11

MilliONDOllAR
CARDSECRETS

.r
by

FRANKGARCIA

Edited. by George Schindler

Illustrations by Al Cooper
Cover Design by Paul Flayer

Published by
MILLION DOLLAR PRODUCTIONS
New York, New York

Affectionate/y
ID

Copyright @ 1972 by Frank Garcia

dedicated

All Rights Reserved: No part of this book, text or

illustrations may be reproduced in any form
without permission in writing from the publisher.

FIRST EDITION

);

to my

13 year o/d son, Frank Nico/as,

who makes it a// worthwhi/e.

I
CONTENTS
J

11

From the man who gave you:

CHOICE OPENERS
Chicago Opener
Double Lift
Double Cut

..,...

,..
...

Eye- Mazing ......

Perplexing .
Cut the Kings

..,.........
.,.........
.,.........

...,

,.
.......
"

13
15
16
18
20
23

STARTUNG EFFECTS
GARCIA ON SPONGEBALLS
J
GARCIA ON BILLIARD BALLS
WILD CARD
MARKED CARDS AND LOADED DICE

WildCards
Danbury Delight

,...,

.............................

,........

Impromptu Card Rise ................................................

Three in a Million ',"""""""""""""""""""""""""'"
Swi tchcraft
','"
.".......
Million Dollar Transposition
,........................
Eight Card Brain-Wave
"............................
Razzle

Dazzle

"""""""""'"

21 Force
Control

......
,........

Knockout

,.

"... """"'"

THE AMBITIOUS CARD

(Five Select Moves).

.............

...................

25
28
30
32
34
35
38
40
44
45

48

FOUR ACE EFFECTS

52
,
...........
Easy Aces
Anytime Four Aces ................................................... 54
Hide & Seek Kings
:,............................. ,;>7
TV Aces...
,.
...... 59
SELECT DISCOVERIES
Quasi-Mental
...........
Dual Discovery ...
,
......
Clear Voyant """",,""""""""""""""""
.....................
Uncanny Revelation ...................................................
~

4
I

64
65
67
69

I
I

II
I
I
I

Peekaboo Revelation
Miracle Stab
...............
Stab-Mental
,.........
Once In a Knife-time ...................................................
Case Card
,..........................................................
GAMBLING PLOYS & POKER DEALS
Head to Head Poker ...................................................
Shoot-Out Poker
"
Swift Poker Deal.........................................................
Poker Dream
........................
Just a "Second"
.........................................................
Winnipeg False Cut ...................................................
Cooper's Cut ...
...
Affas-Gaffas False Cut ................................................
Gambler's Cut
...

FRANK GARCIA'S NOTEBOOK

Culling the Aces
Winning Aces
Adding a Card
Color Change

lOS

106

""""""""""""""""""""1""

Cough Cover
Peek Key Control
Notes on the Zarrow Shuffle
Zarrow Shuffle (Method 2)

106
107
lOH
109

CARD PRODUCTIONS
Million Dollar Production

11'

Eclipse Production

11()

DOING CLOSE-UP MAGIC ..........................................

MAGICIAN'S RECIPE

&

.J

;j

1,05

Secret- Reversal
Puzzling

82
84
86
88
91
93
95
97
99

102
104
""""""...

FOREWORD

71
73
75
77
79

......

I ~.I

I]

The essential ingredient of successful magie is

simplicity. Bear in mind that anything you do must be
neatly executed and appear important! It is my contention
that all tricks should be presented in the most direct and
simple manner possible. The average person enjoys being
entertained by magie, but if the routines are complicated,
the tricks will become problems instead of magie. A
routine should never be cluttered with technique. As a
matter of fact, if a trick requires fOUTmoves it may be too
involved and "sleighty" for it to be practical and effective.
If you can take away one of the moves it will be less top
heavy. Eliminate another move by some clever subtlety to
make it only two moves and you enter the realm of
practicability. Add some misdirection and more subtlety
and eliminate the last move, and you have a miracle!
This book is primarily a book of subtlety and sleight of
hand. The moves have been .cut down to a bare minimum.
In most of the effects I strived for the "no-move" miracle
effect suggested above. Some of the tricks are original.
Some are adaptations of old ideas or new applications of
old principles. I do not always claim originality for the
basic ideas involved, but do for the final dress in whieh the
tricks are presented. In buying this book you can be sure
to find several ideas, tricks or routines which you will use.
Even if you find only one, your investment is justified.
These tricks are suttable for stage presentation, some for
small audiences, some for the drawing room, and others to
be done seated at a table with a few friends. It is my
sincere hope that the effects, ideas and routines described
here will please the many card buffs throughout the world
who, like myself, have a deep love for the paste-boards.

1"

I would like to thank per~onally George Schindier, to

whom I owe a heavy debt of gratitude for his many fine
suggestions, ideas and the editing that makys this a clear
and more comprehensive work. I also want to thank Al
Cooper, without whom this book would have been sadly
incomplete. His expressive and dear illustrations will make
YOUflearning a great deal easier. AI's technieal ability with
a deck of cards is rapidly becoming recognized.
The belief that arduous practiee and exceptional skill is
necessary in the performance of dose-up magie is
erroneous. In fact, some of the deverest and most
bewildering tricks are made possible through the use of
subtle principles and unique methods that can easily be
learned by anyone with a fair amount of practice. Such are
the methods in this book.
Frank Garcia
February,1972

;1a\c\

~~
8

'
9

..

-=at8
-=lq:8
.~
~.

INTRODUCTION

am proud to say that Frank Gareia has been my

friend for more than twenty years. We originally met and
1ater worked together at Max Ho1den's magie shop in New
York around 1950. It was there that I first saw the talent
of the man who 1ater beeame the "Man with the Million
Dollar Hands." He is probably best known as a Gambling
Expert. I prefer to think of hitp as an entertainer. His
sparkling sense of humor and eherubie smile enhanee
everything he touches. Frank's genius for analyzing moves
and ereating subtleties has never eeased to amaze me.
From stage manipulator to close-up performer, his versatility seems end1ess. I am grateful far the eneouragement
and adviee he gave me when I needed the gent1e "push" in
the right direetion as I went into show business.
In editing this book I found out what makes hirn so
sueeessful. He is eommercial and entertaining at the same
time. Every move is an important one. Every trick has a
powerful effeet on the audienee. I'm sure you'll agree that
this book is a va1uab1eaddition to your library.
George Sehindler

---

~--

Gearge Sehind1er

-=-

In all my years in Magie, I h~ve never met anyone who

eou1d present all phases of magie with the ability and
ingenuity of Frank Garcia.

.~ '8

In writing this book Garda has let us in on his closely

guarded pet seerets. I am sure that the lovers of eard magie
will find this an inva1uab1eeornueopia of sleights, routines
and tricks for his collection. Not on1y do I reeommend the
book, but I find it a MUST for all magieians.

lC::18

Mike Tannen
February,1972

-=10

11

...--..-

.u

Chicago

.~

Opener

lEf.3
..' fa
I

..
8.

CHOICE

-~

OPENERS

----

~-

~'!I

{I'

...,

_1

VI

r...~
..

This is one of my favorite openers. I learned this many

years ago in Chicago. It is a strong effect and one that
always leaves the audience bewitched and bewildered. The
action is fast and it will establish you as a great card
manipulator.
All you'll need is a "stranger" card with a contrasting
back (red card in a blue deck, etc.). I always prefer to use a
court card such as the King of Diam.onds. Place the real
King of Diamonds on the bottom of the deck. Now add
the "stranger" underneath the real King. (You now have
the two Kings on the bottom.) Ask the spectator to take a
card from the center of the pack. He does so and you
begin to "hindu shuffle" as you talk. The selected card is
now placed on top of the left hand group of cards. Add
the right hand "stranger" pack. Merely drop it on top and
square the deck. This insures that the "stranger" goes on
top of the selected card. Both are now in the center of the
deck.
"Y our card is the most interesting card in the deck. "
As you patter, loosely spread the cards so that the "odd"
backed card is visible in the center. Cut the deck .at that
point so that the "odd" card is on top of the deck. This
brings the duplicate King to the bottom and the selected
card second from the top.
'Tm not going to ask you to name your card, but if
this were your card, would you agree that this is a

8fd
13

1Ii..8
miracle. . .? Double lift and turn the two top cards face up
on the deck as one. "Is this your card?" After he agrees,
turn both face down and deal off the "stranger," leaving it
face down on the table. "Let's see i[ we can accomplish a
double miracle!" Begin to hindu shuffle and ask the
spectator to say "stop" at any time. When he does this,
you turn up the bottom card of the right hand stack. This
will be the duplicate King of Diamonds. "We stopped at
this card, the King o[ Diamonds. I[ my miracle worked tor
the (name the first card selected), it should also work tor
the King. " Drop the face up King on the table. Use it to
scoop up the tabled card. Neatly square both of them, rub
them together and very slowly expose both cards, showing
them to be the same.
Re-read this effect with a deck in hand and you'll find
that once you try it, it will become your favorite too.

Double
Lift
There are many variations of this sleight. I feel that I
should inc1ude this method since it is used in many of the
effects in this book. The Double-Lift allows you to turn
two cards face up on top of the deck as though they were
only a single card. The most important part of the action is
in keeping the two cards aligned.
)

Hold the pack in the left hand, neatly squared. The

right hand lifts the back of the top two cards with the edge
of the thumb. The left pinky keeps a small break under
both cards. This is a set-up motion. Pause to talk before
doing the rest of the move.
The right forefinger goes into the break under the two
cards, atthe right inner corner of the pack. The right
thumb grips the two cards and, exerting a bit of pressure,
they bend slightly upward. Slide the two cards together to
the right of the deck in a gentle sweeping motion. As you
reach the edge of the deck, bring them a bit toward the
body and allow both to fall face-up on top of the deck. A
fraction of the two cards will protrude from the back of
the deck.
To turn the cards face-down again merely grip the
protruding edge and sweep both cards to the right again as
before. Turn them face down.
The move is really quite simple and should be done in
an offhand or "matter-of-fact" way so as not to create
suspidon.

14

15

.1.
Double

Cut

--~

Dai Vernon introduced the Doub1e-Cut to the magie

fraternity in the 1ate forties. The move is so va1uab1ethat it
has made the use of the classie "pass" practically outmoded. Since it is used in many of my favorite effects, I
have decided to describe my own handling.

I
I

I
I

A card has been se1ected.

The cards are now spread
between
both hands for
rep1acement. When it has been
inserted in the deck, the 1eft
pinky takes a break on top of
the se1ected card. The deck is
squared and the break is held.
(This has been exaggerated
here.)
The right hand comes over
to the pack with the thumb in
the back and fingers in front
of the deck. At this point the
break is transferred and held
by the right thumb. Both
packets are now in the right
hand.
The 1eft hand now cuts off
half of the bottom section in
the right hand.

-=C=tIt

-~
--"~

bottom
section
the break is now
into the 1eft hand
is thumb gripped
cut to the top.

This brings the se1ected

card to the top of the pack.
The action cuts two sections
from the bottom to the top
,and is done naturally as
'though you were just cutting
to lose the card.

,-

.~.
Mr:~.
I.
lIIiJ
1f':.

-='-(a

16

The
beneath
dropped
where it
again and

,-

.",- W.

The 1eft thumb clips the

inner 1eft corner of the packet
and adds it to the top of the
deck.

17

lt=8

Eye-Mazing
This particular routine is an eye-popper and a good
introduction to aseries of card tricks.
Preparation: Stack the deck as follows, from the top
card down. Any Indifferent Card; Four Kings; the Four of
Clubs, face up; the Ace of Spades. Place the Four of
Spades on the bottom of the deck. Insert the other three
Aces in various parts of the deck about ten cards apart.
Performance: Explain that you are going to do a trick
with the four Aces. Start spreading the cards in your hands
and slowly run through the deck face up looking for the
Aces. When you come to the first Ace, push it up so that it
juts out of the deck about half way. Continue running the
cards until you come to the second Ace. Push this one up
in the same manner and do the same with the third Ace.
Continue slowly until you reach the Ace of Spades.
Push up the entire block of seven cards as though it
were on~ card and move it up behind the other Aces. At
the same time, "buckle" the last card of the block and
bring it down behind the Ace. Hold the deck tightly in the
left hand. The right hand now comes up and takes the four
Aces (along with the rest of the block behind the Spadc
Ace). Pinch them together, pull them out of the deck and
turn them a!l face down on the face of the pack. (This is
all done with one move.) The bottom card (FOUTof
Spades) is now covered. Square the pack and deal four
cards onto the table. (These are actually Kings--thc
bottom card now showing is a Four of Clubs -which hidos
four reversed Aces.)

18

5c-8

-=-

.-

Cut the deck, complete the cut and set it on the table
away from the four cards. Now move the four cards
around on the table. Ask the spectator to guess which card
is the Ace of Spades. No matter what he guesses, you turn
up the card to expose a King. Turn up the others to show
four Kings. Ribbon spread the cards on the table and show
the four Aces reversed in the center of the deck.
This is a deceptive and startling change setting the
mood for tricks to come.

