FAULT FINDING
by Peter Duffie
This routine is really a card location masquerading as a Lie Detector.
Arrange the pack in alternating colour order - red / black / red / black and so on. WORKING
1. False shuffle and cut the pack a couple of times then place it face down on the table. Invite a spectator to give the pack another couple of complete cuts. Cut the pack at the mid-point (26/26). A guide is that the face card of the upper section will be the same color as the bottom card of the pack.
2. Place both sections face down on the table and ask the spectator to pick up one of the halves and hold it face down in his hands. Pick up the other section in order to demonstrate what will be required. Explain that you will ask him some questions about a card which he will shortly look at and he can lie or tell the truth. Give an example saying;
“I will ask you to spell out the suit of your card. You might say Diamonds. In that case you will spell the word D-I-A-M-O-N-D-S dealing off a card at a time onto the table one on top of the other like this....then drop the rest of the deck onto the dealt cards. You will do this in answer to every question I ask.”
Make sure he understands before going on.
3. Place your packet aside then turn away. Ask the spectator to give his packet a couple of cuts then to look at and remember the bottom card. He should show this to the rest of the audience. You now ask him the following questions and he will spell the answers, either by lying or being truthful:
a) “What is the suit of your card....was it Clubs, Hearts, Spades or Diamonds? Remember you can lie or tell the truth.”
b) “Is your card a face or a spot card....Face or Spot?” c) “Is the value High or Low?”
d) “Is the value Odd or Even?”
e) “Finally, have you been completely truthful?....Yes or No?”
3. Take the packet and casually fan it face up. Immediately look at the top ten cards, that is the ten cards at the rear of the fan. If there is a pair of cards together of the same color then the left card of the pair is the selection.
If there is no pair of the same color in the back ten, then move along to your right until you come to the first pair that matches in color. The selected card is the fifth card counting back to the left from this pair. Reveal the card as you see fit.
FIRST EXPERIMENT
by Peter Duffie
A spectator merely thinks of any card in a packet. He then answers a series of questions about his card - colour - suit - etc. In the end he finds himself holding his card.
This can be presented as an experiment to check the compatibility a spectator who you choose to assist you.
A 14 card arrangement is required - reading from the top:
QD-7S-KH-8H-4D-KC-3C-8D-8S-4H-3H-JD-JC-5S-rest of deck.
WORKING1. Jog Shuffle retaining the stack on top. With the deck face down, push off seven cards, without reversing the order, and place them on the table. Push off another seven cards and place these face down beside the first pile. The rest of the deck is discarded.
2. Turn your back as you invite a spectator to pick up either pile - look through the cards and merely think of one. Once he’s done that he places his packet on top of the other pile.
3. Pick up the 14 card pile and carry out the following simple Overhand Run Shuffle (this has to be precise):
Pull off the top card then throw the balance on top. Run 4 cards single then throw the balance on top. Run 2 cards single then throw the balance on top.
4. Explain to the spectator that you will try an experiment to see if he’s suitable to assist you with your magic. You will ask him four questions. All he has to do is spell out the answers by dealing one card for each letter into a pile on the table.
Give an example, saying, “I may ask you if your card is a SPOT card or a COURT card. If you’re card is a spot card, you will spell S-P-O-T like this, then drop the rest of the cards on top.” Here, you deal 4 cards into a face down pile while spelling the word S-P-O-T, then drop the balance on top of the four dealt cards. Now give him the cards.
5. You will ask the following four questions, and he spells the appropriate word, dropping the balance on top each time:
a) "Is your card RED or BLACK?" b) "Is your card a SPOT or a COURT?"
c) "Spell the suit - CLUBS, HEARTS, SPADES OR DIAMONDS." d) "Spell the VALUE." (note he spells the value and does not count).
Conclude by asking him to remove the top card of the packet and hold it for a moment. Finally say, “This experiment can only succeed with a truly psychic subject. What was your card?”
Once he names it, ask him to turn over the card he is holding. This will be his card.
Congratulate him on his psychic powers and proceed with your next effect. A trick using his selected is ideal.
3 - SOME
by Peter Duffie
A matching effect where the spectator does all the work and finishes with Three of a Kind. Inspired by Marty Kane’s Status Quo-2 Principle.
Remove any three threesomes, say, 3 Aces, Kings & Tens. Arrange them rotationally as follows: A-K-10-A-K-10-A-K-10. Place this packet on top of the deck.
Devise your own presentation for this if you feel you need one. WORKING
1. False shuffle then deal off nine cards - discard the rest of the deck.
2. A spectator gives the packet a few cuts then carries out any number of Deal Mixes, as follows:
A spectator deals the packet into two face down piles, then picks up either pile and drops it on top of the other. He repeats this as many times as he wishes. He can also cut between mixes, but that might slow things down too much.
Finally he deals the top card face down onto the table as his selection. He is left holding eight cards.
3. He now deals the top four cards into a face down row on the table. He turns the remaining four cards face up then deals these onto the first four to form four pairs - he must deal in the same direction both times.
4. Now turn the selection face up. Look for a matching value among the four face up cards (clue....it will the 3rd pair along), and slide the selection under this pair to form a three card sandwich - the middle card is face down. You might want to ask for a number betwen 1 and 4 thus forcing the 3rd position.
Turn the lower cards of the other three pairs face up showing that none match. Finally flip over the face down card to reveal Three of a Kind.
AUTO - SPLIT
A mysterious double card revelation, where a spectator manages to separate the colors of the cards with the exception of two selections. Interestingly, you never touch the cards !
This first appeared in Cards in Principle (1994). I hope to make this book available in e-format soon.
Set the top sixteen cards of the deck in a strict red-black alternating sequence. The number of cards needn’t be sixteen, you can use any even quantity, but sixteen is about right.
WORKING
1. With two able spectators at hand whom we will refer to as A and B. Hold the deck face down and push off sixteen cards. Give these to spectator A and ask him to give the packet a few straight cuts. Meanwhile place the deck aside as it is no longer needed.
2. Ask the spectator to deal two piles of cards with three cards in each - he should deal alternately left and right as if in a game. The first card will be dealt to spectator B if he deals according to the rules of card play. If he happens to deal the top card to himself, simply re-label the spectators B and A. The balance of his packet is placed on the table.
3. Ask both spectators to pick up their three cards and hold them face down. Tell spectator A to mix his three cards, keeping them face down, then to spread them and remove the middle card. He looks at this card and remembers it, then replaces it between the other two. Finally he drops his packet back on top of the tabled balance of the sixteen card packet.
Now spectator B does exactly the same with his three cards.
It is essential that you instruct the spectators clearly so that they don’t turn their cards over. If all three cards are seen, it would be apparent that they are all one colour.
