O
O
RIGINAL
RIGINAL
A
A
RONSON
RONSON
S
S
TACK
TACK
I
I
MPOSSIBILITIES
MPOSSIBILITIES
&
&
S
S
TORIES
TORIES
ERIC RICHARDSON
ERIC RICHARDSON
Copyright 2011.
Copyright 2011. All rights reserved. All rights reserved. With the exception of a printed With the exception of a printed copy made for the purchaser, ncopy made for the purchaser, no part of this boo part of this booklet mayoklet may
be reproduced (nor transmitted) in any form or by
be reproduced (nor transmitted) in any form or by any means, electronic, photocopying, or otherwise, wany means, electronic, photocopying, or otherwise, without the priorithout the prior
written permission of the author.
written permission of the author.
Written, Designed &
Written, Designed &
Photographed
Photographed
by
by
Eric Richardson
Eric Richardson
FOR:
FOR:
KRISTANNA
KRISTANNA
SPECIAL THANKS
SPECIAL THANKS
SIMON ARONSON
SIMON ARONSON
PAUL THOMEY
PAUL THOMEY
TYLER WILSON
TYLER WILSON
STEVE BEAM
STEVE BEAM
JOSHUA JAY
JOSHUA JAY
CONTENTS
CONTENTS
Preface
Preface[page 6][page 6]
Tools
Tools
That Was Easy……… That Was Easy………99
A Moving Experience………. A Moving Experience……….1212 Prime Mover………. Prime Mover……….1414
Impossibilities
Impossibilities
[1] CON-T.R.A.S.T.
[1] CON-T.R.A.S.T.
Intro……… Intro………..19..19CON-CON-T.R.A.S.T. ………T.R.A.S.T. ……….20.20
Complete
CON-Complete CON-T.R.A.S.T. ………T.R.A.S.T. ………2828
[2] Playing Favorites
[2] Playing Favorites
Intro
Intro………..………..3030
The New Double Mind Read
The New Double Mind Reading Deck………ing Deck………3131
The New Poker Tell Pac
The New Poker Tell Pack………k……….38.38
DMRD (Kings)………. DMRD (Kings)……….4444
[3] Combo Pack
[3] Combo Pack
Intro Intro………4949Your
Way-Your Way-Giveaway………..………Giveaway………..………5555
Un-Un-Birthday………..………Birthday………..………5858
Mysterious Speller……….. Mysterious Speller………..6161
El Tornado & El Tornado Loc
El Tornado & El Tornado Loco (Tyler Wilson)……….o (Tyler Wilson)……….6565
[4] Unleashing a Dragon
[4] Unleashing a Dragon
Common Gro
Common Gro
und………
und………
.74
.74
Switch Trick 1 Switch Trick 1………..………..………7676 Switch Trick 2……… Switch Trick 2………8181 Tsunami Sevens Tsunami Sevens..………..………..85..85 Part Two (
Part Two (Joshua Jay’sJoshua Jay’sTrumped TriumphTrumped Triumphfinale)………finale)……….95.95
Dr. Agon’s Deal………. Dr. Agon’s Deal………..99.99 Dr. Agon’s Deal 2.0……… Dr. Agon’s Deal 2.0………...105...105 Faro Options………. Faro Options……….108108 What’s
What’s Next?...Next?...……….………109109
Notes………. Notes……….110110
Stories
Stories
[5] Full Deck Stories
[5] Full Deck Stories
Intro………. Intro………..113.113
Lunch at Lou
Lunch at Louie’s………ie’s………116116
Hero’s Tale……… Hero’s Tale………..126..126
The Legend of Southside
The Legend of SouthsideJohnny (Paul Thomey)……….Johnny (Paul Thomey)……….137137
!
!
[6] Mini-Stories [6] Mini-Stories Intro……….. Intro………..145145 Perfect 10……….146 Perfect 10……….146 Royally Flushed……….149 Royally Flushed……….149
Blind Date/Soul Mate………..153
Blind Date/Soul Mate………..153
Thoughts on Story Routines
Thoughts on Story Routines
………
………
156
156
?
?
Conclusion [page 177]
Conclusion [page 177]
Appendices
Appendices
A: Larreverse & Card Spread Switch
A: Larreverse & Card Spread Switch
………
………
179
179
B:
B:
Cut to Order 7’s………181
Cut to Order 7’s………181
C:
“…what amazes me most is the sheer quantity of effects that are imbedded within the Aronson stack.” “…what amazes me most is the sheer quantity of effects that are imbedded within the Aronson stack.”
--Simon Aronson --Simon Aronson
I co
I couldn’t agree uldn’t agree more! more! I am cI am continuallyontinually amazed with the b amazed with the beauty hidden within theauty hidden within the Aronson stack. e Aronson stack. II hope this book of new and original magic
hope this book of new and original magic will please the aficionado, provide solid material for thewill please the aficionado, provide solid material for the professional, and inspire further exploration of the Aronson stack.
professional, and inspire further exploration of the Aronson stack.
The routines in this book, as in my
The routines in this book, as in my first bookfirst book It All Depends,It All Depends, are all are all stack dependent. stack dependent. In other words,In other words, they can only be performed
they can only be performed with the Aronson stack. with the Aronson stack. None of the routines relies on None of the routines relies on the performerthe performer having memorized the order of the cards.
having memorized the order of the cards. If you have not memorized the stack you will still be able toIf you have not memorized the stack you will still be able to perform all of the routines in t
perform all of the routines in this book.his book.
There is a lot packed
There is a lot packed into this book, so allow me to give into this book, so allow me to give you a brief overview:you a brief overview:
The book begins with a chapter
The book begins with a chapter entitledentitled ToolsTools. It gives details about how to . It gives details about how to prepare your deck in a wayprepare your deck in a way that will allow you to easily follow the routines in the book.
that will allow you to easily follow the routines in the book. I also attempt to answers some commonI also attempt to answers some common questions about stack dependent routines from my own personal ex
questions about stack dependent routines from my own personal ex periences with stack work.periences with stack work.
The rest of the
The rest of the book has been divided into two sections:book has been divided into two sections: ImpossibilitiesImpossibilities andand StoriesStories. The. The ImpossibilitiesImpossibilities section of the book contains a wide range of routines.
section of the book contains a wide range of routines. There are four-of-a-kind productions, a birthdayThere are four-of-a-kind productions, a birthday card routine (with a giveaway gift for t
card routine (with a giveaway gift for t he spectator), new versions of my he spectator), new versions of my Double Mind Reading deck andDouble Mind Reading deck and Poker Tell Pack, and much
Poker Tell Pack, and much more. more. Section One culminates with Section One culminates with a very practical way to pa very practical way to produceroduce the heartthe heart suit in order
suit in order as a finale to your work with the stack! as a finale to your work with the stack! I use it all the time to close a set with the stack byI use it all the time to close a set with the stack by performing Joshua
performing JoshuaJay’s “Trumped Triumph.”Jay’s “Trumped Triumph.”
In the
In the StoriesStories section you will find three full deck story section you will find three full deck story routines that are performed in a routines that are performed in a similar fashionsimilar fashion
to “Sam the
to “Sam the Bellhop.” Bellhop.” You will You will also find also find several mseveral mini-stories that only use small portions of the stack. Asini-stories that only use small portions of the stack. As you will see, this provides some nice alternatives
you will see, this provides some nice alternatives to the full length story genre.to the full length story genre.