(8:=8
,I

19

~r

l1li.

I
1'

Perplexing

.ra

I would highly recommend this perplexing effect as an

"opener." It is particularly strong and requires a simple
set-up.

18~'~

Set up the stack from left to right as follows (top to

bottom): Ace of Spades face up, followed by three Aces;
one indifferent card face up; four Kings beginning with the
King of Spades, face down. The stack is now placed
of the deck with the Kings topmost.

(still face down) dir~ct1y behind the single card on the

table. Patter: "If aU four cards matched, it would be a
terrific trick, wouldn't it?" Slowly turn over one of the
three face down cards and 'show it to be a King. Place this
face up on the deck you are holding, calling the name as
you do so. Repeat the action with the next two cards. The
three cards are now face up on the deck as in Illustration
1.'

'8;::8

<8-

.;:;,~

You are now stacked and ready for a comedy of

To start the routine, remove the cards from the ca'
holding the deck in dealing position. Approach th
spectator, asking him to say "stop" as you riffle th
of the cards in an upward direction with your righ
When he has called "stop" turn the packet in th
hand face up and lay it flush on top of the bottom
of cards in the left hand. Spreading the face up c:
your right, drop a few onto the table, face down
that you will use the first "face-down" card you co
As you reach this card, set it down in front
spectator (face down). Pick up the discards and piaci
under the cards in your left hand. You have just "f,
the Ace of Spades. Don't show this just yet.
Square the deck and repeat the riffle motion,
the second spectator to call "stop." Repeat the first
of turning the riffled pack face up on the dec
removing the face up cards and .dropping them to the
face down. When you come to the face down port:
the deck you announce, "We'll use the first thre,
down cards we come to." Place these cards on the

20

...)-

.t';)-

Push the Kings together. As you square them up, pick

up the block below (comprised of three face up Aces and
the indifferent card with the King of Spades face down).
You will note that you ha.ve a natural break enabling
you to do this neatly and quite casually. Holding the block
of eight cards; you now turn it over face down on top of
the deck. Deal off the three top cards, calling them
"Kings" - "/'ve shown you the King of Hearts, Diamonds
and Clubs, so logically this card should be the King of
Spades" - Point to the tabled card. Turn this over and
reveal the Ace of Spades. Act a bit surprised and place it
face up on top of the deck in your left hand. Tripie Hft
and pick up the three cards.

~
1

..)..:::-

~~
2

I
21

-----,~

The left thumb puBs off the face up Ace onto the deck
and the right hand is left holding two cards which appear
to be one (these are face to face). Push the face down card
in the right hand onto the face up Ace and in a continuing
action puB back the actual top card. This will effect a
visual change from Ace to King of Spades. Bury the extra
card in the deck. Double lift and turn the top cards face
down. Slide the topmost card off the deck and, using it as
apointer, explain, "This card now matches those. " Drop
the pointer card and turn the others face up to expose
Aces. The surprise usually gets a laugh. Turn up the last
card and show the Ace of Spades. After the effect has
registered, pick up the four cards and casually drop them
on top of the deck face down. You are now ready for
phase two of this routine. The effect actually ends here,
but you can keep the momentum by proceeding to the
next trick.

22

-=-

Cut

td8

the
Kings
The deck is now set with four Aces on top and four
Kings beneath them. False shuffle the deck, making sure
that the top stock is not disturbed. Hand the deck to the
spectator and instruct him to begin dealing the cards into
two piles of cards on the table. When he gets to almost half
of the deck, suggest that he stop whenever he wishes. Each
pile now has two Aces and two Kings on the bottom.
Instruct the spectator to pick up one of the piles and deal
that one into two even piles. He does this and you ask him
to repeat with the last pile so that you end up with four
packets. Pick up the packet at your left and double lift to
show a King. Turn it down and deal it onto the table
(actually dealing out an Ace). Pick up the second packet
and add it to the cards in your hand. Now again double lift
and show the second King. Turn it face down and toss it
onto the table (actually the topmost card which is an Ace).
Repeat the action until the four Kings have been shown.
The spectator is commended for finding the Kings in so
unusual a manner. After his bow, ask.him to place his hand
on the cards. Make a pass, and mysteriously he has
changed the Kings to Aces. Have hirn take another bow.

23

-=a:8

Wild
Cards
I know this book would be incomplete without at least
one routine on the "Wild Cards." I had no idea back in
1962 that this would take off as it did tOIbecome the "best
close-up card trick" for that year. I know that it is still
selling quite weH in one form or another throughout the
world. Here is my own routine, one that I favor on my
trade shows.
I first show eight (8) blank faced cards and I do the
regular opening of placing them face up and face down.
The last card (ninth) has my signature on its face. I hand
this out for examination. I then patter about how I have
developed a new electro-static printing process which will
put Xerox out of business. The printing is done by
"magie." I then proceed to print duplicates of my
signature card On the blank cards. Upon completion of the
triek, I hand out a few as souvenirs.

ST ARTUNG

EFFECTS

Handling: Four of the nine cards are blank on one side

with your signature or name imprinted on the reverse side.
The remaining five cards all have back designs with your
imprint on the face side of the card.
To Prepare: Take the five regular cards with your
imprint and spread them face up in front of you. Next
take the four double blanks and intersperse them (every
other card) into the five on the table. Make sure that the
imprint portion is on the underside. The topmost card
should be blank, with an extra "backed card" on the
bottom. When squared, the pack is set. The cards are held
in "glide" position.
25

.Show the first blank card, turn the deck face down and
"glide," pulling the second card out and placing it face
down on the table. Turn up the left packet and~show
another blank. This time slide it off the face of the deck
and place it on top of the face down card on the table.
Turn the deck face down again and repeat the action until
four sets are on the table. Turn each face up card sideways
to form an "X" or "cross" design. This leaves the ninth
card in your hand face up. So far the spectators have seen
only blanks. The one with your imprint is your "wild"
card. Pick up any face down card, place it face to face with
the "wild" card and explain that you are now magically
printing a duplicate. Show both printed cards. Take either
card and scoop up the blank card. Turn both of them over
and leave them on the tab1e. Repeat the printing procedure
with the remaining three sets, doing exact1y as before.

Thl.!Iaution is repeated until all the remaining packets

IIIIVl1hc,un pl"inted. You have apparently shown all the
111l'~Hlind

1111

the backs of each card. Upon completion of

thc' 1'011
tinu, hand out one or two of the "backed" cards as
MOIlVl\nirs.Just remember to replenish your supply. For
C'OI\l
IIwl'ciu1 use, you can have your sponsor's product
pktlll'ccI on the cards or his advertising message. This
I'olilinu has gotten me repeat business.

When all four face down cards have been printed, take
the "wild" card in your right hand and holding it face up,
scoop up the first set of two cards on the table. Square the
cards and turn them aver, end for end on the left hand.
You. are now holding the block of three cards in dealing
position. Apply pressure with the left thumb and push off
the two top cards as "one" (this action will happen almost
automatically). Turn these two cards as one, face up onto
the card in the left hand (also face up). Casually toss the
top card (double-facer) onto the table (imprint is up).
Show and turn the next card and toss it onto thetable.
The last card is shown and is used to scoop up the next set
of two cards.

26

27

_.f8

Danbury
Delight

..~;..

-=-

There have been many versions of this .now"c1assic"

effect. I prefer this method because of the ease in
handling.
Begin by placing any "three-spot" card to the third
position from the top of the deck. Have a card selected
and, as it is being shown, undercut the bottom half of the
deck. The selected card is replaced on top Qf the packet
coritaining the "three-spot." Now cover this with the top
packet, but retain a break. Double-Cut the deck, bringing
the selected card back to the top. (The "three-spot" is now
three cards away from the selected top card.) Explain that
you will give the deck two shuffles. Begin by running six
cards from the top in overhand shuffle fashion. These are
then placed back on top of the deck. Now shuffle again,
this time running only live cards into the left hand. Drop
the rest of the deck on top of these, but keep a break
above the five cards. Transfer the deck to the right hand,
but maintain the "break."
The left hand now cuts a portion of the top stock to
the left. (The right index finger can peel off a small section
and toss it to the left hand.) The left thumb now pushes
the top card of its pack to theright. The right hand uses its
packet to help turn the card face up. This card will be the
selected card. 00 not call attention to this, but continue to
turn it face down on the left packet, still using the right
packet to assist. As it is being turned face down, the right
thumb releases the pressure and drops the five cards under
the break. (These cards fall on top of the selected card.)

28

8: ,8
11::18
.

Using the left thumb, slide the top card of the left packet
onto the table. Turn up the next card of the left hand
packet, using all the same moves as before. Turn it face
down and top it onto the table next to the first card.
Now place the right hand packet under the left hand
stock. Explain that you have invented a system to disc1ose
the selected card in an interesting manner. (The spectator
believes his card is on the table.) Give the deck a false cut.
Turn up the top card and show the "three." "This card is
an indicator. It tells us that your card is three cards [rom
the top. " Deal three cards and set aside the third card. The
spectator will be smiling at this point, but you now turn
the two other cards face up. The smile becomes surprise.
Now allow the spectator to turn up the last card, and you
take your bow. This is a cute sucker effect.
NOTE: To use an indicator other than a three spot, here is
the forinula. The indicator must always be third from the
top.
Example 1: A "Five-Spot" - Place it third from the
top. Add 3 to the number o[ spots. (3+5=8) Shuffle this
amount (8) and place back on top. Now shuffle one card
less (7), drop the top stock and keep the bottom break.
Example 2: "Four-Spot" placed third from top of
deck. (3+4=7) Shuffle 7 cards and add to the top. Now
shuffle six cards and keep under break on bottom, etc.

29

Impromptu
Card
Rise
Here is my own handling of the "Plunger" card rise. It
is always a mysterious interlude for the layman.
The selected card is brought to the top of the deck. Do
a "triple-lift" and show the card. "Is this your card? No?"
Turn the three cards face down on the pack. Lift the top
card by the lower right hand corner, pul1it back and use it
to help turn the next card face up. (Do not expose it since
it is the selected card.) "What about this next card? Not
yours?" Now casual1y toss the two cards face down onto
the table. Plunge the finger into the center of the pack and
take out any random card. "How about this one?" Toss it
face down on top of the other two cards on the table. You
have now sandwiched the selected card between two
others.
Make apressure fan and insert the top card into the
fan, al1owing it to protrude from the deck. Pick up the
middle card and set it a card apart as you would for the
regular "plunger" method. The third card is placed a card
away from that and the fan is closed.

.1

SELEOlONIN CENTER

30

Three cards now protrude. Square them neatly.

Borrow a handkerchief or cloth napkin and wrap the front
of the deck (bottom portion). This will hide the actions to
follow.
Hold the deck in the left hand and push the protruding
cards into the deck. This action forces two cards to come
out from the bottom. Transfer the deck to the right hand.
The thumb is on one side, the fingers on the other, and the
right pinky underneath the two extended cards. The deck
is held so that the faces are seen by the spectator. Slowly
start lifting the pinky and, as you push upward, ask for the
name of the selected card. It is seen to rise slowly from the
deck. When it has risen about an inch and a half, grip the
deck tightly with the right hand. The left index finger
pushes into the deck against the rising card. Show the
spectator that the card is actual1y coming from the center
of the pack. As you do this, the right hand should gently
strip out the two protruding cards from the bottom of the
deck. You will hear a slight "click" as they disengage the
selected card.

2
one card

two cards

-'...
'

.\. I

I -

Keeping the cards held in the left hand, the right pinky
again pushes upwards and the selected card will coritinue
to rise and come out of the deck completely. It is now
being pushed by the two "stripped" cards. The card final1y
fal1s out of the deck - a feat which also amazes the fel1ows
"in the know."

31

li=8

Three
.

-=-

In
a

c::8

Million

-=-

The title here is justified. I've been doing it for thirty

years and it never fails to confound both laymen and
magicians. Save it for that "special" occasion.

E::8

Use. two ordinary decks of contrasting backs. The

decks are brought forth and the spectator asked to select
one pack. He is now told to pick up his cards and follow
the same actions as the magician. Shuffle your pack. (He
does the same.) As you do this, glimpse the bottom card of
your own pack. Shuffle it to the top. Now you exchange
packs with the spectator. (Your key is now his top card.)
Pul1 a card from the center of the pack, look at it,
remember it, and place it on top of the deck. Cut the deck
in half and complete the cut. (You need not actual1y
remember your chosen card.) "Just look through the deck
to make sure your card is still there." Both of you look
through your cards. The magician looks far the duplicate
of the "key" card and gets it to the top of his pack. (Let
us say it is the Two of Clubs. You then will find a
matching card (Deuce of Spades) and place it on the
bottom of your pack.) You both ascertain that your cards
are still in the deck.