4. Ask spectator B to give the tabled packet one complete cut then to take the packet into his hands.
Instruct him to deal the complete packet into two piles, again dealing alternately as in a two handed game. As he completes the deal, say, "I think you made a couple of mistakes there, but I can't be sure....never mind, it’s only a card trick!"
Ask each spectator to name the card he looked at. Finally turn over each pile and spread them to reveal that all the blacks are in one pile, and the reds in the other, with two exceptions. These are the two selections. As you remove the two selections, say, "I told you that you made two mistakes!...but they were pretty good ones!"
DIRECTLY BETWEEN
by Peter Duffie
NOTE! This effect appeared in Obsession (1992). The complete Obsession manuscript containing 20 tricks will soon be made available on this site as a free download.
EFFECT
A selected card vanishes from the bottom of the deck and appears between two face up Jacks in the middle.
WORKING
1. Remove the two black Jacks from the deck then hold the deck face down in a dealing
position in the left hand. Take the two Jacks and hold them face up with the right hand with the thumb on the face and the fingers below. With the left thumb riffle down the outer corner of the deck stopping at the centre. The right hand spreads the Jacks slightly and begins to insert them into the gap held open by the left thumb. Due to the spread condition the upper Jack enters the deck first, as soon as this happens, the left thumb releases two more cards Thus two face down cards have been secretly loaded between the face up Jacks. Placing your right thumb on the inner end begin to push the Jacks square with the deck. When you reach the point where the Jacks have only about half an inch to go, lift the right thumb and push them flush.
This will cause the two loaded cards to emerge at the inner end by means of the plunger principal. During a squaring action push down on the injogged cards with the right thumb and obtain a little finger break above them. Look the spectator in the eye and ask him if he has a good memory, carrying out a classic two handed Pass.
2. Turn over the top card and ask the spectator to remember it. Turn the card face down again and apparently deal it onto the table, really executing a Strike Second Deal. As your right hand is dealing the card open up a break anywhere near the middle of the deck by pulling down with the left little finger and inserting it. Again look the spectator in the eye and say, "I'm now going to make this card vanish and appear between the two Jacks." As you say the word 'vanish' carry out another Classic Pass then immediately drop the deck onto the card which is on the table. The tabling of the deck should coincide with the finish of the sentence.
Finally ribbon spread the deck across reveal a face down card trapped between. Have the card removed and verified
BLACK SEPTEMBER
by Peter Duffie
A variation on the Brown aka Fulves 'Black Widow' trick.WORKING
1. Remove the four Kings and lay them face up in two pairs, reds and blacks.
Give deck to speck and ask him to remove a red and black Ace. He places the red Ace between the red Kings and the black Ace between the black Kings (all cards are face up). Deck is tossed out the window at this point.
2. State that ONLY THE KINGS have magic powers. Then state that you will cause one set of cards to magically pass up through the other set of cards, asking, “Which will be the magic set...the reds or the blacks?” Let’s say he names the reds.
Pick up the blacks and hold them face down in dealing position. Now pick up the red set and place them face up on top. Spread to show them, and then you APPEAR to turn the threesome face down and place them to the bottom of the blacks. What happens is: When you turn the reds face down you pause to square them - in doing so you allow the bottom card to fall onto the lower section. Then, you place the remaining 2 cards SECOND from the bottom using a Pull-Down or Buckle. As you do this you say, “The red set goes under the black set.”
3. Tap the packet then flip over the top card revealing a red King has risen to the top. As you turn it over you catch a break below the next card. Now take the top 2 cards as one with your right hand then push off the next card and take it face down (don’t turn it) on top of the face up King, saying, “The red Ace.” Flip over the next card using the edge of the right hand packet to reveal the other red King, which is taken on top of the right hand cards.
The red set has risen through the black set as you said they would. Casually replace the right hand cards on the left hand packet, then push off the top 3 and place them on the table in a spread - face up red King / face down card / face up red King.
4. Finally say, “You’ll recall I told you that only the Kings have magic powers? I can prove this to be the case because while the Kings passed through one another....the Aces remained static.” At that, turn over the three cards you are holding to reveal the two black Kings now have the red Ace between them. Conclude by turning over the face down card between the tabled Kings to show the complete transposition.
CHRIST MEETS BALDUCCI
by Peter Duffie
Three spectators each cut the deck - one cuts near the top - one cuts near the middle and one near the bottom. As a result, three cards are selected. The deck is spread and one card is found to be reversed - this is the Ace of Spades. When the other three cards are turned over they prove to be the other three Aces.
This is a very simple application of two well-known principles - The Christ Force and the Balducci Cut-deeper Force. Here both principles are combined in one. This was inspired by a Ace production which I believe was Herb Zarrow's.
To begin arrange the top 5 cards of the deck as follows from the top:
FD Ace - FD Ace of Spades - FU Indifferent - FU Ace - FU Ace = rest of deck FD. WORKING
1. Give the deck a Jog Shuffle retaining the top stock then hold it face down in dealing position. Extend your hand towards a spectator and ask him to lift off a portion, saying, “Make your cut above center.” Now tell him to turn the packet face up and replace it on the deck. Spread over all the face up cards and take them momentarily with your right hand as your left thumb deals the first face down card onto the table. Replace the face up section on top (keep it face up).
2. Turn to a second spectator and ask him to do the same but he is to cut at the center - turn over the packet and replace it. Again, spread over all the face up cards and take them momentarily with your right hand as your left thumb deals the first face down card onto the table. Replace the face up section on top as it is.
3. Repeat with a third spectator, this time asking him to cut deep down near the bottom - turn the section over and replace it. Again remove the first face down card but this time flip the right hand cards face down to finish, then place the deck face down on the table.
4. Mime the removal and reversal of a card, which you pretend to reinsert into the deck. Now spread the deck across the table revealing the Ace of Spades face up in the middle. Remove the Ace and tap the three selections with it. Finally flip them over one by one revealing the other three Aces.
C
OLOUR
P
OKER
C
HALLENGE
By Peter Duffie
You explain that a lot of people do not play card games, especially Poker. Therefore, you have devised a simplistic version of Poker which uses the colours of the cards only. The idea being, the player who gains the most cards of the one colour wins the game. Five of one colour is obviously the best possible hand. You ask a spectator to 'think' of any number from one to ten. This secret number will represent the number of hands he will shortly deal. You give the deck a 'psychic shuffle' then give it to the spectator, who only now announces his secret number. It might be 'eight'. He deals eight hands of five cards. All the hands contain a mixture of reds and blacks, except the spectator's hand, which contains five reds!
This trick appeared some years ago in The Budget.