Thank you for joining me on another exploration of the fabulous Arons
Thank you for joining me on another exploration of the fabulous Aronson stack. on stack. Welcome to myWelcome to my OASISOASIS!!
Sincerely, Sincerely, Eric Richardson Eric Richardson 2011 2011
PREFACE
PREFACE
TOOLS
TOOLS
Since the publication of
Since the publication of It All Depends,It All Depends, many people have asked me about var many people have asked me about var ious aspects of workingious aspects of working with a stack.
with a stack. I have included this section with helpful I have included this section with helpful tips and techniques that cover several importanttips and techniques that cover several important aspects of stack work.
aspects of stack work. Even if you are experienced wiEven if you are experienced with stack work, I highly recommend th stack work, I highly recommend that you stillthat you still
read “THAT WAS EASY” which covers how I prepare the deck read “THAT WAS EASY” which covers how I prepare the deck..
Here is a brief overview of the topics covered: Here is a brief overview of the topics covered:
1)
1) THAT WAS EASYTHAT WAS EASY: : Discusses ways to prepare the dDiscusses ways to prepare the deck of cards to efficiently fieck of cards to efficiently find your way around thnd your way around thee stack.
stack. I would highly recommend making up a deck in the way I describe it and I would highly recommend making up a deck in the way I describe it and use it as you workuse it as you work through the routines in the book.
through the routines in the book.
2)
2) A MOVING EXPERIENCEA MOVING EXPERIENCE: : Covers the basic concerns surroundCovers the basic concerns surrounding moving cards arouning moving cards around within thed within the stack.
stack. Many of the routinMany of the routines in the book involes in the book involve moving one card to a nve moving one card to a new position. ew position. Practical advice toPractical advice to help you get comfortable with this reality
help you get comfortable with this reality can be found here.can be found here.
3)
3) PRIME MOVERPRIME MOVER: : Picks up whPicks up where “A MOVING EXere “A MOVING EXPERIENCE” ends. PERIENCE” ends. Here you wilHere you will find some l find some methodsmethods
for covering the secret
for covering the secret repositioning of cards in front of an audience.repositioning of cards in front of an audience.
TOOLS
TOOLS
8 8
When working with a stacked deck, it is important to be able to find your way around it easily.
When working with a stacked deck, it is important to be able to find your way around it easily. This isThis is especially true when using a memorized
especially true when using a memorized deck or a stack that deck or a stack that allows you to perform multiple stackallows you to perform multiple stack dependent effects.
dependent effects.
The effects in this book are stack dependent.
The effects in this book are stack dependent. Some require that a card is moved and, as you willSome require that a card is moved and, as you will discover in chapter 4, things can get even more involved.
discover in chapter 4, things can get even more involved. While all of the routines in this book can beWhile all of the routines in this book can be performed in the real wor
performed in the real world without any preparation of the deck, it makes seld without any preparation of the deck, it makes se nse to keep things asnse to keep things as simple as possible.
simple as possible. The simpler the set up is for a trick, the more likely you are to use it in yourThe simpler the set up is for a trick, the more likely you are to use it in your performances.
performances.
I take advantage of several strategies that allow me to find my way around the Aronson stack.
I take advantage of several strategies that allow me to find my way around the Aronson stack. These areThese are not new ideas and every performer will have their own preferences.
not new ideas and every performer will have their own preferences. It will ultimately be up to you toIt will ultimately be up to you to decide what techniques you will employ to help you.
decide what techniques you will employ to help you.
I would like to shar
I would like to share mine with you for twe mine with you for two reasons. o reasons. FiFirst, it’s possible you have not considered usingrst, it’s possible you have not considered using
some of the ideas that will be presented here and you might find an idea or two you can use.
some of the ideas that will be presented here and you might find an idea or two you can use. Second,Second, and more importantly, in the routines that follow I
and more importantly, in the routines that follow I will refer to my methods for getwill refer to my methods for getting around in theting around in the Aronson stack.
Aronson stack. If you create a deck like the one I am about to describe, it will help you get a feel for justIf you create a deck like the one I am about to describe, it will help you get a feel for just how easy it is to do
how easy it is to do these routines in the real world.these routines in the real world.
SCALLOP SHORTS SCALLOP SHORTS
The short card is an invaluable tool for many reasons.
The short card is an invaluable tool for many reasons. The main benefit for stack work is that it allowsThe main benefit for stack work is that it allows you to get to spec
you to get to spec ific places in the deck with cerific places in the deck with certainty and without glimpses or openly looking at thetainty and without glimpses or openly looking at the faces of the cards.
faces of the cards. By obtaining a break at a short card, you can then count or spread up or down in theBy obtaining a break at a short card, you can then count or spread up or down in the deck from that point to locate
deck from that point to locate desired cards for culling, cutting, etc.desired cards for culling, cutting, etc.
I prefer to scallop short my cards because a scallop short won’t interfere with faro shuffles.
I prefer to scallop short my cards because a scallop short won’t interfere with faro shuffles. The scallopThe scallop short simply shortens the center area
short simply shortens the center area of the playing card’s narrow ends.of the playing card’s narrow ends.
I scallop short two cards
I scallop short two cards in the deck. in the deck. I find it vI find it very useful to have the JS (ery useful to have the JS (1) and the 5D (27) 1) and the 5D (27) cut short. cut short. II
used to have both cut short in exactly the same way.
used to have both cut short in exactly the same way. I didn’t find this to be a problem because it is veryI didn’t find this to be a problem because it is very
easy to know which one you are
easy to know which one you are going for since they are tgoing for since they are twenty-six cards apart.wenty-six cards apart.
Recently I discovered a way to
Recently I discovered a way to scallop short the two cards so that thescallop short the two cards so that the y can be distinguished from eachy can be distinguished from each other.
other. There are several bThere are several benefits to this. enefits to this. First, this provides First, this provides absolute certainty absolute certainty of which card of which card my thumbmy thumb has just located without the need to glimpse the bottom card of the deck to get my bearings.
has just located without the need to glimpse the bottom card of the deck to get my bearings. With thisWith this
technique I can immediately locate either
technique I can immediately locate either card after the spectator’s ccard after the spectator’s cuts without looking at the deck.uts without looking at the deck.
“THAT WAS EASY”
“THAT WAS EASY”
Secondly, if I destroy the stack
Secondly, if I destroy the stack and continue with the shuffled deck, I can use and continue with the shuffled deck, I can use the two cards as distinctthe two cards as distinct key cards without any confusion.
key cards without any confusion.
The basic idea is to short less than half of the narrow ends of the cards.
The basic idea is to short less than half of the narrow ends of the cards. Each card is scallop shorted onEach card is scallop shorted on the opposite side to that of the other card. As you can see, in the picture below, the two cards are the opposite side to that of the other card. As you can see, in the picture below, the two cards are scallop shorted
scallop shorted on opposinon opposing sides. g sides. The cuts The cuts have been have been exaggerated for clarity. exaggerated for clarity. The actual The actual work I work I putput
into the cards is minimal.
into the cards is minimal. You don’t need to remove much of the card to get the desired effect.You don’t need to remove much of the card to get the desired effect.
It is important that when you are
It is important that when you are cutting the cards, you stop the cutting the cards, you stop the scallop cut before you get to the scallop cut before you get to the centercenter
of the card.
of the card. If you don’t, the cards will not work properly and you will get false information.If you don’t, the cards will not work properly and you will get false information.