C:8

32

D::8

C=8

Now you exchange packs again. Ask the spectator to

fan the cards and pull out only his card. He is to place it
on the table. While he is doing this, you fUn through the
cards he just gave you and look for your "key" (Deuce of
Clubs). The card to the left of it will be the selected card.
Pull this out and place it on the table, only after leaving
the Club Deuce (key) on top and finding the Spade Deuce
and placing that on the bottom. You have plenty of time
to do this openly as you pretend to look for your card.
Now you have two cards on the table (his and yours).
Ask him to cut a smal1 packet from the top. Try to
estimate how many cards he cut and cut the same amount.
"Let's see i[ we both have the same amount o[ cards. "
Have hirn count them onto the table, reversing the order.
You do the same. (lf you have the same amount, it's an
extra plus; if you estimated a card more or less, either
discard the top card or add one from the deck.) Leave
both small pac~s on the table next to the selected card.
The balance of the deck is set down next to the other
piles. You have three piles - a full pack, a smaller pack
and a single card. Begin by explaining that it would be
one-in-a-million if the bottom cards of both decks
matched. Turn both larger stacks face up to show that this
has happened. Now do the same with the smaller packs
and again they match. "And, o[ course, it's nearly
impossib(e tor the random cards to match, isn't it?" Turn
up the selected cards for a tripie mirac1e. Three in a
million.

33

ltf8

Switchcraft
The following is a good example of an excellent card
trick that can be done under test conditions. While it
appears to utilize difficult sleight-of-hand, it is a very
direct effect and easy to do. This is a variation of a
transposition done by Ted Anneman who never took
chances. His effects had to be foolproof.
You will need one duplicate card. I use an Ace of
Spades for dramatic effect. The deck is set with a picture
card between the two duplicate Aces on top of the pack.
Picture will be second from the top. You are ready to
begin.
False shuffle the deck retaining the three top cards.
Double lift the top card, showing it to be the picture card.
Turn it face down again and deal it on the table. Place a
drin king glass over it. Call it. "This is the King 01
Diamonds." You have actually placed an Ace. You can
false shuffle again (keeping the top two cards). Double lift
again, this time show a face up Ace. "Here is the Ace 01
Spades." Turn it face down and place it on top of the
glass. "Ace on top, King on bottom...
Watch!" Snap
your fingers and reveal the two cards which have now
changed places. 'The duplicate card can be palmed off the
top as the spectator is asked to turn up the card under the
glass.
This one is a reputation builder.

34

D:8
lIC=8

....

-=-

Million
Dollar
Transposition
Ellect: A wallet is borrowed. A deck of cards is
introduced. The top card is shown and placed into the
wallet. An envelope is borrowed. The deck is cut while
face up. The card at the cut is placed into the envelope.
Magician and spectator both initial the envelope. The
envelope is opened to reveal that the cards have changed
places. The card in the wallet has been transposed with the
one in the envelope.
Method: The secret agent is our old triend the
DOUBLE-F ACER. Use two cards of contrasting nature,
either black and red, picture or spot card, etc.
Remove the two cards from the deck which match the
gimmick. (Example: A Seven and an Ace) The Seven is on
top of the deck with the ace being the second card ofthe
deck. The Double-Facer is placed with the Seven side Face
Up in the Face up pack. (About half way into the pack.)
Deck is in its case. Borrow a wallet. Open it and leave
it in full view on the table.
Remove the cards from the case. False cut or shuffle if
you like, and execute a double lift (picking up the two top
cards as one). Show the Ace. Turn the cards over again on
top of the pack and slide the top card into the center of
the open wallet. (This is actually the Seven.)

35

8=8
Borrow an envelope. Have it examined and place it on
the table, with the flap side up. Turn the deck face up on
the table.
From left to right you now have a wallet with card in
it, deck face up, envelope with open flap.
elose the wallet and set it aside or have the spectator
put it in his pocket. Call the name of the card agam, "Ace
is in the Wallet. "

a:a
c:8

Cut the deck, approximately half way down. You

should cut to the Double Facer since a "stranger" card will
form a natural "air break" in an ordinary deck. You have
cut to the Seven. Have the spectator feel the card as you
pick it off the deck. "To make sure we have only one
card." 00 not expose' the underside.

"We placed an Ace in your wallet. We have a Seven in

this envelope. "
Now you open the envelope with the side showing the
spectator's initials. Tear the end off and allow the card to
slide onto the table. Since thls is the underside,
will show.

Slip the card into the open envelope. Leave more than
half the card protruding to make sure he remembers this
card.

the Ace

Hand the envelope to the spectator for hirn to keep as

a souvenir. Take the Ace of Clubs and place it on top of
the face up deck you are now holding in your left hand.
Request that the spectator remove the card from the
wallet. Much to his amazement, he will find the Seven!

Push the card into the envelope and seal it. Initial the
flap. Turn the envelope over and have the spectator also
initia~ the back. Reiterate what hashappened.

While the spectator is busy removing the card from the

wallet, you have perfect misdirection. You slip the bottom
card to the top of the deck, using a c1assic.color change
move. No change is realized since both cards are alike.
Turn the deck face down and from the bottom peel off the
Ace. Throw it on the table for examination. Bottom palm
the gimmick, reach into your pocket for a cigarette and
lose it.

Practice the routine, for it is well worth thy time.

4
36
~

-"

37

..
Eight
Card
Brain-Wave

D:8
E.;:8
a=tI

Here's a fun trick using only eight cards (four red back,
four blue backs). These are the cards I use. The Red backs
are Ten of Diamonds, Joker, King of Diamonds and Ace of
Spades. The Blue backed cards are the Seven of Spades,
Deuce of Spades, Four of Clubs and Queen of Clubs.
Alternate the cards so that red and blue backs are
interspersed. 'Also, tear a small piece from the edge of the
Queen. You are ready to begin. Place the cards in your
pocket or in a small coin envelope.
Remove the cards from your pocket or envelope
without exposing the backs. "These cards are used in a
psychological experiment. They have been selected
specially as you will see. Please look them over and
carefully dede on one card. You may change your mind
as many times as you wish.

"

Spread the cards face up on the table without changing

the order and allow hirn to think of any one card. Now
pick them up again and hold them in the left hand face up.
Remove the cards from the face one at a time, placing
them to the bottom of the pack.
'~s we go through these cards, please stop me when
we get to your chosen card.

"

38

When the specta tor calls "stop ", place his card face up
on tho table. Now the left hand pushes the top face card
into tho right hand. This exposes two cards. Turn both
hands over and you have shown two backs. Do not call
attention to their color as yet. Now deal the top card of
the left hand packet onto the table, at the same time
dropping the card in the right hand.

Repeat the move with the next two cards, each time
turning the hand over so that the spectator sees the backs.
You are actually showing the same back all the time on the
left hand packet.

~l.

~.
--..:~,
-

When all the cards have been shown, you point out
that you knew the spectator would select his particular
card because it was the only one in the deck with a
different color back. This miracle works best on the ladies,
who claim a special intuition of their own. If you'd like to
explain it psychologically, you can patter about why they
didn 't select the cards you are showing. Each card was too
obvious. Ace of Spades, {'everyone picks", Queen has a
piece missing, Deuce the lowest card, Four the only Club,
etc. You can make up a reasonable story with this
arrangement.
IMPORTANT NOTE: Since the Queen has a piece missing,
it must not be placed at the bottom of the left hand set.
Merely cut the pack if it happens to be {here.

39

...

this has been done, square the deck and place it face down
on the table. Ask someone to cut the deck into two
portions and have the selected card returned on top o[ the
original top o[ the deck, Now ask someone to complete
the cut by placing the balance of the deck on top of the
other half on the table, thus burying the selected card
somewhere in the middle of the packet. Ask the spectator
to square the pack. Nothing could be fairer than this. It is
direct and simple, but sure.

Hazzle
Dazzle
The plot is simple and the working easy, making this a
startling effect. The gimmick is an ingenious one made up
as follows:

With the pack still face down, run the cards from the
left into the right hand without di~turbing their order. To
cover this action, you say, 'Tm sure that you 'll agree with
me that I cannot have the slightest idea o[ just where the

Cut a hole in the face of any court card the size of a

half dollar. Use a half dollar for a guide and cut the hole
exactly with a razor blade. Make sure it is a sharp and neat
cut so that the half dollar will pass through the hole easily.
You will also need a "short" card. Shave a fraction ofthe
top edge of any card and round the corners with a nail
clipper or scissor.

gentleman placed his card." As you go on pattering, riffle

the deck upward until you come to the short card. This is
cut to the top. This will automatically bring the "holed"
card to the bottom o[the deck. IMPORTANT: Remember

Set-Up o[ the Pack: Holding the pack of cards face

down, the cards read: Top Card of the Deck-Any card;
2nd Card of the Deck-The "Holed" card; 3rd Card-The
"Short" Card; then the rest of the pack. You are now set
to perform the mirac1e.

the "holed" qrd should be at the end of the pack nearest

your body. Square up the deck and place it on the table
face down.
Borrow a half dollar and have it marked with a pencil,
knife or a sticker. Show the coin, calling attention to the
mark and place it on the table to your right (this is
important). Pick up the pack, holding it with the fingers at
one side and th~mb at the other side. This is exact1y the
same position as you use to do the "glide." The hole
should be at the end of the pack nearest the thumb. With
the right hand, remove the top card (Short Card), and
show the face, asking '1s this your card?" The answer will,
of course, be "No" so you push the card anywhere into
the center of the pack. '1s your card on the bottom?"
Saying this, your right hand second finger reaches under
the pack and draws out what the spectator believes to be