NOTE: Thanks to Jim Snapp, the stack for this has now been altered as of 1 Nov 2001. This allows the dealer a choice of ANY number of hands from 1 to 10 (inclusive) rather than 3 to 10. The idea for using the colours of cards in a Poker demonstration was utilised by Lewis Jones in 'Colour Poker' that appeared in his book Shampagne. Lewis devised his effect with non-card players in mind. The idea is good as everyone can follow the effect. The following uses a simple stack which allows the cards to be dealt into any number of hands from one to ten inclusive; in any deal the dealer will receive all of the one colour, and all other hands will be mixed. The dealer will always receive five red cards except when he deals seven hands, when he will receive five blacks.
This uses a stack. To set the deck, separate the reds from the blacks, then reassemble them so that the reds occupy the following positions, reading from the top down:
1, 2, 3, 4, 5, 6, 8, 9, 10, 12, 15, 16, 18, 20, 24, 25, 27, 30, 32, 34, 36, 40, 45, 46, 50, 52. WORKING
1. Introduce the deck and say, "I expect most of you are not regular Poker players. Well, I've got news for you - I have invented the simplest Poker game in the world. All you need to bother about is the colour of the cards, red or black. You deal out a number of hands as normal until there are five cards in each hand. The idea is that the player who has the most of one colour wins. The best possible hand is all five of one colour."
Select a spectator as the dealer and ask him to think of any number from one to ten inclusive, but not to tell you as yet. Continue, saying, "As I invented the game, I also devised a way of cheating at it. It's a rather unusual method because it does not require any dexterity. You see, because we are only concerned with colours I am able to use psychic powers to manipulate the cards."
2. Place the deck face down on the table in front of the spectator and ask him to pick it up. Stare at him and pretend to send psychic messages to the deck, then say, "That's it. The deck is now stacked so you will receive the winning hand of all one colour."
3. Tell him to deal the number of hands he had decided upon. Once he had dealt the first round you will know if he is dealing seven hands. If he is, say, "That's good. Stop once every hand has five cards. You will be amazed to see that your hand will be the only one containing five cards all black." If he is dealing any other number of hands, substitute red for black in your patter.
All that remains is for you to turn over each hand to show that none is of the one colour. Finally ask the spectator to turn over his hand to conclude.
COVERSION
by Peter Duffie
You cut the deck into two halves. A spectator picks up either and shuffles it. He then selects any card, which is lost back into the packet. This section is replaced on the table. You ask a second spectator to pick up the other half and start dealing it into three piles. At ANY point he can stop the deal - no matter on which pile he dealt the final card.
The top card of each pile is turned over and the three values added together. They might total 20. The first spectator counts down to the 20th card in his half and is surprised to find his chosen card!
A full deck stack is required and I suggest you grab a deck and set it before reading further. The stack is an expansion of the classic 12/13 or 14/15 Force. Here is a 26 card stack - both halves are set in identical order: X = Court cards and Ten spots.
9-9-A-8-X-2-7-X-3-6-X-4-5-X-5-4-X-6-3-X-7-2-X-8-A-X
Set the other 26 cards in identical order. Crimp the bottom card of one section then place this section on top of the other.
WORKING
1. Give the deck a few False Cuts then divide it at the exact centre (crimp). Place both halves face down on the table.
2. Invite a spectator to pick up either half and shuffle it. Then ask him to remove any card as his selection. Take the cards from him while he shows the card to the other spectators. As he is doing this push over the top 6 cards and retain a little finger break below them. Ask him to place his card on top of the packet, then cut the cards above the break to the bottom. His card now lies 20th down. There are other ways to get the card there, so feel free to use the method that suits you best.
3. Ask a second spectator to pick up the other half in readiness for dealing. Point out the various values in a deck - Ace = 1 and Court cards = 10. You must ensure that they know the latter.
4. Ask him to deal the cards into 3 face down piles - dealing in the same direction each time. the best way to say this is to ask him to deal as if it were a three-handed game. Allow him to deal a few cards then tell him he can stop the deal at ANY point he wishes. So, he can stop on any pile and does not need to complete the final three-card round.
5. Next reach forward and turn over the top card on each pile and ask the spectator to add together their values. The total will be either 19 or 20. It can be nothing else. Finally ask the first spectator to carefully count off 19 cards - if the total is 19, he turns over the NEXT card. If 20, he turns over the 20th card. Either way, it will be his selection.
C
ROSSFIRE
by Peter Duffie
A simple matching effect based on Arthur Setterington's "X Marks the Spot" (Abracadabra 2161, 1987). A slightly more elaborate effect will be offered at the end.
WORKING
1. Run through and remove five matching pairs of cards, for example, two red Queens, two black Threes, etc. Arrange these cards in a rotational order: A-B-C-D-E-A-B-C-D-E. You can either do this openly (without actually showing the faces of the cards) or you can set it up in advance and push the 10 cards off the deck. Only the 10 cards are used.
2. Give the packet to a spectator and ask him to give it a few straight cuts. Now say, "Let the magic begin, but before that can happen you need to tell the cards." At that, ask him to spell M-A-G-I-C dealing a card for each letter into a face down pile on the table, then he drops the remaining cards on top.
3. He now carries out as many Deal Mixes as he wishes. That is, he deals the cards into two hands, as if he were dealing a two-handed game of cards, then drops one hand on top of the other. This can be repeated indefinitely because the packet is in Stay-stack order and this type of mixing procedure contains certain Faro properties.
4. Say, "The sign of the Cross has been significant in human spirituality throughout history and before. It has been a focal point and symbol for many religions. It's purpose is to bring together soul-mates and create peace and happiness. Unfortunately, most religions misused this precious symbol to bring death and persecution to those who dared to express their free-will, and who refused to b to the man-made dogma of a new religio Let's see if we can return the Cross to its rightful purpose, the bringing together of sou mates."
ow n.
l-Ask him to deal a row of 5 cards, followed by a column that crosses the row - both central cards overlap (see illustration).
Finally turn over the pair at the center of the Cross to reveal a perfect match - Soul Mates.
ELVIS HAS LEFT THE BUILDING
by Peter Duffie
You ask a spectator name to name king - he might say Diamonds. You cut the KD to the top of the deck and remove the two black Aces. You explain that the King will represent Elvis - the King of Rock ‘n Roll, and the two Aces are his bodyguards. You place Elvis between his bodyguards then pop the sandwich into the card box, which represents the auditorium.
You say, “It has only recently come to light that Elvis had a secret way of leaving the auditorium without the fans seeing him. When the announcement was made, ‘Elvis has now left the building,’ he really had.” At this, you toss the deck from hand to hand and instantly produce the three card sandwich - Elvis between his two bodyguards.
Finally you say, “And when the fans finally got to his dressing room, they were bitterly disappointed, because all they found was three Elvis impersonators!” The contents of the card box are revealed as the other three Kings!
Although created independently while experimenting with the Multiple Lift, the basic effect is similar to a previous effect of mine called ‘Inside Job’ (Alternative Card Magic). All you need to do is get the four Kings together anywhere in the deck.