You will find that the use of these cards is fairly simpl
You will find that the use of these cards is fairly simple. e. If you want to find card #1 then run your rightIf you want to find card #1 then run your right thumb up the left side of the back narrow end of the deck.
thumb up the left side of the back narrow end of the deck. To find #27 run your thumb up the right sideTo find #27 run your thumb up the right side of the end of the deck.
of the end of the deck. If you have cut your cards well, you should not be getting accidental breaks atIf you have cut your cards well, you should not be getting accidental breaks at the opposite
the oppositecard’s position.card’s position.
When I hit upon this idea I felt sure that someone must have already thought of i
When I hit upon this idea I felt sure that someone must have already thought of it. t. I owe a big thankI owe a big thank you to Bryan So for helping track down the proper source.
you to Bryan So for helping track down the proper source. You can find more information on this shYou can find more information on this shortort card technique and many other ideas in
card technique and many other ideas inGordan Miller’Gordan Miller’ss Anthology o Anthology of Card Magicf Card Magic (1968) pg. 56. (1968) pg. 56.
SECRET MARKS SECRET MARKS
A shrewd use of very simple
A shrewd use of very simple marks on a few cards comes in marks on a few cards comes in very handy as well.very handy as well.
I mark the outer le
I mark the outer le ft and inner right corners of the ft and inner right corners of the AC (10), 5S (20) and 3C AC (10), 5S (20) and 3C (40) in this way:(40) in this way:
I mark these cards by scratching off some of the ink with a sharp knife.
I mark these cards by scratching off some of the ink with a sharp knife. I also mark them so that theyI also mark them so that they can be distinguished from each other.
can be distinguished from each other. This marking system makes locating cards for the followingThis marking system makes locating cards for the following routines very easy as you will see.
routines very easy as you will see.
AC
AC
5S
5S
3C
3C
10 10
CONCLUSION CONCLUSION
Once
Onceagain, all the routines in this book can be performed without the aids descragain, all the routines in this book can be performed without the aids described above. ibed above. I don’tI don’t
always use them, especially if I intend to give away the deck at the end of a performance.
always use them, especially if I intend to give away the deck at the end of a performance. For most ofFor most of my work, the spectators have only a few moments to actually handle the cards.
my work, the spectators have only a few moments to actually handle the cards. Even if they were toEven if they were to casually examine them, they
casually examine them, theywouldn’t discover the secret preparationwouldn’t discover the secret preparation anyway. anyway. It hardly It hardly takes any timetakes any time to prepare a deck in this way and it provides you with a lot of extra help.
to prepare a deck in this way and it provides you with a lot of extra help. To me it is very worth it.To me it is very worth it.
One last thing: I use a temporary crimp as an aid in several effects in this book.
One last thing: I use a temporary crimp as an aid in several effects in this book. I will assume you areI will assume you are familiar with different ways to crimp a card and take out the crimp when your need for it has ended. familiar with different ways to crimp a card and take out the crimp when your need for it has ended. II tend to get rid of the crimp either during the routine or after the effect has ended.
tend to get rid of the crimp either during the routine or after the effect has ended. This allows me toThis allows me to continue with a fresh deck and the ability to use a crimp in another card without confusion.
continue with a fresh deck and the ability to use a crimp in another card without confusion. (See(See Roberto Giobbi,
Roberto Giobbi, Card CollegeCard College Vol. 2, pgs. 347-349, for se Vol. 2, pgs. 347-349, for several great crimping techniques.)veral great crimping techniques.)
11 11
PLAYING FAVS
PLAYING FAVS
CHAPTER TWO
CHAPTER TWO
It is fun to see how routines can change as you continue to perform and refine them.
It is fun to see how routines can change as you continue to perform and refine them. The effects in thisThe effects in this chapter are some old favorites
chapter are some old favorites that over time, further experimentation and input from othethat over time, further experimentation and input from othe r magiciansr magicians have improved since first being published.
have improved since first being published.
The new thinking on the
The new thinking on the“family” of“family” ofeffects in this chaptereffects in this chapterstarted when I performed “The Double Mindstarted when I performed “The Double Mind Reading Deck (Aces)” at the
Reading Deck (Aces)” at the Carolina CloseCarolina Close-Up Convention in -Up Convention in 2009. 2009. Tyler Wilson, while complTyler Wilson, while complimentaryimentary of the trick, wondered if there were ways to
of the trick, wondered if there were ways to improve the rationale for the spimprove the rationale for the spelling procedure. elling procedure. OurOur discussion spurred me on to look at the
discussion spurred me on to look at the effect again and I discovered a way effect again and I discovered a way to improve the actualto improve the actual spelling sequences
spelling sequencesas well as using Tyler’s insightsas well as using Tyler’s insights. . If If you enjoyed you enjoyed the original the original routines fromroutines from It AllIt All Depends
Depends, then I think you will really enjoy the , then I think you will really enjoy the refinements given here.refinements given here.
Let me give you an overview of the changes so you can be aware of the differences before we get into Let me give you an overview of the changes so you can be aware of the differences before we get into the routines.
the routines.
A NEW SPELLING PROCESS A NEW SPELLING PROCESS
In the original versions you would spell the card
In the original versions you would spell the card just revealed just revealed to get to to get to the next card. the next card. For example, theFor example, the card would be turned face up to
card would be turned face up to reveal the 3H which would indicate, based on the reveal the 3H which would indicate, based on the question asked, aquestion asked, a
spot card.
spot card. You would then spell “spot” to arrive at the next card that would answer the nextYou would then spell “spot” to arrive at the next card that would answer the nextquestion.question. While this worked and had its own
While this worked and had its own kind of logic I have reworked the kind of logic I have reworked the spelling process.spelling process. Now the questionNow the question is spelled and at the end
is spelled and at the end of the spell the deck reveals the answer of the spell the deck reveals the answer . . This is a big dThis is a big difference and is muchifference and is much easier to justify in the
easier to justify in the routine.routine.
TWO COOL IDEAS TWO COOL IDEAS
Tyler Wilson suggested two ideas that I have incorporated into the routines as well.
Tyler Wilson suggested two ideas that I have incorporated into the routines as well. Tyler suggestedTyler suggested giving more of a justification for
giving more of a justification for why why the spelling is taking place. I think he’s the spelling is taking place. I think he’s right and I have added moreright and I have added more
of an explanation in the presentation for why we are spelling the questions.
of an explanation in the presentation for why we are spelling the questions. This provides a betterThis provides a better continuity between the premise and the
continuity between the premise and the procedure.procedure.
He also suggested changing the moment of when the Larreverse sleight is used in the routine.
He also suggested changing the moment of when the Larreverse sleight is used in the routine. The ideaThe idea is to use the Larr
is to use the Larr everse as the spelling of each careverse as the spelling of each card is completed instead of waiting until the end of thed is completed instead of waiting until the end of the first phase to do the reversals.
first phase to do the reversals. You might prefer this idea as it speeds up the final revelation procedure.You might prefer this idea as it speeds up the final revelation procedure.
So here are the “New Double Mind Reading Deck” and “New Poker Tell Pack” routines!
So here are the “New Double Mind Reading Deck” and “New Poker Tell Pack” routines! I hope you enjoyI hope you enjoy
them. them.
PLAYING FAVORITES
PLAYING FAVORITES
THE NEW DOUBLE MIND READING DECK (ACES)
THE NEW DOUBLE MIND READING DECK (ACES)
EFFECT EFFECT
Two spectators pick cards, which are lost in the deck.