any Cim)
------

~~~~~
~

/Short cord

1 eC:DOO<~~
Presentation: Turn pack of cards face up and casually
run the cards from hand to hand, to show that they are all
different (which they are!). Take care not to expose the
"HOLED" card. If you wish, at this point the deck can be
shuffled, but you must retain the top' three cards in doing
so. Have your card selected and signed if you wish. When
40

41

8=11
the bottom card. What really happens is that you actually
place your finger through the hole and draw out the card
underneath. Show this (supposedly the bottom card) and
push it anywhere into the center of the deck.

way tlnd lift the cards in the left hand upward and place
them on top of those that remain in the right fingers. Keep
pressure on until the coin is covered and keep the pack
level so that the coin will not slip out of position.

-=&::8
-

The above action will automatically bring the selected

card directly above the one with the hole in it (bottom
card). Cards are still face down in the left hand; position of
the hole is nearest the palm. With the right hand pick up
the coin again, calling attention to the fact that it has been
borrowed and marked. Bring the left hand and pack up at
the same time, right hand holding the coin, moving it over
to meet the pack and place the coin into the hole. The
moment that you have done this, drop the position of the
le(t hand, so that the pack is face up before you with the
coin on the face card (Court Card) (actually over the
"hole"). Now you must call attention to the position,
name the card on the face upon which the coin rests and
let it be clearly seen.

Now square the pack neatly and ask someone to name

thc selected card. Hold the pack in the right hand and give
it a slight shake. Cut the pack at the break caused by the
coin. This cut will be automatie, as you will see when you
try it with the cards in your hand. This action will cause
the coin to go through the "holed" card and come to rest
on the face of the select((d card. Call attention to it and to
the marked coin. This one is areal puzzier.
Here is an alternate method for discovering the card.
Instead of cutting the deck in your hands, p!ace it on the
table. The pa~k is face up with the coin resting in the hole
on top. You must beseated for this method. Both hands
approach the deck and cover it momentarily. The action is
repeated three times. At the end gf the second approach,
the spectatbr is asked to name his card. At that time the
right hand picks up the "Holed" card in the "Tenkai"
palm position, thus leaving the selected card now face up
on the deck. The palmed card is "lapped" and both hands
shown empty. The left hand always gives the right hand
the shade for the "palrn."

You now cut the pack so that the coin goes to the
center of the deck as it is cut. It is very important that the
fingers take the correct position for the cut.
Reach over with the right hand. The tip of the index
finger presses lightly on the face "holed" card, just above
the coin. The thumb is at the rear of the pack. The other
three fingers are at the far end. Now: You must keep the
face card while the cut is made. Cut the pack about half

"

-42

43

Control
Knockout

21

Force

The following is a new method for controlling a card

after it has been replaced. This is a novel routine and has
been tested by experts who gave it unanimous approval.
Here's an interesting idea for a force or a card
revelation. The force card is the twenty-first card from the
top of the deck. False shuffle and cut so that you maintain
the upper half of the deck. Allow the spectator to cut off
about a quarter of the top section. He holds these cards as
you start to deal the cards onto the table from right to
left. Each card overlaps the next one so that half of the
card is showing. Deal twenty cards onto the table. Now ask
the spectator to count the number of cards in his hand.
(Example: He cut 12 cards from the top.) Beginning from
the left side of the spread, count twelve cards to the right.
Tht;:card you stop at will be the force card.
To use this as a revelation, just make sure that the
selected card is replaced at the 21st position in the deck.
The system works all by itself.

Have a card selected. Spread the deck with both hands

and have the selected card replaced but maintain a "break"
with the left "pinky" above the selected card. Close the

spread. "Your card is hopelessly lost in the pack. " As you

say this, spread the cards again '(you still have a "break").
As you spread the cards from left to right, you add three
cards to the top of the selected card and 0btain a new
"break" above the three cards. This will bring the selected
card to the fourth position beneath the "break."
Use either a pass or a "Double Cut" to bring the four
cards to the top. Turn the top card face up and show it.
"This isn't your card, is it?" While it is face up spread the
cards slightly and obtain a break beneath the fourth card
(this is the selected card). Square all the cards above the
break. Now' the right hand holds the lower right hand
corner of the block and lifts it as one card. Watch the angle
and make sure the cardf>are perfectly squared. The left
thumb pushes off the top card and you use the block to
help turn it face up. "This isn't it either?"
You now get a break under this fifth card, add the
block to it and turn the whole packet face dowp on top of
the deck. You are handling the five cards as two cards.

44

45

..

8zII
You are now ready for some surprises. Ask the
spectator to name his card. He does so. Slip cut the top
card. The selected card is now face up on top of the deck.
This is the first surprise.
Two other cards lie face up beneath this card. The
right hand double lifts only the two top cards, gripping
them at the lower right hand corner. Bring the two cards
away to your right at the same time turning the left hand
over so that you don't expose or "flash" the face up card
still on top of the deck. The selected card (really two
cards) is placed face down on top of the reversed card on
top of the deck. You do this by bringing both hands
together and placing the left pack onto the right hand
card. Square the cards, remove the top card (supposedly
the selected card) and insert it into the center of the
deck. After ,doing this, the' right hand approaches the
deck and you "triple-lift", turning all three cards over as
one on top of the deck. Show the top card. "It 's not
here. . . . " Slide it off and bury it face down in the center
of th~ pack. Slip cut to show the selected card face up on
top.for the second surprise.
Trus is an excellent way to begin an "Ambitious Card
Routine."

THE
AMBITIOUS
CARO

46

FiveSelectMoves
The Ambitious Card, probably one of the strongest
effects in card magie, is always inc1uded in my c1ose-up
performances. The triek always brings forth laughs and
amazement. There are so many variations and routines on
the trick, I need not go into the basies. Here are five of my
own.
The Ambitious Card should always be performed in an
extemporaneous manner. I never do the same routine
twiee. I try to make it spontaneous by going into my
mental file of moves and varying them. I always have the
card signed by the spectator so as to negate the idea that
I'm using any duplicate cards. This is a valuable point and
makes for a stronger reaction.
1. Bring the, Ambitious Card second from the top. Do
the double lift and show the card. Turn it (two cards) face
down, remove the actual tp card and slip it into the
center of the pack. Now do a double lift and show the two
cards as one. Holding them face up, use them to flip over
the third card (top card of deck). Push off this top card so
that it goes under the face-up cardsin the right hand. Turn
all three down on top of the deck. Square them and
double lift. The Ambitious Card is back on top.

left hand completely so that the deck lies in the middle of

your palm. Jiggle the hand gently and you will note that
the two cards stay together, but jut towards the back of
the deck slightly.
1WOCARDSA~ ONE

------..

~~

When this happens, the right index finger gently strikes

the two cards, causing them to spin together on top of the
deck in a c1ockwise direction.

-U
==:

~
~

CAAIJSPlNNING
IN
ClOCKWISE
DIRECTION

";:;:~':':::';""

""""':':';";-;.;.;.<.:.:.:......

.--r,(j~<{ 9
. ,

:.:.:.;.:~

\~~~:~~I

In effect you have placed the card in the center of the

pack. You've shown that the top two cards are different,
and yet the Ambitious Card comes back again. From this
final position you are ready to repeat the move as many
times as you like. But, not tao many, please!

Close the left hand, enveloping the spinning cards and

the deck. They will be evenly aligned. Turn the two cards
face down as one. Remove the top card, insert it in the
middle of the deck. Single lift the top card and turn it face
up on top of the deck. It is the Ambitious Card. Jiggle it
again and spin it as before. You are now ready to follow
with the next move.

2. Give the deck several pressure fans so that the cards

will have a slight convex bend. Do your double lift, calling
attention to the card on top (really two cards). Square the
face up cards, leaving them on top of the deck. Open the

3. Hand the face up card to the spectator (Ambitious

Card). Allow hirn to place it face up in the center of the
deck, which you have just spread face down in your hands.
Add one card on top of his card as you are c1osing the

48

49

spread and get a pinky "break" above the added card.

Double-Cut both to the top. Square the pack and double
lift, but do not show the top card. "We'll use the second
card [or this experiment. " Using the double top card, flip
the second card face up where it remains. Add the top card
(two cards held as one) so that it covers the face up card.
Now merely pull back the actual top card and the
Ambitious Card is seen on top. This gives you a lightning
color-change effect. Turn the two top cards over as one.
The Ambitious Card is second from the top at this point.
You can now add the next move if you like.
4. Remove the top card of the deck. Place it in the
center of the deck, but at the back end dosest to your
body. Allow the card to protrude about an inch and a half
from the back. Place your right thumb at the back end of
the card. Your right middle finger rests at the top section
of the top card stilI on the deck (Ambitious Card).

This is the crucial part of, the sleight and should be

done as one move. Raise both hands in an upward
direction so that your hands are parallel to the spectator's
eyes. Now the right thumb pushes the extended card flush
into the deck, while at the same time the right middle
finger pulls down the top card so that it now extends
ab out an inch and a half off the top of the deck.

50

2
If done correctly, the spectator assurnes that he's still
looking at the first juttipg card. As the hands are lowered,
the right thumb pushes the top card back on top. Now you
can turn up the top card, again showing the Ambitious
Card.
5. This last idea isfor "fun." I personally enjoy playing
with it. It's a natural for a TV shot or when you want to
fool the boys down at the magie shop. Use a double-backer
and have i't on top of the deck. Have a selected card signed
and place it face up on top of the deck. Double lift as you
turn it face down. Remove the top card and openly place
it second from the top. Snap the fingers and turn the real
top card face up, showing the signature. Turn it down
again with another double lift and you're set to do it again.
Do it a few times be fore you go onto something else And remember to palm off the double-backer when you're
through.

51

FOUR
ACE
EFFECTS

"one". Get a break beneath the seventh card. The block is

now cut away to the bottom with a Double-Cut. "The
Aces are now lost in the deck. " Turn the deck face down
and show no Aces on the top. Riffle the deck with your
thumb and announce that you have just placed the Aces in
various parts of the deck so that you can find them easily.
'TU spelZ the first one. " Proceed to speIl the A-C-EO-F-C-L-U-B-Sby dealing one card for each letter. Turn up
the card that falls on the letter "S". It will be the Ace of
Clubs. Pick up the stack on the table and place this on top
of the- deck. Leave the Ace on the table. You now have
two Aces on top, followed by a seven spot, and seven cards
away is the last Ace. Double-Cut only the top card to the
bottom and show the second Ace on the bottom. Drop it
onto the table.
Holding the deck face-up, begin a "hindu shuffle"
allowing the spectator to stop you at any time. When he
calls "stop" turn the left hand packet face down and then
place the right hand packet on top. Square the stack and
turn up the top card. Remove this third Ace.

Easy
Aces
Here's an easy variation on the cutting of Aces.
Remove the four Aces from the deck, dropping them on
the table. While you do this, place a seven spot card (any
suit) on the bottom of the pack. Arrange the Aces on the
table sothat they read from left to right, two Red Aces,
the Ace of Clubs and the Ace of Spades. The deck is held
in the left hand face up. Add the face up Aces to the pack.

At this point give the deck a few false shuffles or an

Affas-Gaffas false cut and finally turn up the top card
drama tically. It is the seven spot. Feign surprise, but save
the situation by counting off seven cards. The last card will
be the last Ace.

Fan the cards from right to left, showing that there are
only four Aces. As you do this, mentally count seven cards
beginning with the seven spot. The Seven is counted as

52

53

--

8=11

~-

Anytime
Four
Aces

The first Ace is spelled out, one card set down on the
table for' each letter: A-C-E-O-F-D-I-A-M-Q-N-D-S. The
next card is turned face up. It is the Ace of Diamonds.
Leaving it face up, use it td scoop up the other cards and
pIace the whole packet on top of the deck. "Remember

This unusual effect has been with me for a long time.

It is one of my pet effects and requires no difficult
sleights. But the instructions must be followed carefully
and the deck handled very neatly.
Borrow a, deck, have it shuffled and, taking the cards
back, you announce that you will need four Aces for this
trick. Hold the deck face up in the left hand. As you look
for the Aces, remove the cards from the boHom one at a
time, reversing their order and counting, so that you
remember the tenth card. Continue to peel cards off the
deck until all four aces are removed. The deck is placed
face down on the table. Your noted "key" is the tenth
card from the top.
Show the Aces, arranging them face up on the table in
the following order from left to right: Ace of Diamonds,
Ace of Clubs, Ace of Hearts; Ace of Spades. Ask the
spectator to remember the order. Cut off the top fifteen or
sixteen cards and place them behind the Ace of Diamonds
on the table. Cut another small packet (a bit less) placing it
behind the second Ace. Do the same with the other two
Aces.
Pick up the first packet, turn the cards face up and
pressure fan them. Place the Ace of Diamonds to the right
of your key (tenth) card. Push the Ace into the deck and
elose the fan. Pick up the second Ace (Clubs), turn it face
54

downand use it to scoop up the second pile. This packet is

added to the face up pack in the hand. The Ace of Clubs is
now topmost card. Get a break uilder the Ace and
double-cut it to the bottom of the stack (a la "Cutting-theAces"). Repeat the procedure with the next stack,
double-cutting the third and fourth Aces to the top of the
deck. Now turn the deck face down in the left hand.
(Three Aces are now on top with the Ace of Diamonds
eleven cards beneath them.) We're now set for the miraele.

cIJ.