You can utilise the above presentation, or make up your own (check out ‘Inside Job’ for another suggestion). Here are the actions you carry out to accompany the patter.
WORKING
1. Introduce the theme of Elvis as outlined above, then ask a spectator to name any King. Say, he names Diamonds. Spread through, with the faces towards you, and locate the block of four Kings - if Diamonds is already at the face of the group, simply cut all four Kings to the top (rear). Otherwise, slip the desired King to the face of the group and then cut them to the top. I just make the adjustment openly as no-one can see what I’m doing.
Now run through and toss the two black Aces face down onto the table. As you close up the spread downjog the named King which is now 4th from the back.
2. Turn the deck face down and establish a break under the injog - that is, under all four Kings. Reach down and turn over the two Aces leaving them on the table. As you explain what they represent (bodyguards), you flip over all four cards above the break as one (Quadruple Lift). This displays Elvis! Now pick up the two Aces and place them face up on top of Elvis, then flip all 6 cards face down. Immediately push over the top three cards - remove the top card (apparently Elvis) and slide it between the other two, then place the three-card sandwich in the card box.
3. As you are continuing the story, Double Cut the top two cards to the bottom, then hold a break above them. You now perform a Hofzinser-Toss-come-Muller-‘Three-Card-Catch’ as follows:
Assuming the deck is in your left hand; the bottom two cards are gripped between the little finger (which holds the break) and the palm of the hand. Your left thumb presses down on the top card of the deck.
You now toss the deck from your left hand into your waiting right hand - however, the top card and the bottom two cards will remain behind. I use a wrist-snap action which makes it appear more sudden.
Pause for effect, then slowly turn over the three cards revealing Elvis and his two bodyguards. Conclude by revealing the other three Kings inside the card box.
EMIT
by Peter Duffie
You show a packet of cards arranged in red/black pairs plus four Aces. A spectator inserts the Aces into the packet at random positions then squares the packet. You now turn time
backwards. The top four cards are once again the Aces, and the remaining cards are as they were - in red/black pairs.
The plot is Roy Walton’s ‘Back into Time’ that appeared in The Complete Walton 2. The method is the Gilbreath Principle. For a related item, method-wise, check Phil Goldstein's "Straight Raiser" that appeared in Afterlife, a limited edition manuscript compiled by Gordon Bean in honour of the publication party for The James File, last August 2000.
WORKING
1. Remove the four Aces and place them in a face up pile on the table. Next remove about a dozen pairs of red/black cards and form a pile on top of the Aces. The overall sequence of these cards (excluding the Aces) should alternate, but do not draw attention to this fact. Instead attention is focused on pairs. Here is an example of the face up pile from back to front:
A-A-A-A-R-B-R-B-R-B-R-B-R-B-R-B-R-B-R-B-R-B-R-B-R-B-R-B
2. Hold the packet face down in dealing position. Show the set up as follows:
Push off the four Aces, turn them face up and drop them on the table, saying, "We have the four Aces who are the time travellers in the pack." Now push off a pair of cards, turn them over, saying, "A red and black..." then drop these face up on top of the Aces. Repeat with the
remaining pairs. Explain that the red/black pairs represent little pockets of time and space, each consisting of one positive and one negative colour.
3. Pick up the pile and take it face down into dealing position. Push off the four Aces from the top and catch a break under the third card further down (See End Note). Turn the Aces face up and pick up all seven cards above the break. Count them onto the deck, flipping each face down using the Braue Addition, the final Ace is flipped face down on top of all.
4. Push off the top 4 cards, without reversing teh order, and set them on the table, then spread the remaining cards into a line on the table. Invite a spectator to push the Aces into the spread at random. As if to demonstrate, pick up the top card of the Ace pile, flash its face, then insert it 4th from the top. Now invite the spectator to do likewise with the remaining three cards - the only stipulation is that he must move progressively downwards from the card you inserted, so that each card goes below the previous. Finally the packet is squared.
5. Talk about going back in time - pretend to turn the clock back - then cleanly turn over the top 4 cards revealing that the Aces are now on top untouched. Finally turn over the remaining cards a pair at a time showing each to consist of a red and black card, saying, "Red, black....red, black...red, black..." and so on. The packet, also, is seemingly back as it was. END NOTE: The break for the Braue can be set in advance as you initially show the second pair of red/black cards. If you spread them so the lower card is injogged then drop these on the pile, the injog can later be transformed into the break.
FOURSHADOW
by Peter Duffie
A spelling effect using a shuffled deck which culminates in the revelation of the four Aces. The plot, I believe, belongs to Henry Christ.
Before you begin you need to cull the four Aces with Hearts at the rear and have one random card between the first and second Aces. Let’s use the following order for this description: AH - AC - AD - X - AS (face card of packet). These 5 cards are on top of the deck.
WORKING
1. Hold the deck face up and spread the cards from hand to hand, saying, "I need the magic Queen for this trick." As you are talking, spread to the end, then close the spread keeping a break above the 5 card stack. Cop this packet in your left hand as your right hand takes the deck and gives it to the spectator, saying, "But first you’d better give the deck a good shuffle." Once he has shuffled the deck take it back, face up into your left hand, and replace the five card stack from the cop position.
2. Spread through and toss out the Queen of Clubs - as you begin to spread, note and
remember the 5th card from the face. This will be a key card and you only need to remember it for a very short time. Turn the deck face down and give it a cut and retain a break between the halves. Riffle Force to the break, removing the upper section, and ask the spectator to look at and remember the top card of the lower section, after which it is replaced. Drop the right hand section on top and square the deck. The selected card is fairly lost in the middle.
3. Turn the deck face up and make a wide fan in your left hand. Raise the cards slightly so that the faces are not quite visible to your audience, then pick up the Queen and insert it two card to the right of the first Ace. In this instance, you will insert the Queen two cards to the right of the Ace of Spades. Before closing the fan, look to the left of the Ace group and you’ll see your key card. Obtain a break below this card as you close the fan. Finally turn the deck face down executing a Turn-over Pass. Alternatively, turn the deck face down, retaining the break, then Double Undercut.
POSITION CHECK: Reading from the top down, you should have -
X - X - X - X - X - AH - A - A - X - A - X - X - QC - Rest of deck.
4. Say, "I’ll demonstrate what I want you to do. That’s why I used the magic Queen because she never fails me." At this, spell Queen of Clubs, dealing one card for each letter and forming three separate piles, thus:
1
...
2
...
3
Q-U-E-E-N
...
O-F
...
C-L-U-B-S
Place the deck on the table then flip over the top card revealing the Queen of Clubs. Place this card face up to one side. With your left hand pick up pile 1 as your right hand picks up pile 3.
Drop the left hand packet onto pile 2, then drop the right hand packet on top of all. Pick up the complete packet and drop it on top of the deck.