Two spectators pick cards, which are lost in the deck. The deck reads both spectators’ minds andThe deck reads both spectators’ minds and
reveals their cards in amazing ways climaxing with a
reveals their cards in amazing ways climaxing with a magical production of the four aces.magical production of the four aces.
SET UP SET UP
Here is an efficient and e
Here is an efficient and easy way to set up for this easy way to set up for this effect with the deck face-up.ffect with the deck face-up.
1) With the deck face-down, cut the QC to the bottom of the deck.
1) With the deck face-down, cut the QC to the bottom of the deck. Since it is the third card from theSince it is the third card from the bottom of the deck this is easy
bottom of the deck this is easy to do.to do.
2) Turn the deck face-up do an estimated push off of about half the deck to the right.
2) Turn the deck face-up do an estimated push off of about half the deck to the right. You will quicklyYou will quickly see the AH.
see the AH. In-jog the AH as In-jog the AH as you spread past it.you spread past it.
3) Continue spreading the cards between your hands until you get to the AD.
3) Continue spreading the cards between your hands until you get to the AD. Cull the AD under theCull the AD under the spread and insert it between the
spread and insert it between the 7D and 8C as you continue spreading the car7D and 8C as you continue spreading the car ds.ds.
4)
4) Close the spread and Close the spread and turn the deck face down. turn the deck face down. Obtain a break below the AH Obtain a break below the AH by pulling up by pulling up on the in-on the in- jogged AH with the right thumb.
jogged AH with the right thumb. Transfer the break to the left little finger.Transfer the break to the left little finger.
If you practice this sequence several times, you will see how quick and direct it is.
If you practice this sequence several times, you will see how quick and direct it is. You can also do theYou can also do the preparation for this routine with the deck
preparation for this routine with the deck face-down (see COMMENT 3 for details).face-down (see COMMENT 3 for details).
31 31
ROUTINE ROUTINE
FORCING THE CARDS FORCING THE CARDS
Riffle-force the AH on spectator 1 (Anne).
Riffle-force the AH on spectator 1 (Anne). As you are showing her the bottom card of the right handAs you are showing her the bottom card of the right hand packet (the AH), get a left little finger break under the top card of the left hand packet (the 8S). You can packet (the AH), get a left little finger break under the top card of the left hand packet (the 8S). You can use either a pinky count or
use either a pinky count or use your left thumb to push the use your left thumb to push the top card to the right and then top card to the right and then draw it backdraw it back while using your left little finger to catch a break beneath the 8S.
while using your left little finger to catch a break beneath the 8S. Put the right hand packet back ontoPut the right hand packet back onto the left hand packet retaining the new break under the 8S.
the left hand packet retaining the new break under the 8S.
Riffle-force the 8S on spectator 2 (Bob).
Riffle-force the 8S on spectator 2 (Bob). After this card is shown, replace the righAfter this card is shown, replace the right hand packet onto thet hand packet onto the left hand packet (no break is held).
left hand packet (no break is held). False shuffle the deck and give the deck a straight cut maintaining aFalse shuffle the deck and give the deck a straight cut maintaining a left little finger break between the two halves.
left little finger break between the two halves.
“You are probably expecting me to find your c
“You are probably expecting me to find your c ards in some amazing way, right?ards in some amazing way, right? I’m not going to!I’m not going to! ThisThis
is actually the world’
is actually the world’ s only Mindreading Deck and it will discover the secret identities of both of yours only Mindreading Deck and it will discover the secret identities of both of your cards.
cards. But first, say stop But first, say stop one more time one more time Bob.Bob.” ”
Riffle-force to the break and cut the
Riffle-force to the break and cut the deck at that location and compldeck at that location and complete the cut. ete the cut. Place the deck on thePlace the deck on the table as you introduce the premise o
table as you introduce the premise o f the mind reading deck.f the mind reading deck.
THE QUESTIONS THE QUESTIONS
“I’m going to ask you several questions about your card and I want you
“I’m going to ask you several questions about your card and I want you to just think your answer.to just think your answer. Don’t say your answers
Don’t say your answers out loud. Send the thought through your arm out loud. Send the thought through your arm, into your hand, down your, into your hand, down your finger and into the dec
finger and into the deck.k.” ”
Have Bob place his first finger of either hand on top of the deck.
Have Bob place his first finger of either hand on top of the deck. Really make sure that Bob understandsReally make sure that Bob understands that he is to say nothing during the
that he is to say nothing during the question phase.question phase.
“
“ Was your card red or black? Was your card red or black? What kind of card was it? Is it a picture card, like a king, or a What kind of card was it? Is it a picture card, like a king, or a numbernumber card?
card? Now Now l l et’s get more specific. What was the suit of your card?et’s get more specific. What was the suit of your card? Was it a Heart, Club, Diamond orWas it a Heart, Club, Diamond or Spade?
Spade? Here is tHere is the last question. he last question. What was What was the exact the exact value of yvalue of your card? our card? If it was If it was a two, fora two, for
example, think two.” example, think two.”
Have Bob take his hand off the deck.
Have Bob take his hand off the deck. Take the deck in your left hand in preparation for the first spellinTake the deck in your left hand in preparation for the first spellingg sequence.
THE DECK READS A MIND THE DECK READS A MIND
“Let’s
“Let’ssee what the deck has to say starting from see what the deck has to say starting from where you stopped me in the deckwhere you stopped me in the deck. . The first questionThe first question
was about the color of your card.
was about the color of your card. Now the deck can’t talk and it can’t heNow the deck can’t talk and it can’t hear so to communicate withar so to communicate with
the deck
the deckI’ll need to spell the questionI’ll need to spell the question I want the deck to answer. So I’ll spell C I want the deck to answer. So I’ll spell C -O-L-O-R.-O-L-O-R.” ”
Spell “color
Spell “color,,”” taking each card under the previ taking each card under the previous card to maintain stack ous card to maintain stack order. order. Turn over the last cardTurn over the last card of the spell to reveal the 5C [Photo 1].
of the spell to reveal the 5C [Photo 1].
“
“ The deck is telling me The deck is telling me your card was black!your card was black! Well, that could have Well, that could have been luck. been luck. It’s a 50/50 chance.” It’s a 50/50 chance.”
With the exception of the 5C, you will perform the Larreverse to apparently turn the face-up card back With the exception of the 5C, you will perform the Larreverse to apparently turn the face-up card back face-down and take it under the packet of cards in the right hand.
face-down and take it under the packet of cards in the right hand. (See Appendix A if you are unfamiliar(See Appendix A if you are unfamiliar with the Larreverse).
with the Larreverse). Of course, thanks to the Of course, thanks to the Larreverse, you will also be secretly Larreverse, you will also be secretly reversing cards asreversing cards as well (the aces)!
well (the aces)! For the 5C simply miFor the 5C simply mimic the movements of the Larreverse as mic the movements of the Larreverse as you turn over the 5Cyou turn over the 5C [Photo 2] and take it under the right hand packet of cards.
[Photo 2] and take it under the right hand packet of cards. Keep the spelled cards in your right hand.Keep the spelled cards in your right hand.