1"
1"

that the Ace of Diamonds isface up. "

Now speIl to the next Ace (Ace of Clubs). SpeIl the
same way, placing one card down for each letter. The next
card will be the Ace of Clubs. Turn it face down. Use it as
a scoop and scoop up the tabled cards, putting them back
on the top of the deck, but maintain a break under this
stack. "For the Ace of Hearts, we 'll cut the deck."
Double-cut the top stock to the bottom. Turn up the top
card slowly, showing the Ace of Hearts. Take care not to
expose the face up card second from the top. Leave the
Ace face up on top of the deck for amoment. Get a break
under the third card, tripie lift and turn the three cards
over as one. You have &pparently turned the top card face
down and have reversed the Ace of Spades secretly.
"Which Ace is left?" The spectator names the Ace of
Spades.
You now get a break under the top card and in the
action of a double-cut, you produce the Ace of Spades
face up on top of the deck. Turn it face down on the deck.
Pause for a few seconds as though the trick were over.

55

--

..8
Holding the deck face down in the left hand, press down
with the thumb and literally throw the pack into the right
hand, retaining the top and bottom cards in the left
fingers. In a continuous action, throw the cards from the
right hand onto the table, retaining the top and bottom
cards again. Slowly turn both hands over to expose all fOUf
Aces.
This last action is a topper to the effect and fellow
comperes will give you cred~t for handling that was never
really done.

.~

"',

Hide
and
Seek
Kings
This one is good visual frickery at its best. In this
routine, nobody "picks" a card. The audience sits back
and watches magic.
Set-Up: Stack the deck as follows from the top card
down: Any indifferent card followed by the Queens of
Spades, Hearts, Diamonds, Clubs. The Queen of Clubs
should be fifth from the top. Now distribute the Kin!?s
anywhere in the pack.
Performance: "We need four Kings for this trick."
Openly find the Kings by running through the face up
cards. Place them face up on the table as you find them.
The deck is held face down in dealing position. Pick up the
fOUf Kings one at a time, placing each cne faceup on top
of the deck in the following order: King of Spades, Hearts,
Diamonds, Clubs.
Spread the top cards to show them face up, but
continue the spread beyond the Kings. Mentally count five
cards and get a "break" under the fifth card, c1osing the
spread and squaring the pack. Lift the entire block (9
cards) neatly squared. YOUfright thumb holds the block in
the rear with the other fOUffingers in front.

56

57

8=11
The right hand now approaches the left hand deck.
The left thumb slides only the face up King of Clubs onto
the deck. It is still face up as you place the entire block on
top of it from the right hand. Now you announce, "The
King of Clubs has vanished!" Spread the top cards
carefully, showing three Kings. Continue to spread four
more cards. Get a "break" under the fourth face down
card. The fifth card must not move, as it hides the King of
Clubs. Square the pack again and lift the block of seven
cards as before.
The left thumb now takes the King of Diamonds. The
right hand block is added. Announce, "The King of
Diamonds is gone." This time you show the two top Kings,
but spread only three more cards, getting a "break" under
the third face down card. Square the pack, lifting the five
card block. Slide the King of Hearts to the left. The King
of Spades and the block beneath it are held as one card
and added to the King of Hearts. "The King of Hearts is no
more. "Spread two cards below the King and get a "break"
under the second face down card. Lift the block again and
pull off the King. It appears as though you are now
covering it with the "second" card. The face down cards
are held as "one." Snap your fingers, pull back the top
card, show it and bury it in the center of the pack. "Where
is the King of Spades?"
Cut the entire pack in half and complete the cut. Now
spread the cards face down on the table. The Kings are
seen reversed in the center. There is a face down card
between each of them. Pull out all the cards from the face
up King of Clubs and inc1ude the card to the right of the
King of Spades. Show the face down cards to be Queens
matching each of the Kings. "Where are the Kings?
They 've gone to find their ladies!"
Editor 's Note: If you wish to follow with a Four Ace
routine, you can substitute the Aces for the Queens.
58

TV

Aces
When I was a young boy first starting in magic, my
dream was to be able to have the ability to cut the Four
Aces out of the deck. In the ensuing years, I found many
methods. The one I describe here is one of my favorites.
It's simple to do and will fool the boys "in the know." I
have done this many times when being interviewed by the
press or when I appear on TV. Do it anywhere, anytime,
and with any borrowed deck.

\
1

Remove the four Aces

from the deck and toss them
face up onto the table. Holding the deck face up in dealing
position, riffle the outer edge
of the cards with the left
thumb. When you've riffled
about forty cards, peek the
card at that position, rem ember it, and at that point in the
deck, place your first Ace.
It is now protruding half
way as you continue to riffle
about ten more cards where
you place your second Ace (in
front of the first one). The
third Ace is placed in the same
manner, but only about eight
cards away, while the last card
is inserted about six cards in
front of the previous Ace.
59

"""-

1&8
The deck is now face up
with the four Aces protruding.
Move the position of your left
thumb from the side of the
deck to the top of the deck.
Apply pressure on the face
card. The left index finger
pushes the Aces into the deck.

-e".
~....
3

You have actually pushed

the Aces into the deck, but
you have also forced out the
extraneous cards in between
them.
This is the crucial part of
the effect. As you finish pushing the Aces in, you strip the
extra cards out of the bottom
and continue by "hindushuffling" them onto the face
up cards. This is an Ed Marlo
move and a very convincing
one. The Aces are now
together in front of your
"key."

.' '.
8;..8

.-.
.. i8
4

Square the pack and turn it face down. Show that

there are no Aces on the bottom by fanning a few bottom
cards. Now show, that there are no Aces near the top. Do
this by fanning a few cards and turning them face up. Take
a few more, one at a time, until you see your key. Keep a
break between the key and the next four cards. Double-cut
and you now have the Aces on top of the deck. Shuffle
them to the bottom of the pack with an overhand shuffle.

..~-

f8

~- -'R"- -

1m

<11

a.

8:,.
60

While you are squaring the

deck, give it an "upward
riffle", bridging the deck.
The illustration is greatly
exaggerated for the sake of
clarity. Cut the deck approximately in half, bringing the
Aces to the middle. This
explanation takes longer than
the actual execution.
You will note the deck has
a bridge. By bending the index
finger on top of the deck and
pushihg inward, the bridge
becomes
hidden.
Release
pressure and the bridge reappears.
Place the deck in the left
hand in position for the
Charlier or "One-Hand" cut.
Release pressure of the hand
and allow the bottom cards to
drop into the left hand. The
cards automatically cut at the
bridge.

: ~
~\

\iii

.i;?i.

~
6

Now for the pretty part of

the routine. Insert the left
thumb in the break as shown
in the illustrations. By pulling
back gently ~)llthe thumb you
will note that the bottom Ace
will ride out with the thumb.

8
61

.a-.

When the Ace is threequarters of the way out, push

upward with the thumb. Th~
face up Ace will flop over
onto the top of the deck. This
is the method for producing
each Ace.
Show the Ace and drop it
onto the table. Now take the
deck with faces away from
you and shuffle off five or six
cards. Throw the deck on top
of these cards and proceed to
cut to the next Ace as before.
For the third Ace shuffle the
five or six cards back from the
bottom to the top. The idea is
to create the illusion that you
shuffle after each Ace. The
Aces will remain in the center
of the pack. Produce the last
Ace.
Before using the deck
again, spring the cards from
hand to hand to take out any
crimps still in the deck.

9
.

<>

...

,... .
.' ./

'

SELECT

DISCOVERIES

62

--

--

..

QuasiMental
Here's a nice "bold" quickie to inc1ude in an evening's
entertainment. It's easy to do and will establish you as a
"super star" with the pasteboards.

,.

.-=-

As you're shuffling the cards, glimpse the bottom card

and shuffle it to the top of the deck. Place the deck on the
palm of your outstretched left hand, so that it is c1ose to
the base of the thumb.
The spectator is requested to cut the deck in half and
place his stock adjoining the others. You now have two
halves on your palm. The half c1osest to the spectator
contains the glimpsed card. "By looking at this card
(nearest to you), I can tell you Ihe name o[ the card on the
other pile." (Look at this and remember it, but caU the
name of the glimpsed card.) Turn up his top card to show
it. Drop it onto the table and put the two halves together
so that the new glimpsed card is on top. You can now
repeat the trick. Do it once more.
The last time you do it, shuffle the "key" to the
bottom ot your pile and again have the spectator cut his
half. This time yu caU the names of the bottom cards of
each pack. Call your "key" card first, but puU out the
bottom card of the spectator's pile. Do not show it, but
lift it up in a fancy gesture and glimpse it as your drop it
onto the table. Call the name of this card and slide your
own bottom card to the table. Turn both cards face up
together.

.."

ih

Dual
Discovery
This routine is ideal for the living room or small group.
It requires "neat" handling.
Two cards are selected and returned to the pack. They
are both controlled to the top of the deck. Give the deck a
few false shuffles and cuts. 'Tm going to use two cards."
As you say this, remove three cards from the top. Place the
deck on the table and handle the three cards as tWO. Since
the first spectator replaced his card first, it will be second
from the top of the three card stack. The second
spectator's card is on top. An indifferent card is on the
bottom.
Approach the first spectator and spread the cards,
showing them as two by moving the top card to the right.
Keep the bottom cards together, squared as one. "Do you
see your card here?" He will answer "No." Now move to
the second spectator. Square the cards as you approach
hirn. Buckle the bottom card to the left as you show two
cards. (The topmost cards held squared as one.J "Is your
card here?" The second spectator also will say "No. "
1

~
~~

You will be pleasantly surprised at the reaction you'U

get to this simple effect.
64

65

.,

r~
"~

Clear
Voyant

'"

Over the years I've had fun fooling "the boys" with
this one. In the layman's living room it is a veritable
"miracle"! The principle is old, but the presentation here,
with the proper aeting ability. on the part of the magician,
will make it a mystery.

Square the cards and turn them over in YOUfleft hand

so they are face up. Using the "color-change" move, palm
the bottom-most eard in the right hand.
Pass the hand over the face up eards and drop the
palmed eard on top of the indifferent eard. By buckling
the bottom eard, you now show them as two. This time
both spectators will aeknowledge their cards.

YOUf deck is set up in a Si Stebbins arrangement.* The

suits follow Clubs-Hearts-Spades-Diamonds.
Each card
iq sequence has a value of three more tha'n the previous
card. An Ace follows a Jack, Deuces follow the Queen,
Trey follows the King, etc. An easy way to remember the
suits is with a mneumonic. Remember the word "C-H-a-Se-D." Clubs-Hearts-Spades-Diamonds.

You have ereated the illusion that two indifferent

cards have changed to the seleeted cards. Aetually each
spectator has seen the other's eard.

Presentation: Remove the deck from its c.ase and

casually cut it a few times as you patter. You will hand the
deck to the spectator and ask him to step into the next
room where he cannot be seen. He can lck himself in for
more dramatic effect. He is to follow your instructions.
."

11

..
66

Once in the room, within earshot, he is told to shuffle

the deck in an overhand. fashion. Now he must give the
deck a simple cut. He will square the pack and remove the
top card of the deck without looking at i(. He places this
card in his pocket, and brings the deck out of the room
with him.
Once in YOUfpresence, he is asked to turn the deck
face up and spread it until he finds the first Queen. He
hands you this card. And now for the build-up:

67

Once you see the bottom card of the deck, you add
three, and you now know the card in his pocket.! It is the
next card in the Si Stebbins set-up. The shuffle and cut
will generally not affect the sequence. Pick up the Queen
that you have been given. Hold it to your ear and pretend
that you are getting messagesor whispered information.
Dramatically announce the name of the selected card.
Have the spectator remove it from his pocket and show it
around.
The odds of destroying the set~up on a single shuffle
are negligible. You can even repeat the effect two or three
times. I have done it as many as eight times without the
loss of the set-up. This one is a reputation builder.

Fr those not familiar with the Si Stebbins, here is the

set-up:
*SI STEBBINSSET.UP
K-Clubs
3-Hearts
6-Spades
9-Diamonds

K-H
3-S
6-D
9-C

K-S
3-D
6-C
9-H

K-D
3-C
6-H
9-S

n"'-c
2-H

n-H
2-S

n-s

n-D

5-S
8-D
J-C
A-H
4-S
7-D
10-C.

5-D
8-C
J-H
A-S
4-D
7-C
10-H

2-D
5-C
8-H
J-S
A-D
4-C
7-H
10-S

2-C
5-H
8-S
J-D
A-C
4-H
7-S
10-D

Kingof HeartsfollowsTenof Clubs,etc.

68

Uncanny
Revelation
I find this trick most appealing to the women in the
audience. It is a bit offbeat and I always use it when the
conversation gets around to "mentalism" or "intuition."
The preparation is simple. In shuffling, get a glimpse of
the bottom card and remember it (key card).
Ribbon spread the deck face down on the table.
Request that your spectator remove one card but not to
look at it. Haveher sign her n~me along the white border
so as to mark this one card. While she is doing this, pick up
the deck, square it and cut the top half onto the table. Ask
that the initialed card be replaced on top of this packe~.
Complete the cut so that your "key" now falls on top of
the selected card.
After a few false shuffles and cuts, ribbon spread the
cards face up on the table. Locate the key. The selected
card will be the card to the right of the key.
So far it sounds like a routine trick. Here's where a bit
of acting ability comes in! Borrow a pen and, starting from
your left to your right, skim the pen above the cards. This
is done slowly. As you begin to approach the selected card,

you ask, "Pleasetell me when to stop. " If the pen is held

about six inches above the deck, you can time this so that
you will come down right on her card. Timing is critical
here. After a few tries, you'll find it second nature and
that you'll be able to come down on the setected card
naturally. Pull the card from the deck and slowly turn it
over to verify the signature.
69

If you miss, do not panic. You always have hundreds

of "outs" if you're quick-witted. You can always count to
the card. For example, if you're five cards away you can
always speil "b-I-a-c-k", spe-ll"S-p-a-d-e", or count in one
direction or the other. Once you've mastered the timing,
you'll find you won't need'. the "outs." This is an
exceptionally strong effect.

..

8b8Peekaboo
Revelation
This particular effect was once presented to me as a