5. Invite the spectator to pick up the deck and spell the name of his selected card - Ace of Hearts - forming three piles as you did.
1
...
2
...
3
A-C-E
...
O-F
...
H-E-A-R-T-S
Tell him to turn over the top card of the deck and he should be surprised to find his card, the Ace of Hearts. Pause for effect and act as if the trick is over. They won’t expect anything else because the spectator has repeated exactly what you did with the magic Queen.
Finally, pick up the Queen, saying, "I expect you’re wondering exactly why I call this card the "magic" Queen...well, I’ll show you." Tap each pile with the Queen, then ask the spectator to turn over the top card of each. This reveals the other three Aces to match his selection.
RETURN TO THE GARDEN PATH
by Peter Duffie
EFFECT
A card is selected and returned to the deck. The spectator deals four packets of four cards and discards the rest of the deck. The top card of each packet is turned face up, but none is the selection. The packets cleanly are placed together with the four reversed cards still in place. You hold the packet, tap it, and the selection falls face up onto the table. Finally you spread the cards revealing that the other three face up cards have changed into the other three mates of the selection giving four-of-a-kind.
The only preparation is to cull any four-of-a-kind to the top of the deck. Let's say you have the four Jacks on top with Spades at the top.
WORKING
1. Force the jack of Spades, have it returned and controlled back to the top. So you're back where you started with the four Jacks on top - Spades the top card.
2. Give the deck to the spectator and ask him to deal four cards into a face down row, followed by four more on top of the first four. Then again, and again. This results in four piles of four cards - a Jack at the bottom of each. The rest of the deck is now discarded. The selected card is at the bottom of one of the end piles - it was the first card dealt.
3. At this stage it doesn't matter in which order you deal with the piles. So pick up an end pile, saying, "The top card of this pile will tell me something about your card...in fact it may even BE your card. But don't give me any help...at least not yet."
Buckle the bottom card and flip over the upper three as one. Make any suitable comment about the card now showing, then replace the pile back on the table where it came from.
4. Repeat the above with the three remaining piles. At this stage, the audience perceive four piles, each with a face up card on top. In fact, the true position is the complete opposite! 5. Study the four piles, saying, "I'm having problems now...are any of these four cards the same value as your card?" They'll say, no. "No? Well, that means that none is your card. That's not so good. This wasn't supposed to happen."
6. Now cleanly gather up the piles, placing one top of the other - starting with the selection pile so it finishes on top. There is a face up card on top, so you give the cards a cut to lose it. Here you lift off the top three cards and place them to the bottom to leave a face down card
(selection) on top.
7. You now finish as follows:
a) With the packet in dealing position, obtain a little finger break below the top card. b) Ask the spectator to name his card. As he does so, turn your left hand completely over (fig.1).
At this point loosen your grip on the broken card so it's held very lightly. Now strike the back of your hand with your right fingers (fig.2).
This causes the selection to drop face up onto the table, as you say, "You mean this one?" Casually place the rest of the packet face down beside the face up selection and act as if the trick is over.
Finally, say, "You know, I still can't figure out why I couldn't deduce your card from the other three reversed cards...." At that, spread the packet revealing the other three cards have changed into the other three Jacks.
HOFZINSER MEETS ERDNASE
by Peter Duffie
This is another handling for the well-worn (by me) Hofzinser Ace Problem. The use here of the Erdnase Colour Change has its roots in Roy Walton’s “Mission Accomplished” (Complete Walton, Devil’s Playthings chapter).
METHOD
1. Run through the deck and remove the four Kings, placing them face down on the table - the red Kings should be beneath the blacks with Hearts at the bottom. As you remove the Kings cull any Heart to the top of the deck.
2. Force the top card on a spectator, and have it returned then control it back to the top. Hold the deck in dealing position with a break under the top card.
3. Pick up the Kings - turn them face up - and place them momentarily on top of the deck. Pick them off again along with the card above the break then count them one by one onto the deck, the last two are placed on top as one. As you count them, say, “Here are the four Kings, the greatest magicians in a deck of cards.” Don’t draw attention to the suits.
You now appear to cut the face up Kings into the deck - in fact you execute a Slip Cut which takes only the top King into the deck. The illusion, however, is perfect as a face down card (selection) finished on top as it should. There are three face up Kings under this card.
4. Say, “Now for the King’s magic. Watch as they appear instantly back on top.” Here you execute an Erdnase Colour Change, which transposes the top and 2nd card as your right hand passes to and fro over the deck. The Kings have apparently risen back to the top.
Spread the top four cards showing three face up Kings with one face down card among them. Place this four card spread on the table. Point out that it is the King of Hearts that has reversed, then ask the spectator which suit his card was. He will say Hearts.
5. Turn the deck face up and make a wide fan revealing one face down card in the middle, saying, “Look. Your card has reversed in sympathy with the King.”
Pull out the face down card from the fan and turn it face up revealing that it is the King. Conclude by turning over the face down card among the Kings, revealing the selection.
HUMMER & LIGHT COMPANY
Duffie/Robertson
A card trick in which Bob Hummer’s Cut-and-Turnover (CATO) principle is used to demonstrate California’s electricity problems.
WORKING
1. "Has everyone heard about the problems California is having with electricity? Things are getting so bad, people have a better chance winning in Las Vegas than keeping their electricity on in California. I’ll give you an example. Each card will represent a California household. At any given time, one house might have the electricity on, one their electricity off, on and off." As you talk deal a pile on the table, alternating face up and face down cards. Deal at least a dozen cards and make sure you have an even number by starting with a face up card and ending with a face down card.
2. "But just like Vegas, some people are lucky. Let’s pick three luck households." Have three spectators point at a face down card one-at-a-time. In each case, turn the card face up in place, and have it remembered.
3. "As the energy problem has become more severe, the electric companies have been using roving blackouts, turning off the energy on a random 2% of the homes." At this, start doing Hummer’s CATO (Cut and Turnover): that is, cut the deck and complete the cut, then turn over the top two cards. After you’ve demonstrated this a couple of times, hand the cards to a spectator to continue as long as desired.
4. "Recently there was an especially bad day when half the homes lost energy at one time." Have the spectator deal the cards into two alternating piles, then turn either one over on top of the other. While this is going on, watch to see in if the cards are now almost entirely face down or face up. If face down, you’re ready for the climax. If face up, say, "In fact, briefly the electricity went off everywhere at the same time." Motion the spectator to turn over the whole packet to illustrate this.
5. "But even in the worst crises, some people are luckier than others. How do you think you did? Well, I think you’ll be happy to know that your three homes were the only three with electricity still on." Have the spectator spread to show that the three chosen cards are the only face-up cards in the packet.
IDEAL HOLMES
by Peter Duffie
The effect of the following was inspired by Steve Hamilton’s “Thinking Out Loud” that appeared in Roger’s Thesaurus by Roger Crosthwaite and Justin Higham. The principle employed here stems from an observation made by Tom Sellers in “A Trick with the Si Stebbins Pack”`(Card Tricks That Work).