“I asked you to think about
“I asked you to think aboutthe kind the kind of card yof card you chose. ou chose. LeLet’s spell K t’s spell K -I-N-D to find out. The d-I-N-D to find out. The deck sayseck says
your card was a
your card was a number card!” number card!” Spell “kind”
Spell “kind”taking each card under the previtaking each card under the previous card with the right hand. ous card with the right hand. Turn over the last card Turn over the last card of theof the spell to reveal the 3H [Photo3].
spell to reveal the 3H [Photo3]. Now perform the Larreverse to secretly reverse the AS Now perform the Larreverse to secretly reverse the AS as youas you apparently turn the 3H face-down [Photo 4].
apparently turn the 3H face-down [Photo 4]. Take the double card under the right hand spread of cards.Take the double card under the right hand spread of cards.
“I also asked you to think of
“I also asked you to think of the suit of your car the suit of your car d.d. So I’ll spell SSo I’ll spell S-U-I-T. -U-I-T. Wow, the deck Wow, the deck is telling me youris telling me your cards is a spade cards is a spade!”!”
1
1
2
2
3
3
4
4
33 33Spell “suit” and t
Spell “suit” and turn over the last card of the spell to reveal the 10S [Photo 5]. Perform the Larreverse tourn over the last card of the spell to reveal the 10S [Photo 5]. Perform the Larreverse to secretly reverse the
secretly reverse the AC [Photo AC [Photo 6]. 6]. Take the Take the double unddouble under the right er the right hand packet. hand packet. TIP: TIP: When performingWhen performing
the Larreverses in this
the Larreverses in this routine you don’t wantroutine you don’t wantto expose the previously reversed card to expose the previously reversed card in the right-handin the right-hand packet as it could be
packet as it could be seen during the sleight. seen during the sleight. To make sure this doTo make sure this doesn’t happenesn’t happen, align the first card you, align the first card you spell with the bottom card of the right hand packet.
spell with the bottom card of the right hand packet. This effectively hides the reversed card before youThis effectively hides the reversed card before you perform the Larreverse.
perform the Larreverse.
“And this brings us to our fin
“And this brings us to our final question. al question. What was What was the number the number on your on your card? card? So, N-U-M-B-E-So, N-U-M-B-E-RR.”.”
Spell “number” and t
Spell “number” and turn over the last card of urn over the last card of the spell to reveal the 8C [Phthe spell to reveal the 8C [Photo 7]. oto 7]. (Remember to align(Remember to align the first card of the spell with the reversed bottom card of the right hand packet in preparation for the the first card of the spell with the reversed bottom card of the right hand packet in preparation for the Larreverse.)
Larreverse.)
“The deck says it was an ei
“The deck says it was an ei ght! ght! So your card mSo your card must be the Eight of Sust be the Eight of S pades!” pades!”
7
7
Perform the Larreverse to secretly reverse the AD [Photo 8].
Perform the Larreverse to secretly reverse the AD [Photo 8]. Take the double undTake the double under the right hander the right hand packet.
packet.
“Amazing.
“Amazing. Well, let’s Well, let’s confirm confirm the answer. the answer. AA-N-S-W-E-R! -N-S-W-E-R! ””
Turn over the last card of
Turn over the last card of the spell to reveal the 8S [Phthe spell to reveal the 8S [Photo 9]. oto 9]. Pause; let the audience react. Pause; let the audience react. In aIn a moment you will perform the Card-Spread
moment you will perform the Card-Spread Switch (see Appendix A for a Switch (see Appendix A for a description of this sleight), butdescription of this sleight), but
you don’t want to do it too early.
you don’t want to do it too early. The audience needs to refocus on you and register what you do toThe audience needs to refocus on you and register what you do to
appreciate the finale.
appreciate the finale. When they begin to refocus on When they begin to refocus on you, casually perform the Card-Spread you, casually perform the Card-Spread Switch.Switch. The AH will now be face-
The AH will now be face- down on the table but the audience wdown on the table but the audience will believe it is the discarded 8S ill believe it is the discarded 8S [Photo[Photo 10]. 10].
5
5
6
6
8
8
10
10
7
7
“It’
“It’ s amazing that the deck knew your card was the Eight s amazing that the deck knew your card was the Eight of Spades.” of Spades.”
The aces are secretly face-up in the up
The aces are secretly face-up in the upper portion of the deck [Phper portion of the deck [Photo 11]. oto 11]. Here, throw in one moreHere, throw in one more display to show the d
display to show the deck before placing the cards in feck before placing the cards in front of Anne. ront of Anne. Perform a thumb fan. Perform a thumb fan. Just makeJust make sure the upper portion is tightl
sure the upper portion is tightly fanned so you don’t expose any of the aces. y fanned so you don’t expose any of the aces. Casually show the frontCasually show the front
and back of the fan. and back of the fan.
Next, with the cards still
Next, with the cards still fanned, take the lower fourth of tfanned, take the lower fourth of the fanned cards into the right hand and showhe fanned cards into the right hand and show both faces and backs of both fans.
both faces and backs of both fans. Then place the right hand fan on top of the left hand fan and partiallThen place the right hand fan on top of the left hand fan and partiallyy square them as you put them in front of Anne.
square them as you put them in front of Anne. Thus the face-up aces are now more centralized withinThus the face-up aces are now more centralized within the deck.
the deck. Now carefully and Now carefully and slowly square the deck complslowly square the deck completely.etely.
THE ACES FINALE THE ACES FINALE
“It’
“It’ s amazing that thes amazing that thedeck read Bob’s mind;deck read Bob’s mind; but for you but for you (turning to Anne)(turning to Anne)let’s try something else.let’s try something else. Let’s cut to the c
Let’s cut to the chase for you. hase for you. Put your hand on Put your hand on the cards and I’the cards and I’ll only ask you one questll only ask you one question. ion. Are youAre you
ready? Good, what was your c
ready? Good, what was your card? ard? Think of its value and suit and just send the informatioThink of its value and suit and just send the information to then to the
deck.” deck.”
Don’t forget to remind Anne
Don’t forget to remind Anne that she is not to say anything out that she is not to say anything out loud.loud. “I had you just think of the va
“I had you just think of the value and sui lue and sui t of your card. Let t of your card. Let ’ ’ s see if the deck can give us an answer.s see if the deck can give us an answer.I’veI’ve
also trained the deck to respond to a snap and a
also trained the deck to respond to a snap and a utomatically give me all the information I need! utomatically give me all the information I need! ” ”
Snap your fingers over the deck
Snap your fingers over the deck and spread it slowly. If you have the table space and spread it slowly. If you have the table space then ribbon spread thethen ribbon spread the deck, if not, fan the cards between your hands.
deck, if not, fan the cards between your hands. Either way, do so in a slowly and deliberately as youEither way, do so in a slowly and deliberately as you reveal the aces [Photo 11].
reveal the aces [Photo 11].
“Oh yes.
“Oh yes. It seems that the deck It seems that the deck is telling us your caris telling us your card was an ace. d was an ace. Yes definitely an ace Yes definitely an ace but not thebut not the
spades, clubs
spades, clubsor diamonds. Your card must be the Ace of Hearts.” or diamonds. Your card must be the Ace of Hearts.”
The spectators will be reacting to
The spectators will be reacting to the unexpected revelations. the unexpected revelations. Wait until you caWait until you can regain their attentionn regain their attention before moving to the final revelation.
before moving to the final revelation.
“But what about
“But what aboutthe Ace of Hearts? the Ace of Hearts? Well the deck always Well the deck always lets me finlets me finish the show. ish the show. So I’ll turn So I’ll turn Bob’sBob’s Eight of Spades into Anne’s
Eight of Spades into Anne’s Ace of Hear Ace of Heartsts!” !”