card problem. Here's the problem: A card is freely
"peeked." The deck is cut a few times and the selected
card is revealed face down in the center of fOUf face up
Aces. Here is my handling on this. I have kept the moves
to aminimum.
To set up, reverse the four Aces-black Aces on top
and bottom, red Aces in the center. These face up cards
are placed on top of the deck covered by a single "face
down" card to hide them.
Hold the deck in "peek" position. Riffle the topmost
right corner with your right index finger and ask the
spectator to stop at any time. When he calls "stop" he is
asked to remember the card he just saw. As you bring the
deck downward, let his card drop and maintain a "pinky"
break on top of it. Lowering YOUfleft hand, you hold the
deck in dealing position (still holding the break). Get a
second break with the right thumb, under the third card
from the top. This card is a red Ace.
Double-cut his card to the top of the deck, keeping the
right hand break whioh is now in the center of the deck.
The right hand now cuts the deck as follows: the left
thumb pulls the top card to the left in "slip-cut" fashion.
The right hand pulls away the cards above the break. The
top card will cover the face up card in the left hand
section. This is to be done in a continuous motion so there
will be no "flash" of the face up card. The handling must
be very neat.

70

71
iL.c

The right hand packet is now dropped on top of the

1eft hand packet. The "peek" card will b6 sandwiched
between the aces. The spectator names his card and you
ribbon spread the deck face down on the tab1e for the final
disclosure.

Miracle
Stab

This will become your favorite reve1ation and it's a

natural for leading into a Four Ace routine.

,<

--

Here's one that I've kept under wraps for some years.
Many of the keenest minds in magie have be~n foo1ed by
this. The germ of the idea came from a meeting with the
late Bert Allerton some eighteen years ago. Bert did this
effect by committing the entire deck to memory. I've
eliminated that. The second part of the trick depends on
your ability to estimate cards accurate1y. A bit of practice
will give you the fee1 of the cards.
The 1ayman is asked to name any card in the deck. He
may change his mind to insure a free selection. The
magician now removes the deck from the card case, inserts
a knne into the pack and discloses the card named. Here's
how.
Preparation: Use a brand new deck and shuffle it
severa1 times to thorough1y mix it so that there is no order
to the cards. Next, you take a small index card, cut to
2-1/8" x 2-1/2". Type or prin t the order of the cards as
per the samp1e be10w.

11

A
2
3
4
5
6
7
8

9
10

-- 72

J
Q
K

.4-

-32-

- 6-

-30-

-37-13-31-45-16-27-

-52-

-17-48-22-10-42-

-47-40-46-14-39-24-29-

A
2
3
4
5
6
7

- 7-

- 8-

-36-

-21-20-26-43-25-

- 9-

-35-

-38-28.12.

-51-44.

- 273

- 3-15-49-

- 5-11-

-18-

- 1-

8
9
10

-34-41-50-

-19-33-23-

J
Q
K

11
11
11
1

~I
i~

..
This index now gives you the 10cation of every card in
the deck by card and number. G1ue this index to the back
of the card case in a width-wise direction as in the
illustration. To assist in the cutting, give the 26th card a
slight crimp. The cards go back in the case.
Presentation: P1ace a pocket knife on top of the case
which is on the tab1e on its edge 1engthwise in front of you
so you can see the index. Have the spectator name a card
and go through the protoco1 of allowing him to change his
mind, etc. After he names the card, look it up on the
index. You have p1enty of time to do this. You can open
the knife slow1yfor added time.

8i=8Stab&tp8 Mental
A little acting ability and showmanship can make this
the strongest effect of the evening. To make it more
dramatic, you can use a blindfo1d at the end of the routine
and your audience will talk about this one for days to
come.
Preparation: Remove ten cards va1ued Ace through
Ten. This need not be of the same suit. P1ace the cards in
destending
$equence as follows: ! 5-4-3-2-Ace10-9-8-7-6.
This isdone to mask the set-up, making it
a bit 1essobvious. P1acethe set-up cards on top of the deck
with the Five spot topmost.

Pull the cards from the case. Holding the deck firm1y
on its side with the 1eft hand, estimate the 10cation
number and neatly insert the knife at that point. Patter:

"You are about to witness a miracle." Turn up the card.

(It is sometimes the next card, but in any case you have
done the impossible.)

..

-.

Ct::8
8=::8
74

Presentation: Begin to fa1se shuffle and fa1se cut the

deck. This is not too hard since you on1y need to contro1
ten cards. Allow the spectator to cut the deck and
comp1ete the cut. Now exp1ain that you'll need a number
of cards at random. Pick up the deck, look through the
face up cards and remove the ten cards from thepack. Fan
these in front of the spectator and allow him to "think o[
any one card." He may change his mind if he wishes.
Before rep1acing the ten cards on top of the pack, you cut
them in half so that the Ten spot is on top.
The cards are now in descending order from Ten down
to the Ace. These are p1aced on top of the deck and you
fa1se shuffle a few times as though 10singthem in the deck.
Hand the deck to the spectator. He is to take the deck
under the tab1e. He must now transfer cards from the
bottom to the top. He is to transfer as many cards as
required to match the va1ue of his mentally se1ected card.

~.

:1
I1
11
i~

75
11

...

-=a
,

Example: If he selected a Deuce, he moves two cards

from bottom to top. If he chose a five-spot, he moves five
cards from bottom to top, etc. He must then bring the
deck up to dealing position. Your patter might follow this
theme:
"You merely thought of a card. You didn't take it
from the pack. I have no possible way of knowing which
cardyou selected. " (Make this strong.)
At this point you request that l1e deal the cards Hone
at a time" all around the table in no particular pattern.
Here's where the chicanery comes in. As he is doing this,
you mentally count to the eleventh card dealt. Note its
position on the table and do not lose sight of this card for
amoment. When the spectator has finished dealing, you
place both hands on top of the cards on the table. Your
right thumb goes directly on top of the selected card and
stays there.
You now proceed to mix the cards about haphazardly.
The thumb will help you keep track of the card during this
mixing process. At this point you can even be blindfolded.
Use a handkerchief where you can see down through the
space between your nose and your eye. The rest is
showmanship. You can allow the spectator to hold your
wrist as it passes over the collage on the table. Suddenly,
with a plunging move come down on the chosen card and
dramatically turn it up.

.~ IJ

Once
In a

8:iF8

Knife.
Time
Here's one that I've been using since 1945. The
spectator assists in the performance of a miracle.
A card is selected and the

- w,-~

"

This is a very strong effect and an intelligent audience

will view this as a "bio ckbuster. "

76

spectator signs his name on its

face. It is then returned to the
deck. The card is brought to
the top of the deck. Do a few
false shuffles and cuts without
disturbing the top card. The
deck is now handed to the
spectator who is asked to wrap
it in a paper napkin. The deck
is to be placed in the center of
the napkin and wrapped fairly
tightly.
Take the deck and hold it
on the table firmly. Ask the
spectator to insert a knife
somewhere into the deck. He
is allowed to change his mind.
After
the spectator
has
stabbed the deck, you split the
paper on both sides of the
77

11

[I

II

I
I
I'
11
I1
11

'I

I
11

I'

-=knife. Here's where the dirty

work comes in.
The deck is held in the left
hand. as in readiness for a
shuffle. The thumb is up. The
fingers wrapped around the
other side of the deck must
face the floor. (See illustration.) Insert your right thumb
up to the first joint (as though
it were a knife). Start pulling
one half of the deck to the
right at the same time the left
thumb pulls to the left. The
face card in the center of the
pack will be facing you. Continue turning the packets over
until both packets have been

."1

8!::8

-=-

This particular effect uses one of the most startling

card discoveries that I have come across in years. Whenever
I do it, I literally get gasps from the laymen. It's been in
my repertoire for a long time. I use it for a c1osing effect
or an encore.
I use Tally-Ho cards or any deck where the card design
is imprinted on the back of the card case (Bicyc1e, etc.).
Slit the flap side of the case with a sharp razor about 1~
inches down from where the case opens. The slit goes all
across the design on the back (in the width).
A card is selected, signed and returned to the pack.
You bring it to the top. Now you show that his card is not
on top, using a double lift. Show that it is not on the
bottom.

given a full and complete

revolution in both hands. This
move must be done in one
motion. What happens is that
the card that is now face up
was originally the bottom card
of the deck. The card face
down in the other hand is the
selected card. The entire
action is masked by the paper
and the falling of the knife.

Place the cards into the card case as follows: As you

reach the flap, the right thumb pushes the top card slightly
to the left (about ~ of an inch). You will note that by
jogging it slightly in this manner the card will almost
automatically slide through the slit in the case.

Offer the deck and allow

the sp~ctator to turn up the
card. The method may also be
used as a Force. You can force
both top and bottom cards in
this manner.
78

Case
Card

'~

79

Three quarters of the card will remain "outside" the

case. The last quarter remains in the case when you c1ose
the flap. Because of the over-all design of the case, the
protruding card will camouflage itself. You can now
handle this easily without fear of exposure.

The case is now placed on the outstretched palm of

your left hand so that the selected card lies flat on top of
the hand. Using a c1ockwise rotating motion, press down
on the case and the selected card seems to have penetrated.
It magieally appears face up on the palm.
You have just mastered one of the prettiest card
discoveries in magie. You can put the cards away and
conc1ude your performance, as it is a very hard effect to
follow.

GAMBLINGPLOYS
&

~
a1I=a

80

..

POKER DEALS

The subtlety here is that when he has done this, he has

set the deck up for you. The Kings and Aces are in the

Head
to
Head
Poker

middle f the pack. You nw cut to the crimp, complete

the cut and take the tp card for yurself. It will mst
likely be an Ace. Just in case Yu didn't hit it right, you
will still have a King. Invite the spectator t repeat the
actin. He cuts away the tp sectin and draws a card

Dia

which sets you up again far a cut t the crimp. After five
cards have been drawn, making up tw pker hands, you
allw the spectatr t look at his cards, allowing hirn
Deuces wild, One-Eyed Jacks r Jokers wild. He then turns
up his hand. The dds are all in your favr. No. matter

Hyre is a trick which is a natural t d when the

spectatr gives Yu the familiar phrase, '1 wouldn 't want
to play cards with youl" This is ne that I like t use.
1
11

I
11

After yur last trick, YUpenly g thrugh the deck

and cull the fur Aces and four Kings t the tp f the
deck (fur Aces tpmst). A few false shuffles will
maintain the tp stck. Nw YUmust put a little "wrk"
int the deck. The right hand appraches the pack and
gives the tp half a riffle in an upward directin (see Fig.
5-TV Aces). This gives the entire deck a slight "crimp."
The riffle need nt be t extreme (illustratin is
exaggerated)

what he draws, YU have the advantage of either four Aces,

four Kings, a FuiI Huse r tw pairs f Aces and Kings.
Make sure that all the cutting is dne casually. D nt
g lking fr the crimp, but cut easily. The spectatr
des all the work fr YU. After the effect, riffle shuffle
the deck and remve all the crimps.

....
D=1I

-~
-~~~

_.~ ::

Place the d~ck in frnt f the spectatr so.that he will

cut the deck frm the side. Ask him t cut the deck,
cmplete the cut and then take the tp card fr hirnself
fr a little pker game. He is nt t lk at the card.

v)

IE>I'

lD=a
D=IJ

82

83

-+Shoot-Out
Poker

The "gaff" is simple. We use a long, thin rubber band

about 2Yzinches in length. Band the bottom twenty cards
lengthwise. Now the Royal Flush cards are forced into the
center of this block. Take the remainder of the deck and
place it on top of the block.

For solid belly laughs, I always inc1ude this routine in

my evening's repertoire. This is both entertaining, astonishing and highly commercial. Read the routine first and then
set up the gimmick.

Gear the patter toward gambling and explain that you

will show how to make a winner out of any spectator. Ask
the chosen spectator how many poker hands he wants you
to deal. Now ask him which hand is to get the winning
cards. Example: the spectator requests five hands dealt and
the second hand to be the winning one.
Remove the deck from the card case and begin to deal.
Deal a card for the first player. Now pretend to deal the
second card, but actually do not put a card down.
Continue to deal the third, fourth and fifth hands. Each
time you come to the second hand, you only make a
motion, but do not deal a card there. This piece of
business will amuse the spectators. Keep a straight face as
though you were serious. When all the hands have been
dealt, you pick up each one with the right hand, carefully
analyzing them to see what strength they carry.
After four hands are examined, you ask the spectator
to look at his cards (the second hand). Since none have
been dealt, there is nothing to look at. "Well, suppose you
were able to deal yourself the best cards possible. What
would you select?" He will usually name the Spade Royal
Flush (lO-J-Q-K-A
of Spades). If he doesn't, you
merely add "f think a Royal Flush would be better,
wouldn't it?" At that point you aim the deck in his
84

REMAINDER
OFDECK
Lu
I
Rubber Band

HI\RDS-3

I
11

direction and five cards shoot across the table. Turning

them over, he finds the Royal Flush. Laughs are guaranteed to follow. Here's how we do the last part.

af8
~- ....
_c'7

~.

':)

As soon as you relax your hold on the deck, the cards

will move upward. Put the whole thing in the card case
carefully and make sure the flap is c1osed properly.
Remove them carefully from the case. While the deck is
held firmly in dealing position, the five cards are locked in
place.
After the business of analyzing the hands, aim the
cards at the winner's position and move your hand in that
direction as you release the tight grip. The cards will shoot
across the table and stop in front of the spectator. A little
practice will give you the feel of the move. While he's
turning the cards face up, you have plenty of time to lower
your hands and slip off the rubber band. A bit of
experimenting will give you the proper rubber band(to)use.

ta:::It

_8
85

4-

Swift
Poker
Deal

the face up cards I deal. I will take only the first Jive face

down cardswe come to. "

Start to deal the spectator all the face up cards (most
on top) until YO1,1
come to your face down cards which
you put in front of you until you have all five. You stop
dealing here.
'Tou can use any of your cards and make the best
hand you can. "

This routine was devised by Allen Swift who is a very

elever elose-up magician. He is probably better known as
the "Man With a Thousand Voices." Whenever you hear a
vocal impression on radio or TV, you can bet it's Allen. I
must thank Lee Noble who first demonstrated this at a
recent New Year's Eve party. I fooled with the principle