NOTE: Tom Sellers' “A Trick with the Si Stebbins Pack” can be found in Best Sellers.
The deck is set in the standard Si Stebbins arrangement, which is simply that each card is three ahead in value than the previous, and the four suits rotate throughout.
WORKING
1. Begin by giving the deck a False Shuffle, followed by a couple of genuine cuts.
Spread the deck between your hands and have a card freely selected by a spectator who places the card directly into his pocket without looking at it. As he is doing this, give the deck a complete cut at the point where the card was withdrawn and square up.
2. Turn to a second spectator and say, “You will now discover the secret identity of the hidden card, first the suit and then the value. However, you will need some help to do this, so let’s call upon the greatest detective of all time, Mr. Sherlock Holmes. He will help you to identify the suit.”
Hand the deck to the spectator and ask him to spell the name S-H-E-R-L-O-C-K by dealing one card for each letter in the name into a face down pile on the table.
Turn over the top card of the tabled pile to indicate the suit.
3. Next, say, “OK, so that’s the suit taken care of, but the value is much more difficult...even for Mr. Holmes. I think we will need to use a little ‘magic’ now.”
You now ask the spectator to spell the word M-A-G-I-C in the same way as before, but dealing into a separate pile.
Turn over the top card of this pile heap to indicate the value.
4. Finally announce both the value and suit together thus completing the name of the card then ask the spectator to remove the card from his pocket. This will prove to be that very card.
END NOTES
The above will also work with a four lettered word followed by a nine lettered word. I use “CARD” “DISCOVERY” for an instant repeat, by replacing the used cards on the bottom of the deck, and then having a second selection made from the top half of the deck. As I prepare for the repeat, I say, “Of course this is really a Card Discovery, so let's use those very words and see what happens?”
MARRIED TODAY
by Peter Duffie
A spectator places the four Queens on top of the four Kings. The Kings and Queens now marry up!
Based on the classic Hofzinser plot.
WORKING
1. Remove the Kings and Queens (discard rest of deck). Lay out the Kings in two spreads with both sets in the same suit order. So you can follow this, let's say they run in C-H-S-D with Diamonds at the face of each.
2. Having allowed the audience to see that all are present and correct, you pick up the Queens, saying you’ll mix them so they are no longer in the same order - hold Queens face up and do an Over-under shuffle i.e., take the top card in right hand, take next on top, next below, last on top. Replace the Queens in a spread on the table. They now run - H-D-S-C (Clubs at the face). 3. Ask a spectator to pick up the Kings and hold them face down, then to pick up the Queens and place them on top of the Kings. It is clear to everyone that both sets of cards are separate. 4. Say, "To start this experiment we need "any pair." Not just any old pair, but any pair...In fact we'll use these very words."
Ask the spectator to spell A-N-Y dealing three cards into a face down pile on the table - the third card is slid aside. The balance of the packet is dropped on the two remaining cards. Now he spells P-A-I-R dealing 4 cards into a pile - the 4th card is slid aside and the balance dropped on the remaining three cards.
[At this point it's all over - all four couples are now matched up!]
5. Pick up the two selections and tap the packet. Ask the spectator to turn over the top two cards - they are a perfect matching couple. Tap the packet again and ask him to turn over the next pair revealing a second perfect marriage.
Finally, tap his last two cards, saying, "When I say, NOW, we'll both turn our cards over together -remember these are the two cards you picked at the start (referring to your two cards)." You both turn your cards over to reveal two more perfectly married couples.
MENTAL MERGER
Duffie / Robertson
A trick jointly created by Robin Robertson (USA) & Peter Duffie (UK). Together, they have amassed over 100 new card effects, moves & subtleties devised through their transatlantic brainstorming conducted via the internet. Here they offer a direct and baffling mental speller. Meanwhile the brainstorming continues!
The following trick was inspired by Karl Fulves’ Riffle Shuffle Control, but doesn’t actually use it, only the actions. The count/spell principle is a Stewart James idea.
Set the Ace through King of Hearts on top of the deck (Ace on top) then add six cards. Assume the spectator it sitting across the table from you.
WORKING
1. Place the deck face down on the table and cut the top half to the right. Riffle Shuffle the sections together and leave them elongated.
2. Demonstrate how you want the spectator to lift off a section. Here you simply cut off a section then replace it. The reason for demonstrating is, so he knows that he is to make a regular cut despite the elongated/partially shuffled condition of the cards.
Ask him to cut near the middle and hold the section faces towards him (fig.1). Point to the left side ( your left), saying, "Take the value of that card..." then point to the right, saying, "..and the suit of that card. This random suit and value make up a new card. Think of that card." He then replaces the cut section.
3. Strip the sections apart and replace the right onto the left. The deck is back as it was. You can now either give him the deck and allow him to carry out the final spell, or deal the cards yourself. Let's assume the spectator has the deck.
4. Tell him to think of his card. He now deals cards slowly onto the table, while he mentally COUNTS the value of his card (explain the values of court cards). Then he SPELLS the suit (plural) and holds the final card as you ask him to announce the name of his card he is thinking of. Finally ásk him to turn the card over to reveal the very card.
PHANTOMESQUE
by Peter DuffieIn case you're wondering how a 1999 trick can be highlighted as "new." It was drawn to my attention by a reader that I had duplicated a trick. So I have added this one.
This trick came about after reading Les (The Phantom) Johnson’s "Time Zone" in Abacus, issue No.3, Vol.7.
A 12 card set-up is necessary: arrange an Ace through Queen of any suits on top of the deck in order (Ace on top), then add one more card on top of all.
WORKING
1. The card case is lying on the table. Give the deck a Jog Shuffle retaining the top stock then give the deck to a spectator and turn away for a moment. Ask him to think of any time of the day (one to twelve), and to remove that number of cards from the top of the deck and place them into the card case so you cannot touch them.
2. Turn to face the front and take the deck face down. Turn to a second spectator and tell him that he is to choose a card. As you are talking, carry out a Braue Reversal with the top card - the result of this is that the deck is face up with the original top card face down at the rear. 3. Spread the cards and ask the spectator to choose any one. Close up the spread then begin a Hindu Shuffle (deck is still face up), and ask him to call stop at any time and drop his card onto the portion in your left hand. Finally drop the balance on top and square the deck, then place it face down on the table.
NOTE: Instead of the Hindu Shuffle, you could simply ask the spectator to place his card on the face of the deck, then give it a complete cut.
4. Enter the Phantom. Pretend to remove an invisible card from your breast pocket, which you show to the audience, calling it your Phantom Finder (or whatever you wish to call it). Take aim as if you are about to toss the card at the deck, then stop, saying, "Sorry, the card should be face up." Pretend to turn it face up, then make a tossing motion towards the deck.