13
13
9
10
9
10
9
9
10
10
11
11
35 35Snap your fingers over the tabled card and reveal it is now the AH!
Snap your fingers over the tabled card and reveal it is now the AH! Place the face-up AH in its properPlace the face-up AH in its proper place in the stack [Photo 13].
place in the stack [Photo 13]. (You can do this easily be either counting down four cards from the AD or(You can do this easily be either counting down four cards from the AD or using the mark on the 5
using the mark on the 5S.) Take your applause!S.) Take your applause!
RESET RESET
The reset is easy.
The reset is easy. Starting with the AS, turn over the AS and AC face-down, making sure they go aboveStarting with the AS, turn over the AS and AC face-down, making sure they go above the card that is on top
the card that is on top of them in the fan. of them in the fan. The AD is the exact opposite. The AD is the exact opposite. You turn it face-down and You turn it face-down and makemake sure it goes below the card beneath i
sure it goes below the card beneath it in the fan. t in the fan. The AH is simply The AH is simply turned face-down right where it is iturned face-down right where it is inn the stack.
the stack. You are You are reset.reset.
COMMENTS COMMENTS
1)
1) This routine only uses the top half of the Arons
This routine only uses the top half of the Aronson stack, so the other half can be freely
on stack, so the other half can be freely
mixed or reserved for some other effect like
mixed or reserved for some other effect like Dean D
Dean Dill’s and Michael Weber’s
ill’s and Michael Weber’s “A New World,”
“A New World,”
etc. See
etc. See It All Depends
It All Depends for some other routines that can be done from the
for some other routines that can be done from the top 26 cards of the
top 26 cards of the
Aronson stack.
Aronson stack.
2)
2) You don’t have to per
You don’t have to perform this as a doub
form this as a double mind reading effect.
le mind reading effect. Instead you can
Instead you can force the 8S
force the 8S
and perform the first phase to reveal the 8S.
and perform the first phase to reveal the 8S. Instead of doing the Card-Spread Switc
Instead of doing the Card-Spread Switch, perform
h, perform
an extra Larreverse.
an extra Larreverse. You now have the four aces secretly revers
You now have the four aces secretly reversed in the deck and ready to be
ed in the deck and ready to be
used in another routine!
used in another routine!
12
13
3)
3) You can achieve the set up for this trick with the deck face-dow
You can achieve the set up for this trick with the deck face-down as follows:
n as follows:
1) Cut the 7D to the bottom of the deck.
1) Cut the 7D to the bottom of the deck. (You can use the marks on the AC or 5S cards to help(You can use the marks on the AC or 5S cards to help do this with the deck face-down.)
do this with the deck face-down.)
2) Spread over the top three cards of the deck and cull the third card from the top (the AD) to 2) Spread over the top three cards of the deck and cull the third card from the top (the AD) to the
the bottom bottom of of the the deck.deck.
3) Spread over the top six cards and get a break below the sixth card (the AH).
3) Spread over the top six cards and get a break below the sixth card (the AH). You can use theYou can use the mark on the 5S to
mark on the 5S to quickly obtain the break.quickly obtain the break.
4) Transfer the deck into the
4) Transfer the deck into the right hand end grip, maintaining the break with your right hand end grip, maintaining the break with your right thumb.right thumb. Undercut about half
Undercut about half the deck to the deck to the top. the top. Transfer the deck bacTransfer the deck back into left k into left hand mechanics hand mechanics gripgrip and maintain the break with your left little finger.
and maintain the break with your left little finger. You are now ready to riffle-force the AH.You are now ready to riffle-force the AH.
CREDITS
CREDITS
The origin of the effect in this chapter ca
The origin of the effect in this chapter came from a group of “Mind Reading
me from a group of “Mind Reading Deck” routines by
Deck” routines by
Simon Aronson in his book,
Simon Aronson in his book, Try the Impossible
Try the Impossible
(2001).
(2001). His routines also
His routines also used the Aronson
used the Aronson stack
stack
but the deck only read one mind and they
but the deck only read one mind and they needed a table to be performed.
needed a table to be performed. For more
For more
information on the "Double Mind
information on the "Double Mind Reading Deck
Reading Deck
”” and other variations see my book,
and other variations see my book, It All
It All
Depends
Depends..
37 37
STORIES
STORIES
SECTION TWO
SECTION TWO
Everyone loves a good story and people find it fascinating that
Everyone loves a good story and people find it fascinating that a deck of cards can be a deck of cards can be used to tell a tale.used to tell a tale. One only needs to watch B
One only needs to watch Bill Malone performing his versionill Malone performing his versionof “Sam the Bellhop” to see of “Sam the Bellhop” to see howhow
entertaining and commercial this kind of routine can be. entertaining and commercial this kind of routine can be.
In the next two chapters I will teach several of my own story routines for the Aronson stack.
In the next two chapters I will teach several of my own story routines for the Aronson stack. Some useSome use the entire deck
the entire deck while others only use a small portion of thewhile others only use a small portion of thestack to create what I call “ministack to create what I call “mini--stories”. Asstories”. As
far as I know, Paul Thomey was the first to create a story routine using the Aronson stack.
far as I know, Paul Thomey was the first to create a story routine using the Aronson stack. His wonderfulHis wonderful
routine, “The Legend of Southside Johnny,”
routine, “The Legend of Southside Johnny,” is here for you to enjoy as well! is here for you to enjoy as well!
I began my search to find a story routine that I would enjoy performing many years ago.
I began my search to find a story routine that I would enjoy performing many years ago. After a detailedAfter a detailed study of every story routine I could find,
study of every story routine I could find, I realized that I wanted something different than what I realized that I wanted something different than what thethe majority of story routines out there had to offer.
majority of story routines out there had to offer. I made a list of what I wanted in a story routine andI made a list of what I wanted in a story routine and set out to create
set out to create my own. my own. The four basic The four basic criteria were:criteria were:
1)
1) Appropriate for basically any audience.Appropriate for basically any audience.
Almost all of the stories I found share similar elements: Bars, Bimbos, Blue humor, and revolved Almost all of the stories I found share similar elements: Bars, Bimbos, Blue humor, and revolved around gambling
around gambling themes. themes. Now before you judNow before you judge me a prude, hge me a prude, hear me out. ear me out. I enjoy watching I enjoy watching thethe performance of many of these routines.
performance of many of these routines. I just wanted to tell other kinds of storieI just wanted to tell other kinds of stories and I wanteds and I wanted a story I could perform for
a story I could perform for any any audaudience. Don’t worryience. Don’t worry; if you just have to have Bars, Bimbos,; if you just have to have Bars, Bimbos, Booze and a royal flush
Booze and a royal flushfinale, then Paul’s routine will notfinale, then Paul’s routine will not disappoint!disappoint!
2)
2) Clever and Clever and entertainingentertaining.. Part of the charm of
Part of the charm of a story deck routine is found in how well the a story deck routine is found in how well the story fits with the cards asstory fits with the cards as they are revealed.
they are revealed. I especially liked the I especially liked the word play elements of some word play elements of some of the best story routinesof the best story routines and sought to incorporate that idea into my
and sought to incorporate that idea into my stories.stories.