and added the "Royal Flush" kicker. Allen Swift has been
good enough to allow me to explain the revised routine
here.

Once he has selected his hand, you slowly turn up only

the first tour cards you dealt yourself. These are Aces. You
win.
"Did I do anything phoney?"

the Ace of Spades and the face down card which you have
not exposed. Now deal more cards, giving the spectator all
the face up cards and the three Aces. You take the next
three face down cards. Stop dealing.

Set up the deck from left to right as folIows: Ace of

Clubs on top, two Red Aces under that. Then the Ace of
Spades followed by the King, Queen, Jack, and Ten of
Spades.
After a few false shuffles and a cut (keeping the top
eight cards in place), you explain that you're going to play
a short Poker game with the spectator. You are going to
allow hirn all the "odds." As you patter, bite off (cut)
about 13 cards from the top and turn them face up on the
deck in a block. Now bite offabout 26 cards and turn his
group over on top of the deck. You are left with about 13
cards face up on top of the deck.

"Did I do anything wrong?" Allow the spectator to

make up another hand. You now beat hirn again, exposing
the Royal Flush. (Even if he comes up with a Royal Flush
in any other suit, you still have him beat.) "The moralof
this story is that you should never play cards with
strangers, especially if they 're your friends. "

The left hand now cuts about 26 cards from the

bottom of the deck. These cards are turned face up and
shuffled into the top stack. "We now have some cards face
up and some face down. I'm going to allow you to use all

86

No matter what he

answers, you now follow with: 'Tll tell you what. Leave
me the Ace of Spadesand you take the other three. " Keep

87

Poker
Drearn
Without reservation, I believe this to be one of the
most commercial poker routines invented. I have featured
it in both private and TV appearances. The routine will
stand up under the scrutiny of the cleverest card magicians
and poker players. It is guaranteed to bring forth solid,
spontaneous laughter and applause from the most discriminating audiences.

I,

Start off by setting up the cards as follows: We use

four Aces, four Kings, and two indifferent cards (see
illustration). Pick up the cards in the order shown, placing
each card beneath the previous one. Begin with a facedown Ace. Unqer that youhave a face-up King, then a
face-down indifferent card, two Aces face-down, a face-up
King, a face-down King, face-down Ace, face-down
indifferent card and finally a face-up King.
1

~~

'-~ ~

~:j

"'" IK

~~ ~",.i?~

~ ~ ~IJJI
I 0 ~~ ~ ~
~

The face-down Ace is the top card. This ten card stack
is now placed on top of your deck. You are all set to go.
Follow the paUer and the handling. The top block of ten
cards must not be disturbed.

88

"Let me tell you about this crazy dream I had last

night. You know how dreams are sometimes so real
and yet weird and abstract. I was invited to play
poker with a Mississippi hustler. Nothing unusual.
He looked just like you or I, except that he had a
big black and green mustache, a wide brimmed hat
and a thin cigar sticking out of his mouth. When he
smi/ed, his teeth would shine and sparkle in gold
and si/ver. He looked a lot like my Mother-In-Law.
Anyway, we started to play the game. As I began
to shuffle the deck, he says, 'Hold it. . . . In this
town we shuffle Mississippi Style.' And he
proceeded to shuffle this way. . . . "
The deck is in front of you on the table in readiness for a
riffle shuffle. The left hand cuts the top half to the left.
Turn the right hand packet face up and proceed to shuffl~
the right hand cards into the left hand pack. Make sure
that you allow the top ten cards of the left hand stack to
drop last, retaining them on top. Square the pack. Now
turn the deck over completely. (Stack is now on the
bottom of the deck.) Take off a bunch of seven or eight
cards from the top and place them on the table, reversing
them. Now pick off another small packet of cards and
merely add these to the top of the first bunch. Reverse the
whole packet. Repeat with a few more cards, each time
reversing the tabled cards. Do this casually and make sure
that the last group (stack) of cards on the table is picked
up, reversed and placed on the top of this haphazardly
mixed deck. You have simulated a sloppy type of shuffle
which will be very confusing to follow, but the top stock is
exactly the same as it was when we began. Square the pack
and proceed to deal two hands of poker. . . .
"The hustler began to deal. One for me and one for

him. And this is how it turned out. "

Deal the hands and you will see that the dealer gets three
face up Kings.
89

"He got three kings and won the game. "

Just a

Pick up the dealer's hand and place the cards on top of the
deck. Now pick up the other hand without showing any of
the cards and add these to the top of the deck.
"This was a crazy dream. The gambIer said that it
was my turn to deal. So I shuffled the pack,
Mississippi style. "
Repeat the first crazy shuffling process, making sure that
the top stock remains on top after the cutting and
shuffling. Square the pack and pick up the cards ready to
deal.
, "Just as I was about to deal, the hustler winked,
and a spark flew out of his eye and hit the top of
the deck. I knew he had done something to stack
my deck. As he turned away to light his cigar, I
slipped the top card to the middle. (Do this as you
patter.) In case the deck was stacked for him to

win, I would ruin it. Then I dealt. . . . "

Proceed to deal two poker hands. This time the three face
up Kings go to the gambler's hand. Your cards are face
down.
"I said, 'You 've gotten three Kings again.' He
answered, .'No..I have four Kings.' (Turn up the
first card in his hand and show it to be another
King.) WeIl, I thought he had me beat. But luckily
it was my dream. Anq I beat him anyway. "
Turn your hand up to show four Aces!
Editor's Note: I have seen Frank do this on the TODA Y
Show for Hugh Downs. Judging from the reactions on that
appearance, I can safely say that the effect is worth
learning. It is "entertaining" magie.
90

8=8

"Second"
This is a beautiful effect and well worth the price of
practice. It employs a "second deal". I personally feel that
the "second deal" has been sadly neglected by the
magician, although not by card-cheats. It is interesting that
the conditions in which a magician performs are not as
demanding as that of a card cheat. Therefore, a magician
may take more liberties. A good "second" is preferred, but
not essential.
Openly remove all the Heart suit cards from the Ace
through the Ten. Plaee them face up on the table in
sequence order from left to right, beginning with the Ace,
then the Two, etc. The ten cards ar.enow on the table in a
ribbon spread fashion. The spectator sees exactly what you
are doing. Pull the spread together and hand them to the
spectator in a block of ten cards. The Ace is topmost, face
down.
Begin a "hindu-shuffle" and allow' the spectator to
place the entire block into the center of the pack. Keep a
"break" at that point and shuffle the rest of the cards on
top. Now you can cut or double-cut so that the block is
now on top of the deck. S'pread the cards and allow the
spectator to select a card from the center of the spread.
After the selected card is removed from the pack, you
square the cards. The right hand undercuts about a third of
the cards. The left hand is moved forward and the selected
card is placed on top of this stack. Keep a "break" at that
point (above the selected card) and complete the cut. You

91

-=I

can now double-cut the cards so that the stack 1Son top of
the deck again. The selected card will be topmost. A false
shuffle here adds to the effect.
Ask the spectator to give you a number between One
and Ten. (Let us say he calls out "Pour".) You now
"second deal" the first three cards face up onto the table.
You are holding the selected card on top. Deal the fourth
card (top card) face down. Now you continue to "seconddeal" until you have all the Hearts dealt.

-==8:&:8
I

Winnipeg
False Cut
This partieular cut was shown to me by my good
friend Mel Stover of Winnipeg, Canada. I thought so much
of it that I decided to get his permission to inc1ude it. !t's a
natural-Iooking cut in the Martin Gardner style of magie. A
few tries in front of a mirror will convince you to use it.
Read the following with a deck of cards in hand.
You will note that the
right index finger is topmost
. on the deck. This will create
the perfect 1Ilusion of a
legitimate cut. The cut must
not be done in a hurry.
Experimentation will give you
the right speed and meter to
suit your own style.

er-

You can arrange for the selected card to be dealt at

any position called for. Merely "second deal" all the cards
before and after the chosen number. The face down card is
turned up and found to be the selected card.
The Heart cards will all be in sequence and you will be
credited for excellent card handling. The whole routine
must be done in a very relaxed manner. Since the
misdirection is very strong, all eyes will be on the table.

-=1

The bottom packet is

removed, but because the
index finger is on top of the
pack, it looks as though you're
removing the top half of the
deck. Place this packet on the

The "second" need not be perfect. Work with this and

you'll see what I mean. I do not wish to give you the
impression that yo.u need not practice the "second-deal,"
but you can still do thls effect while you're learning to
make it imperceptible.

92

j"'93

\8=8

<.

/ .':'.

table about a foot away from

your body. The r~ht han~
comes back to the ieft hand
and places its half of the deck
on top of the packet on the
table.

-=- Cooper's
-=- Cut

-=-

Al Cooper, the illustrator of this book, has a thorough

knowledge of stratagerns at the gaming table. His
technique and style have now been recognized by the
magie fraternity. At one of our sessions he casually did this
cut whieh was so impressive that I finally persuaded hirn to
give me permission to explain it here.
Cooper correct1y emphasizes that a false cut by itself
has no meaning. After a false shuffle, it offers assurance to
the onlooker that all is fair and square. It must be done
casually without calling attention to it.
Place the deck in front of you on the table. Place your
left hand on the deck and bite off (cut) approximately 26
cards. Maintain a break with the left thumb. Approach the
deck with the right hand and grip the bottom packet. The
right thumb is toward your body and the middle and third
fingers are gripping the outside of the deck. Slide the deck
toward you, at the same time sliding the bottom packet
forward, twisting your right hand counter-c1ockwise. The
left hand twists its packet toward the body. Place the right
ha~d packet firmlyon
the table. Now the right hand
comes back to the left hand, takes its pack and firmly
. places it

on top of the tabled cards.

Study Illustrations I through 4. It appears to be

simple, but it will require many run-throughs to get the
proper illusion of cutting the deck. Once mastered, you
have a legitimate looking table cut.
')

94

95

8=8

.
8::f8

8::11

Affas.Gaffas
FalseCut
Here is a very deceiving false cut to retain the entire
order of the deck. I've used this one for a long time.
Fo11ow the illustrations c1osely. Get yourself a deck of
cards, and we'l1 begin.

1&=8

The right hand pu11s a

sma11 (about 1/3) packet of
cards from the bottom. These
are brought out and added to
the top, jogging them slightly
to the right. (Illustration is
exaggerated.)

B:8

.~ .
1

8!::83
IIS::D

The left fingers hold the

original top third of the deck.

//",,'..::::::::::::::::::::::::
',' ~ "

-=a

1818=12
\8=(11

pu11ed away from the pack,

","",,"".,.
'.'./ '~.'

along with the bottom stock.

There
The jogged
is now section
a slightis break
now
between the packets in the
right hand.
Moving the deck forward,
drop
the
bottom
packet
(under the break) on the table.
Then drop the jogged stock in
front of that one.

8::8
96

97

Gambler's
4

The left hand package

remains on the table c1osest to
your body.

Cut
This particular false cut was shown to me by a now
deceased and fairly welI-known card hustler of his time. I
feel that because he is now gone, I am not breaking a
confidence in explaining it here.

The right hand now comes

back and c1oses the cuts as
folIows: Pick up the c1osest
pile, add it to the middle and
drop the whole thing on the
end pile.

A false cut is valuable in artifice. It is very effective

when used at the right time and should not be done too
often. This cut will retain the entire order of the pack.
Perform this naturally as a running cut, doing the moves in
a continuous series of three movements.

Nothing has transpired. Every card is back in the

original order. The movement simulated a perfect running
cut.

B
,:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::1A

88=D.

The right hand cuts about a third of the deck from the
bottom and places it on top of the deck ("C"), jogged to
the left as in Figure 2.

-~~

~LIDiI

D:iI:I
I

~
98

c
~.:
2
99

~,
Cut another third ("A"). This is the top half of the
right hand pack beneath the jogged section. Place it on top
of the jogged section, but flush with packet ("B") (See
Fig. 3).

'

oH

II':::II

A .,
C '

Grip both sections ("A" and "B"), sirnultaneously

stripping thern out and place thern on top of packet "C".

f;'~:~~:::@:~~::::i'~'W"""",*'t~%..
.

4
For the sake of clarity, the hands have been eliminated
frorn the illustrations. Do the rnoves with a deck in.hand
a:nd you'll see how deceptive this cut really iso It'll help
bring horne the "groceries" in a friendly (?) card game.

100

FRANKGARCIA'S
NOTEBOOK

The following are ideas" methods and moves that I've

collected over the years. Gambling routines are always
impressive because people love the thought of being able
to exert contralover games obviously ruled by chance.
Whenever the magician displays gambling "ability", the
layman is most interested.

"Now I need three more Aces, but this time 1'l! speed
up the action. "
Here is where you act out the big lie. Do three more
riffle shuffles in the same manner (keeping the bottom
Aces in tact), but do not show the cards. After three ra'ther
professional-looking shuffles, you announce:

"If my calculations have been correct, I should have

four Aces on the bottom. "

CulUng

Turn the deck face up and show the four Aces. This is
a fine opener for a Four Ace trick.

the Aces
Have the four Aces in the center of the deck in a
block, with the Ace of Spades on the bottom. The patter
here is the crux of the effect:
'1f agambier should decide to cheat, he will place
some key cards down at the bottom of the deck where he
can control them to where he needs them. To get the
specific cards, he must 'cul!' the deck. In other words, he
must find the right cards and pick them out of the deck
without being spotted. 1'm going to show you a method of
'culling. ' 1'm going to look for some Aces.

"

Riffle the deck with the left 'thumb so that you can
glimpse the corners of the cards. You can explain wh~lt
you're doing, adding that you'll do it in slow motion. As
soon as you come to the first Ace stop for amoment.
Obviously the right hand takes the bottom cards and pulls
them to the right. Riffle shuffle the cards, making sure
that the Ace Bloc is on the bottom. Square the pack. Turn
it up and show the Ace of Spades on the bottom. The
other Aces are also there, unknown to the spectator.
102

103

Winning
Aces

Adding
a Card
This is a professional "secret" for adding an extra card
to your hand. Deal a poker hand. After you've dealt
