat with the second card. As the third cards is counted off, the right fingers pivot the final two cards face-up on top as one for the count of four (Fig.2).
Flip them face-down again.
You’ve just performed DDC, counting five cards as four, with a Double Lift on the last two to conceal a card.