3)
3) Magic during the storyMagic during the story
One thing I wanted was a
One thing I wanted was actual magical effects as part of ctual magical effects as part of the story. the story. Most story routines areMost story routines are either performed by just dealing the cards off the top or, a
either performed by just dealing the cards off the top or, as in Bill Malone’s performances in Bill Malone’s performance of of
““Sam the Bellhop,Sam the Bellhop,”” the cards are the cards are produced in various ways that are more demonstrations of skillproduced in various ways that are more demonstrations of skill than magic.
than magic. I wanted to add strong magic to the story but without slowing down the pace of theI wanted to add strong magic to the story but without slowing down the pace of the tory.
tory. I think there are a lot of benefits to incorporating magic into the story (more on this later).I think there are a lot of benefits to incorporating magic into the story (more on this later).
STORIES TO TELL
STORIES TO TELL
113 113
4)
4) A strong magical climax (something other than a poker deal).A strong magical climax (something other than a poker deal).
I don’t have any problem, in general, with
I don’t have any problem, in general, with poker deals and performing effects that utilizepoker deals and performing effects that utilize
gambling themes (see CON-T.R.A.S.T. and the
Poker-gambling themes (see CON-T.R.A.S.T. and the Poker-Tell Pack in this volume). Tell Pack in this volume). Paul’s “ThePaul’s “The
Legend of South
Legend of Southside Johnny” is absolutely brilliantside Johnny” is absolutely brilliant and uses a p and uses a poker deal climax to great effect. oker deal climax to great effect. II just wanted a very magical ending that would surprise and amaze an audience.
just wanted a very magical ending that would surprise and amaze an audience.
After deciding on the criteria, I set out to create a story. The fact that I ended up creating more than one After deciding on the criteria, I set out to create a story. The fact that I ended up creating more than one story and that they use the
story and that they use the Aronson stack still amazes me.Aronson stack still amazes me. I didn’t set out to create a story routineI didn’t set out to create a story routine
specifically with
specifically with the Aronson stack. the Aronson stack. I just began I just began to see the stories to see the stories in the stack in the stack over time. over time. One evenOne even came to me in a dream!
came to me in a dream!
It is a great benefit that the stories are done with the stack you already are using for so many other It is a great benefit that the stories are done with the stack you already are using for so many other things.
things. At the end of this section I will share some thoughts on how to use a story routine in the contextAt the end of this section I will share some thoughts on how to use a story routine in the context of other routines without betraying your use of a stack.
of other routines without betraying your use of a stack. I think that this is an extremely important topicI think that this is an extremely important topic to consider carefully.
to consider carefully.
In the stories that follow, I believe
In the stories that follow, I believe I have met the criteria I I have met the criteria I set for myself. I am happy to put set for myself. I am happy to put thesethese routines on the table for your consideration.
routines on the table for your consideration. I am also honored that Paul has graciousI am also honored that Paul has graciously allowed me toly allowed me to share his story routine with you as we
share his story routine with you as we ll.ll. Honestly, I can’t believe that the Aronson stack Honestly, I can’t believe that the Aronson stack can be used tocan be used to
produce three completely different full deck story routines!
produce three completely different full deck story routines! I hope you enjoy them as much as I doI hope you enjoy them as much as I do. It’s. It’s
time for the Aronson stack to tell
FULL DECK STORIES
FULL DECK STORIES
CHAPTER FIVE
CHAPTER FIVE
I have been using this routine for a
I have been using this routine for a long time and it never fails to long time and it never fails to get a great reaction get a great reaction from the audience.from the audience. The finale is quite magical and always takes the audience
The finale is quite magical and always takes the audience by complete surprise.by complete surprise.
EFFECT EFFECT
Three guys
Three guyswalk into Crazy Louie’s Pizza Shack…walk into Crazy Louie’s Pizza Shack…
SET UP SET UP
Move (or cull) the 8H between the QD and AH.
Move (or cull) the 8H between the QD and AH. Cut the 3C to the top of the deck (if you have markedCut the 3C to the top of the deck (if you have marked the 3C then you will
the 3C then you will be able to cut to the 3be able to cut to the 3C easily) and put a crimp in the bottom C easily) and put a crimp in the bottom card of the deck (thecard of the deck (the 6H).
6H). Finally, cut the JS to thFinally, cut the JS to the top of the deck (easy wie top of the deck (easy with the scallop short).th the scallop short).
[See COMMENT 1 for achieving the entire
[See COMMENT 1 for achieving the entire set up quickly and with the deck set up quickly and with the deck face-down!]face-down!]
ROUTINE ROUTINE
Before you begin the routine, you
Before you begin the routine, you must force the AS on a spectator. must force the AS on a spectator. I use the Under-Spread Cull forceI use the Under-Spread Cull force (see
(see Card College,Card College, Vol. 1, pgs. 189-190), but any force will do. Vol. 1, pgs. 189-190), but any force will do. The AS is sixth from the top and in perfectThe AS is sixth from the top and in perfect position for the cull force.
position for the cull force. Make sure to instruct your helper that he is to take the card and keep itMake sure to instruct your helper that he is to take the card and keep it without looking at its face.
without looking at its face. Its identity is to remain a secret for now. Once the card is forced, you areIts identity is to remain a secret for now. Once the card is forced, you are ready to begin the story.
ready to begin the story.
“
“ Have you heard the one about the three guys whoHave you heard the one about the three guys whowalk into Louie’swalk into Louie’s Pizza Shack? Pizza Shack? No?”No?”
The audience will just think you are
The audience will just think you are setting up a joke.setting up a joke.
“Well it’s
“Well it’s not a not a joke! joke! TheThethree guysthree guyswalk into Louie’s Pizza Shack…” walk into Louie’s Pizza Shack…”
LUNCH
LUNCH
AT
AT
LOUIE’S
LOUIE’S
Perform a Charlier Cut (see
Perform a Charlier Cut (see Card College,Card College, Vol. 1 pgs. 172-173) at t Vol. 1 pgs. 172-173) at the crimp and turn over the he crimp and turn over the top card totop card to reveal the 3C.
reveal the 3C. Table the 3C face-up in frTable the 3C face-up in front of you.ont of you.
“…
“…every Saturday to hang out and enjoyevery Saturday to hang out and enjoyLouie’s world famous pizza.Louie’s world famous pizza. They always order the lunchThey always order the lunch special.
special.That’sThat’s two piz two pizzas for nine zas for nine bucks. bucks. Drinks not Drinks not included. included. CraCra zy Louie isn’t that cr zy Louie isn’t that crazy azy ! ! ” ”
Double undercut the top card to
Double undercut the top card to the bottom. the bottom. Perform the Two CardPerform the Two Card Catch flourish: Hold the deck in the left fingertips.
Catch flourish: Hold the deck in the left fingertips. The thumb is on topThe thumb is on top and the fingers are underneath the
and the fingers are underneath the deck. deck. Toss the deck into the righToss the deck into the rightt hand.
hand. By using light pressure you By using light pressure you will hold back the will hold back the top and bottomtop and bottom cards of the deck in your left hand [Photo 1]. Turn the two cards cards of the deck in your left hand [Photo 1]. Turn the two cards face-up in the left hand.
up in the left hand. As you deliver the lines, thuAs you deliver the lines, thumb off the cards one atmb off the cards one at a time onto the 3C creating a nice pile.
a time onto the 3C creating a nice pile.