5. Spread the deck revealing one face up card in the middle. Slide this card out of the deck along with the card immediately above it. Ask the spectator to remind everyone what his card was, then turn over the face down card revealing it to be the selection.
6. Now turn to the first spectator, and draw attention to the value of the face up phantom finder. It might be a Seven spot. Reach forward and tip the cards out of the card case - make sure they come out face down. Ask the spectator to verify the number of cards, which represent the hour he thought of. This quantity will be the same as the value of the locator. Finish.
END NOTE : You could ask the spectator to put the cards in his pocket, but in this effect, if he removes them face up, the numerical stack will be evident.
PSYCHIC MATH
by Peter Duffie
This is a card discovery that appears impossible for two reasons: first, it doesn’t seem possible for you to know where the card is in the pack, and second, the card is found using the values of two random cards that were selected before the trick began. The only requirement is a full pack of fifty-two cards.
This combines two different principles. One is a Henry Christ concept called “Sum and Difference.” The other is a placement belonging to Eddie Joseph/Marlo.
WORKING
1. To begin, run through the pack and remove any Ten spot and place it face down on the table. Give the pack to a spectator and ask him to remove any SPOT card and place it face down on top of your card. These, you state, will prove very useful later.
Now ask him to shuffle the pack then to cut off less than half the cards and place the balance on the table. Turn away as you ask him to secretly count the number of cards the took. Let’s say he has 17 cards. Tell him to place his packet of cards either, in his pocket, or into the card case as they won’t be needed again.
Tell him to pick up the rest of the pack and count down and remember the card that lies at the same position from the top as his secret number. In this case he would remember the 17th card from the top. At this stage you can tell him to only remember the card - he can forget his number.
2. Turn to face the front and take the pack, saying, “First I’m going to give you a psychic test. I’ll show you some cards and when you see your card, just “think” of it. If you don’t see it, it doesn’t matter.”
Hold the pack face down and push off ten cards without changing their order. Take these ten cards in a fan with your right hand and hold them up in front of the spectator. Turn your head to one side, saying, “As this is a psychic test, I don’t want to get any clues from your facial expressions.” Place these ten cards to the BOTTOM of the pack, and push off another ten. Hold these up as before then place them on the bottom. Do this one more time with another ten cards, which you place to the bottom.
3. Pause and say, “I don’t know if you saw your card or not, but I certainly didn’t get any psychic message. So let’s use the two random cards that we chose earlier.”
Turn over the two cards - they might be a 10 (one will be) and a 6. I’ll tell you what to do if both cards are Ten spots in a moment. Point out that you can add, multiply and subtract the two values to get different results, saying, “We’ll try two simple examples arithmetic. Add and subtract.”
Ask the spectator to add the values, in this case he will get 16. Tell him to deal 16 cards from the pack into a pile on the table. Now ask him to subtract the values. This time he will get 4. Tell him to deal 4 more cards onto the tabled pile.
Ask him to name his card, then tell him to turn over the last card he dealt - top card of the tabled pile - to reveal that very card!
If both cards turn out to be Ten spots, you only use addition, 10 + 10 = 20. He then deals off 20 cards. The selected card will always be 20th. If you have two cards of different values and one is a 10, when you add, subtract, then total both results, the final total will always be 20!
R
EFERENCE
P
OINT
by Peter DuffieThis is a variation of an Alex Elmsley effect entitled "Cross 25," and is a different handling from another version which I included in my Triad Cavalcade in Abracadabra. This version appeared in Obsession. The Deal Mix option in step 5 has since been added.
WORKING
Begin by placing a wallet or envelope on the table. Or any similar object that will act as a cover - a postcard is also ideal.
1. From a shuffled pack push off 12 cards and hand them to a spectator whom we shall call (A) Have him shuffle the packet and as he is doing so, push off another 12 cards and give them to a second spectator (B) who also shuffles.
2. Ask both spectators to hold their cards face down and cut off a section and look at the face card of the cut off portion. Now ask each to replace their cut off sections on top of the others' balance. In other words the top halves are swapped over. Lastly ask that either of them take the others packet and place it on top or bottom of his then give the cards several complete cuts. 3. Take the packet of cards and hold it face down in the left hand. Push off the top four cards into the right hand and hold then up in front of spectator 'A.' Ask him if he sees his card. If he says yes then move on to Step 4. If he says no, place the four cards to the bottom and repeat with the next four cards and continue until he replies in the affirmative.
4. Apparently mix the four cards, really doing nothing except shifting them around so they finish back in the same order, then place them on top of the main packet. Your right hand now lifts the wallet at the inner end as the left hand apparently thumbs off the top card beneath. In fact your left thumb simply pushes over the top card then retracts it once under cover - in similar fashion to the Rub-a-Dub Vanish.
5. Give the packet to either spectator and ask him to deal the cards into two piles - dealing alternately - then to drop one pile on top of the other. Now ask the other spectator to do the same. Take back the packet.
Alternatively, you can give the packet two Reverse Faros.
6. Now turn to spectator 'B' and repeat the procedure as you did in Step 3 except this time you show groups of SIX cards instead of four. When he says "yes," false mix the six cards then place them back on top.
7. After some deliberation lift the top three cards at the inner end, remove the 4th card and place it on top of the packet. As you do this, obtain a break below the top two cards. With the right hand lift the wallet at the inner end, ensuring that no one can see that there is nothing under it, and with the left thumb push off the top two as one below the wallet. Both selections are now under the wallet and in the correct order.
So you can now lift the wallet - ask each spectator to name his card, then turn over each card to show that you have been 100% successful.
D
OUBLE-CROSS
D
ISCOVERY
Peter Duffie
Two cards are freely chosen from a packet. A spectator now finds the matching mates.
This is essentially Roy Walton's "Double Discovery" (The Complete Walton, Vol.1, 1981). While playing with Crossfire, I realized that the same concept could also be used for a one-spectator version of Roy's trick. The cross-deal is Arthur Setterington's.
WORKING
1. This time you remove 6 pairs of cards (rather than 5) and arrange them in a rotational stack: A-B-C-D-E-F-A-B-C-D-E-F.
2. Give the packet to a spectator and ask him to give it a few straight cuts. Now say, "An experiment in chance, but before we can proceed, we need to program the cards." At that, ask him to spell C-H-A-N-C-E dealing a card for each letter into a face down pile on the table, then he drops the remaining cards on top.
3. He now carries out as many Deal Mixes as he wishes. That is, he deals the cards into two hands, as if he were dealing a two-handed game of cards, then drops one hand on top of the other. This can be repeated as many times as he wishes. He stops at any time after he has dealt two piles.
Ask him to remove the top card of each pile and place these two cards face down to one side. He then places one pile onto the other.
4. Pick up the 10-card packet and cut the top two cards to the bottom. Give the packet to another spectator and ask him to deal a row of 5 cards, followed by a column that crosses the row - both central cards overlap (see illustration).
Ask him to turn over the two cards he selected earlier. Draw attention to the color and value of each, for example, "A red Jack and a black Two."
Finally turn over the pair at the center of the Cross to reveal the two matching mates.
M
INI
M
ENTAL
R
EVISITED
The deck is shuffled by the audience and a spectator removes any eight cards. Two spectators each think of one of the cards. You ask each one question - they answer yes or no. You immediately know where each spectator's card is.
This is a simplification of Peter Alexis' "Mini-Mental" (Pallbearers Review, page 380). Alexis says, with regard to the procedure, "The system may look complicated. It isn't." Well, it may not be highly complicated, but it could be made a lot simpler. There are also two errors in the four options given...to further...eh...complicate matters :-)
This revised method is very easy to remember. I'll leave it up to the reader how the two cards are eventually revealed to the audience. I don't have an elegant way to finish it!
WORKING
1. Hand out the deck for shuffling then ask someone to remove eight cards and place the rest of the deck aside.
2. Ask him to lay the cards out in a row of four pairs.
3. Invite two spectators to assist - these will be A and B. Turn your back and ask A to pick up any pair - keep one card for himself, then give the other card to B. each remembers their card. Tell B to replace his card in the row on the table, then A places his card on top of B's
Finally ask either spectator to place the piles on top of one another in any order so all eight cards are together in one packet again. You now turn to face the front.
4. Pick up the packet and give it a False Mix. A simply way is to push off a pair into your right hand - push off another pair and take them on top of the first pair. Push off a 3rd pair and take these below - place the final pair on top (or bottom. You can shift the pairs around, just so long as you don't reverse the order of any pair, or split them.
5. You now deal the cards into two piles. This is a casual distribution, and is as follows: a) Deal one card to the RIGHT then one to the LEFT
b) Deal one card to the LEFT then one to the RIGHT
c) Push off a pair and take it in your right hand so you hold a pair in each hand. Drop a pair on top of each pile to make two four-card piles.
5. Pick up the left pile with your left hand and the right with your right hand. Fan both packets and show the LEFT pile to A, and the RIGHT pile to B. Ask each, "Do you see your card?"
One YES means both cards are on top of the 'yes pile' - A's card on top of B's. Two YES' mean each card lies THIRD from the top of its respective pile.
Two No's mean each card is at the bottom of its pile (A's card is at the bottom of pile B, and visa-versa).
T
OUCH
& G
O
# 2
by Peter Duffie
While your back is turned, a spectator takes a deck and puts some cards in his left pocket and some cards in his right pocket. He then places the remainder of the deck in your hands after which you turn round. With the deck behind your back, you now put some cards in your left pocket and some cards in your right pocket. In the end, you both have the same quantities of cards in each pocket.
Again inspired by a placement-based trick shown to me by George McBride on Halloween 2000.
NOTE:
a) If you use a touch-locator like a short card you can do it all with the deck unseen by you. Simply cut the locator to the bottom in step 1.
b) You must restrict the choice of numbers from 10 to 17 (inclusive) as suggested by Jim Snapp.
WORKING
1. Hand out the deck for shuffling then take it back face down in dealing position. Say, “This is an experiment in exact quantities, so I need to make sure I have a full deck.” As you are speaking, crimp the bottom card, or edge mark it by scraping your right thumb nail along its inner edge.
Now spread count the cards from hand to hand, counting out loud if you wish, and block off the top 22 cards as you count. Then keep counting till you reach the end - thus, seemingly, satisfying yourself that the deck is complete. Square the deck and obtain a break below the 22nd card. Finally cut the cards above the break to the table then drop the rest on top. The key is now 30th from the top.
2. Give the deck to a spectator and ask him to pocket two groups of cards exactly as in the first version. Now turn to face the front and take the deck into your hands. Obtain a break below the crimp as you explain that you will attempt to duplicate what he has just done, but by sense of touch alone.
3. Take the deck behind your back and immediately count the cards above the break. Instantly half this number - but without fractions. It will always be an odd number, so one “half “ will be greater than the other. So if you count 17 cards: 17 / 2 = 8 & 9. Always take the higher number, in this case 9.
Another example. You count 13 cards. That’s 6 & 7. Use 7.
Now simply subtract this number from 20 and count off that number of cards for your left pocket. Now count off the total of the digits for your right pocket.
Finish as in the first version showing that you succeeded in matching the quantities of both the spectator’s packets exactly.
SUDDEN IMPACT
by Peter Duffie
The audience believe you are going to cut to the Aces - they get a bigger surprise when you don’t!
WORKING
1. Remove the four Aces and hold the deck face down in left hand dealing position - get a break below the top three cards. Place the Aces face up on top with Spades at the rear - not essential, but recommended.
2. Lift off all 7 cards above the break in a Biddle grip and perform a Braue Addition, as follows: Peel off the first Ace with your left thumb and lever it face down onto the deck - Repeat with the next two Aces - Place the remaining four-card block onto the deck then turn the final Ace (Spades) face down on top of all.
POSITION CHECK: The order from the top is: A-X-X-X-A-A-A-rest of deck.
3. Remove the top card with your right hand then riffle down the outer left corner with your left thumb. Stop when only the bottom card remains and insert the Ace above the bottom card. Leave it oujogged, saying, "I’ll lose this Ace down near the bottom."
Do this with the next three cards (apparently the other 3 Aces - really random cards), inserting them at varying intervals. Finally push all four cards square.
4. State that you will now try to cut to the Aces.Turn the deck face up and obtain a break above the lower/rear three cards (Aces).You now appear to cut off a section onto the table with the Ace of Spades appearing on top. Bring the right hand over and grip the deck - thumb at the inner end and fingers at the outer. However, do not grip the three broken with the thumb. Place your left thumb on the face card.
You now appear to cut the deck. Here’s what happens. Your right hand pulls the main deck to the right and slaps it onto the table - but the three broken cards stay in your left hand, and your left thumb retains the face card which falls onto these cards.
The moment the deck hits the table - all eyes are focused on the Ace of Spades. It looks lie a simple cut. DO NOT pause here, also do not rush. Reach down with your right hand and pick off the Ace of Spades, "Ace number one, the Ace of Spades."
Without hesitation, place the Ace on top of the left hand packet. Believe me, at this moment the audience have it in their mind that half the deck is in your hand and half is on the table. Don’t pause and ruin it.
Raise your right hand - their eyes will follow - then slap it flat onto the packet in your left hand and make a squeezing motion, as you say, "Watch!"
Lift your hand, making sure the packet is square, then back-spread the lower three Aces to show all four. Then spread the deck to finish off the illusion.