“
“ Since they have come in every Saturday for Since they have come in every Saturday for years, they are treated like kings...years, they are treated like kings...” ”
Perform the classic Drop Flourish: with the deck
Perform the classic Drop Flourish: with the deck in the left hand, pushin the left hand, push the top card over to the right for about half an inch as you take the the top card over to the right for about half an inch as you take the deck in the end grip with
deck in the end grip with your right hand. your right hand. The side jogged condition The side jogged condition ofof the card is hidden by
the card is hidden by the right hand. the right hand. Hold the deck about twelHold the deck about twelveve inches above the
inches above the left hand. left hand. Drop the deck inDrop the deck into the open to the open left hand. left hand. AsAs you do, the air pressure will cause
you do, the air pressure will cause the top card to flip over and land onthe top card to flip over and land on top of the deck as
top of the deck as the deck is caught in tthe deck is caught in the left hand [Photo 2]. Place the king onto the he left hand [Photo 2]. Place the king onto the tabled pile.tabled pile.
“…and they always leave their favorite waitress
“…and they always leave their favorite waitressa six a six dollar tip. dollar tip. I w I w ould treat them like kings too!” ould treat them like kings too!”
Perform John Cornelius’ Spring Set flourish (see
Perform John Cornelius’ Spring Set flourish (seeThe Award Winning Magic of John CorneliusThe Award Winning Magic of John Cornelius by Lance by Lance Pierce):
Pierce): push the top card over to push the top card over to the right for about one fthe right for about one fourth of an inch. ourth of an inch. Use your left thumb toUse your left thumb to contact the exposed portion of the second card from the top of the deck.
contact the exposed portion of the second card from the top of the deck. Press down and to the leftPress down and to the left with your left thumb.
with your left thumb. This will cause This will cause the top card to flip the top card to flip over and land back on over and land back on the deck. the deck. Table the 6S.Table the 6S.
“Their favorite waitress was named
“Their favorite waitress was namedHildaHildaand she was from Gand she was from Germany.” ermany.”
Double undercut the top card (the 4C) to the bottom of the deck. Perform a double lift of the top two Double undercut the top card (the 4C) to the bottom of the deck. Perform a double lift of the top two cards to show the QS.
cards to show the QS. Leave the double face-up on the deck and take the deck in end grip with the rightLeave the double face-up on the deck and take the deck in end grip with the right hand.
hand.
“She had lived in the States for
“She had lived in the States for four years. four years.” ”
Perform J.K.Hartman’s Popover Move (see
Perform J.K.Hartman’s Popover Move (seeCard Craft Card Craft Pgs. 140-142) to Pgs. 140-142) to reveal the 4C: Hold the deck from
reveal the 4C: Hold the deck from above in end grip. above in end grip. The right fingersThe right fingers curl around the front of th
curl around the front of the deck and contact the 4C. e deck and contact the 4C. Move the rightMove the right fingers to the right, dragging the bottom card to the right with them. fingers to the right, dragging the bottom card to the right with them. Your palm up left hand is now slipped into the
Your palm up left hand is now slipped into the gap between the 4C gap between the 4C andand the bottom of the rest
the bottom of the rest of the deck. The left hand fingers grip of the deck. The left hand fingers grip thethe
1
1
2
2
3
3
117 117bottom half of the deck while t
bottom half of the deck while the right hand fingers pull the 4C up the right hand fingers pull the 4C up the front end of the dehe front end of the deck (making theck (making the 4C pop out face-up) [Photo 3].
4C pop out face-up) [Photo 3]. In a continuing action, the left hand puIn a continuing action, the left hand pulls down on the lower half of thells down on the lower half of the deck.
deck. The 4C is now guided into the break by the right fingers and the break is allowed to closeThe 4C is now guided into the break by the right fingers and the break is allowed to close (trapping the 4C).
(trapping the 4C). Strip out the 4C and tablStrip out the 4C and table it on the pile.e it on the pile.
“They asked her
“They asked herif she would ever if she would ever move back. move back. She saidShe said‘ ‘ NeinNein.’”.’”
Turn the double face-down.
Turn the double face-down. Take the top card off the deck and perform the Pirouette Flourish and thenTake the top card off the deck and perform the Pirouette Flourish and then reveal the change into the 9C.
reveal the change into the 9C. Drop the 9C onto the pilDrop the 9C onto the pile. e. As you table the 9C, anAs you table the 9C, and receive the groansd receive the groans you rightly deserve, get a break under the top two cards of the deck.
you rightly deserve, get a break under the top two cards of the deck.
“…but she said, ‘I do
“…but she said, ‘I do get homesick. get homesick.’” ’”
Immediately perform a dou
Immediately perform a double-turnover to reveal the 6D. ble-turnover to reveal the 6D. Table theTable the double face-up ont
double face-up onto the pile o the pile [Photo 4]. [Photo 4]. Keep the two cards Keep the two cards aligned toaligned to hide the QS.
hide the QS. There is plenty of There is plenty of misdirection here as the audience reactsmisdirection here as the audience reacts to the ridiculous word play.
to the ridiculous word play.
“One Saturday she
“One Saturday shewalked up to their table.walked up to their table.” ”
Now double undercut the top card (the QC)
Now double undercut the top card (the QC) to the bottom of the deck.to the bottom of the deck. Hold the deck in your left hand in dealing position but held mor
Hold the deck in your left hand in dealing position but held mor e at thee at the tips of the fingers.
tips of the fingers. Turn slightly to your left and position the deck so itsTurn slightly to your left and position the deck so its back is facing the audience.
back is facing the audience. The left fingertip contacts The left fingertip contacts the outer shortthe outer short edge of the deck
edge of the deck and pulls this bottom card away from the deck slightly.and pulls this bottom card away from the deck slightly. Slowly push the card towards
Slowly push the card towards you [Photo 5]. you [Photo 5]. This will cause the card This will cause the card toto swing out and up. (See
swing out and up. (See Royal Road to Card Magic-Royal Road to Card Magic-the move was createdthe move was created by Dr. Jules Dhotel).
by Dr. Jules Dhotel).
“She said, ‘
“She said, ‘ Hey, I bet y Hey, I bet y ou guys want your usual “ ou guys want your usual “ Two for NineTwo for Nine” deal.’ ” deal.’ They said, ‘Yes,’ They said, ‘Yes,’ of course!” of course!”
Double undercut the
Double undercut the 2C to the bo2C to the bottom. ttom. Perform the Two Perform the Two Card Catch flourish. Card Catch flourish. Turn the two Turn the two cards facecards face up in the left hand.
up in the left hand. As you deliver the lines, thumb off the cards (the 2C and 9D) one at a time onto theAs you deliver the lines, thumb off the cards (the 2C and 9D) one at a time onto the tabled pile.
tabled pile.
“
“ She said She said , ‘ , ‘ Have you heard that Louie is Have you heard that Louie is jacking up thejacking up the prices?’” prices?’”
Double undercut the top card (the JS) to the bottom.
Double undercut the top card (the JS) to the bottom. The next series of revelations happen very quickly.The next series of revelations happen very quickly. As yo
As you say “jacking,” quickly perform the Popover Move u say “jacking,” quickly perform the Popover Move described abovedescribed above(revealing the JS).(revealing the JS). Immediately flip the top card (the KC) face-up and onto the deck.
Immediately flip the top card (the KC) face-up and onto the deck. Obviously your revelation of the cardsObviously your revelation of the cards
coincides with “jack” and “king.” coincides with “jack” and “king.”