yourself the last card, remove the top card without any
hesitation and use it to help scoop up the tabled cards of
your hand. Aremark like "lacks or better to open" helps
make this sneaky addition more natural.

Stack the following sequence on top of the deck. The

X will represent an indifferent card, two XX's equal two
indifferent cards, etc.
X-Ace-XX-Ace-XXX-Ace-XXX-Ace
You are now set to deal a pair of Aces (back to back)
in a poker game. Ask the spectator for the number of
hands he'd like dealt. Follow the formula below and deal
any number from one to seven hands for the winning pair
of Aces.

Secret-Reversal

I[ two hands are called, you must get rid o[ the top
card be[ore dealing.
Three Bands - Get rid o[ two top cards.

Bring the selected card "second" from the top.

Casually turn over the top card and square it with the
pack. Double lift, picking up two cards as one. Hold them
face up and use them to turn the next top card face up.
Place your double card on top of the face up card and turn
all three face down. Cut the deck and the selected card is
found reversed in the center of the pack.

Four Bands - Get rid o[ one top card.

Five Bands - Remove tour top cards.

Six Bands - Remove tour top cards.

Seven Bands - Add live cards [rom the bottom to

the top.
~

This is an impressive bit for an "expose" type of routine.

104

105

..

Peek

Puzzling
Color

Key
Control

Change
This particular change is one of my favorites, primamy
because it's the boldest I've ever come across. Use two
contrasting cards such as a picture and a two-spot. Handle
both cards as one. Just before displaying the card, rub a bit
of spittle on the face of the Deuce. Hold it by the edges
and do the standard color change move, changing it to a
picture card (see Dual Discovery). After the move, press
the cards together a bit and snap them into the air. They
will fall as one card and your hands are shown empty.

Here's a subtle location of a card after it has been

"peeked." Glimpse the bottom card of the deck and
shuffle it to the top. Now riffle the cards for a "peek."
Maintain a pinky "break" in front of the "peeked" card.
Now cut off half of the upper packet and drop it on the
table. Cut at the break and add that section to the tabled
cards and finally the third 'section on top of everything.
You now have the "peeked" card on top of your "key"
card. After a few cuts and shuffles, you spread the cards
on the table face up and the selected card is the one to the
left of the key.
To do this with a bottom key card, have the card
"peeked" in the usual manner. Get a break on top of the
peaked card after riffling one more card. Now cut the
cards above the break and place them on the table. Cut the
left hand pack in half; the top half goes on top of the
tabled stock. The remaining cards are now added. Your
key is on top of the selected card. In a face-up ribbon
spread it will be found to the right of the key.

Cough
Cover
For an added piece of misdirection when copping or
palming off a card,I bring my hand up to my mouth and
cough. This gives me a reason to come away from the deck
with the hand. You can then go to the pocket for a pencil
or cigarette without attention.

106

107

iIIiIII

Start shuffling the left hand packet first, then the

right. In practicing, use a [oose shuffle until you understand the mechanics. Continue to riffle shuffle. Shuffle the
top card of the left hand packet into the third or fourth
position of the right hand packet. log this card to your
right and jog the top two or three cards of the right hand
packet to your left. Begin to push the packets together.
The right stack going counter-clockwise, the left hand
packet clockwise.

Hotes
onthe
larrowShuffle
Without a doubt Herb Zarrow's false shuffle is a
valuable contribution to card magie. The original method
was described in New Phoenix No. 346. My own handling
of this shuffle is a bit different and I believe a bit more
deceptive. Both methods that I am about to explain will
control the full deck, but each for a different purpose. The
first method is primarily used after you've fUn up a hand
and decide to throw one more shuffle. The original
method used the top card for a cover. In my method, two
cards give the "shade." I suggest you follow the moves
with a deck in your hands.
Method No. 1:
Let us assurne that the deck is stacked fr a four
handed game of Poker. The deck is on the table. The left
hand holds the deck with the index finger on top. The
right hand grabs the end of the deck, biting off approximately half. As the right hand pulls the top deck over, the
left index finger retains the top card so that it becomes the
top card of the left packet.

...

;-!

This action will cause the, packets first to straighten

out, then to go into areverse angie whieh will cause the
interlaced cards to separate. Tilt the right hand packet
toward the left and slide it on top of the left stack. The
jogged cards will act as a cover. The act of shuffling should
simulate an actual riffle shuffle, done with ease. After the
shuffle a few cards protrude here and there. The illusion is
made perfect by squaring the deck. It will appear that the
cards have actually been mixed.
NOTE: One card has 1;>eenmoved, but it does not
affect the original "four" stack.
Method No. 2:
This method of doing the Zarrow Shuffle is more
deceptive than the first, but also much more difficult; I've
shown it to a select few who are using it now. Once you've
mastered it, you'll never regret the time spent in practieing. In this version the cards are not disrupted at all.

108

109

Hotes
onthe
ZarrowShuffle
.

Without a doubt Herb Zarrow's false shuffle is a

valuable contribution to card magic. The original method
was described in New Phoenix No. 346. My own handling
of this shuffle is a bit different and I believe a bit more
deceptive. Both methods that I am about to explain will
control the full deck, but each for a different purpose. The
first method is primarily used after you've run up a hand
and decide to throw one more shuffle. The original
method used the top card for a cover. In my method, two
cards give the "shade." I suggest you follow the moves
with a deck in your hands.
Method No. 1:
Let us assurne that the deck is stacked far a four
handed game of Poker. The deck is on the table. The left
hand holds the deck with the index finger on top. The
right hand grabs the end of the deck, biting off approximately half. As the right hand pulls the top deck over, the
left index finger retains the top card so that it becomes the
top card of the left packet.

Start shuffling the left hand packet first, then the

right. In practicing, use a loose shuffle until you understand the mechanics. Continue to riffle shuffle. Shuffle the
top card of the left hand packet into the third or fourth
position of the right hand packet. Jog this card to your
right and jog the top two or three cards of the right hand
packet to your left. Begin to push the packets together.
The right stack going counter-clockwise, the left hand
packet clockwise.

This action will cause the, packets first to straighten

out, then to go into a reverse angle which will cause the
interlaced cards to separate. Tilt the right hand packet
toward the left and slide it on top of the left stack. The
jogged cards will act as a cover. The act of shuffling should
simulatec an actual riffle shuffle, done with ease. After the
shuffle a few cards protrude here and there. The illusion is
made perfect by squaring the deck. It will appear that the
cards have actually been mixed.
NOTE: One card has geen moved, but it does not
affect the original "four" stack.
Method No. 2:
This method of doing the Zarrow Shuffle is more
deceptive than the first, but also much more difficulL I've
shown it to a select few who are using it now. Once you 've
mastered it, you'll never regret the time spent in practicing. In this version the cards are not disrupted at all.

108

109

The deck is on the table. The left hand grips the base
and end of the deck, the left index finger resting lightly on
top of the deck. The right hand approaches the deck,
placing the index finger on top, and exerting a !iHle
pressure. The right middle finger starts pulling some cards
from the center of the deck along with the top card.

3
This is very deceiving to the eye and allows the deck to
be shuffled a lot slower. The illusion that the cards are
beingmixed is heightened as you square the loose cards.

The leU hand maintains a break between the two

remaining sections. Shuffle the bottom left hand packet
first into the right hand packet. When this has been done,
the remaining cards in the left h~nd are jogged to the right
on top of the shuffled cards on the table.

2
The single card in the right hand is now jogged to the
left on top of everything. Here you follow the procedure
of pushing both packets together, the left going c1ockwise
and the right counter-c1ockwise. This action causes the
packets to straighten out first, which then makes the
interlaced cards separate. The entire right hand packet goes
into the break under the single card and on top of the
packet beneath it.
110

111

+
.1.

When I told them about this book, many of my friends

reminded me that some day I had promised to disc1ose
some of my eard produetion moves. The day is here. I've
never disc1osed these moves before, although I've been
offered large sums of money to do so. The single eard
production and the Eelipse Produetion to follow have
brought me repeat engagements in theatre, hotel and
nightclub dates; often my eontraets stipulated that I
include them in the aet. If you are willing to put time into
praeticing, you will make YOUfown reputation with these
moves.

I,

11

CARO

Million
Dollar
CardProduction

In working with this sleight, I suggest you begin with

four eards until you get the "feei" of what you're doing.
Gradually add a few more eards as you progress. I prefer
using Poker-sized eards, but if you have a small hand you
may use Bridge eards.

-~IID

PROOUCTIONS
Illustration No. 1.

1~~)
-

Shows the hand baek-palming a block of eards. The

tips of the eards are partially exposed to show the reader
just how far down in the hand they are being baek-palmed.
'-1
113

Illustration No. 2.
Illustration No. 5.

.2

Using a bit of acting ability, the magician apparently

sees something invisible floating in the air. The right hand
moves to touch the object and points to it. At this stage
you start to pivot the cards, which are held together as one
card in full view of the audience. This is not a difficult
move. You will note that the right hand is pointing. Get
the cardsin this position, the right thumb comes down on
the upper right hand corner of the block of cards.

The index finger slides up the block and over the tops
of the cards. If this is done correct1y, your hand looks like
Illustration No. 6.

Illustration No. 6.

6
Illustration No. 3.

The cards actually snap into this position from the last
move.

-3
The thumb applies quite a bit of pressure to keep the
block of cards evenly alignec so that they still appearas
only one card.

Illustration No. 4.

4
With the hand in this position, the pinky releases the
lowef corner of the block which was being held as in
Illustration No. 3.
114

Illustration No. 7.

7
Shows a side view of the cards. At this position, the
thumb pushes down and the fore finger pushes in (keeping
the cards in alignment). The fact that the cards are
bevelled enhances the illusion of holding a single card.
NOTE: Seven illustrations were used here to show only
half of a move.

115

Illustration No. 8.

Illustration No. 11.

11

The block of cards, shown as a single card, is now

turned over.

Illustration No. 9.

The card is being pulIed off.

12
Illustration No. 12.

9
This is done slowly and deliberately to show nothing
hidden in the back of the hand. (The hand is turned
down ward.)

The right index fmger goes over the top of the cards.
The back of the hand has been purposely exposed here to
show the block of cards going into the backhand position
and showing ihe single card being brought into display
position.

Illustration No. 13.

Illustration No. 10.

13
Shows the right hand coming back to position (Illustration No. 6). As the hand starts coming back to this
position, the right forefinger and thumb release pressure so
there is now no more bevel in the cards. The pinky re-grips
the outside edge of the cards (as in fllustration No. 3) and
the thumb pulIs off the first card.

116

In the actual performance of the production, fllustration No. 12 and fllustration No. 13 are not exposed.

117

15
Illustrations No. 14 and 15.
The card is brought down by the right thumb. You will
note that by doing this it hides the load and you can relax
your hand before going into the production of the next
card. At this point, the single card is tossed into a hat or
receptac1e.

Eclipse
Card Production
For lovers of the "back palm" and single card
productions, this one will be hard to beat. The illusion is
that the cards materialize magically. The move is bewildering and utilizes eight or ten cards. This sleight is not
known to present day card manipulators. It is just waiting
for someone to master it and stun the group at the next
magic convention. Study the illustrations carefully for this
beautiful production.

You are ready to start all over again as in Illustration

No. 1.
Illustration No. 1.
In experimenting with this te'chnique you will note
that once you have familiarized yourself with the
mechanics of the production, the block of cards will spring
up instantaneously. I love this move and feel that you
should leam it correctly. If all the movements are
synchronized and blended together, you have a pretty
picture. Make sure you give it proper practice before doing
it in public.

Shows a block of five cards back palmed.

Illustration No. 2.

(~~
~\

Y ou

will note that the faces of the cards are toward

the audience, except for the last card which is facing the
back. The exposed view is for the reader to study.
118

119

Illustration

Illustration No. 3.

No. 6.

You will note that on straightening the hand, the single

card will fight itself. The middle finger helps the card into
an upright position by a slight upward push.

The right hand starts to move very slowly in a

c1ockwise rtating action, away from you. During this
action, the hand assurnes the position as shown in the
illustration. The right thumb comes down on the topmost
corner of the card and, by applying pressure and pushing
forward, you will discover that you can push out a single
card very slowly as the hand is in motion.

Illustration No. 7.

7
Illustration No. 4.

Shows the exposed view of the remaining cards backpalmed. In actual performance, this is not exposed. The
thumb pulls the single card in a downward movement
covering the back-palmed load.

4
1'-

Shows the card coming into view. The thumb is doing

the pushing.
, jj

Illustration No. 8.

Illustration No. 5.

8
5

Shows the entin~ card. Once in this position, the

middle and third fingers start to go back, straightening the
hand.
120

Shows the card hiding the load and being shown to the
audience before being dropped into a receptac1e. Refer to
Illustration No. 1 for production of the second card.

121

The very last eard is produeed by bringing the fingers

toward the base of the thumb. Release the hold of all the
fingers exeept the index and middle fingers. Roll the index
finger over the middle finger toward your body and the
eard appears to have been eaught at its tip for the final
produetion.

DOING
CLOSE-UP
1:1
1

MAGIC

11

122

'I

point is important for that "secret move." You can

also do your move under the cover of a laugh or a
surprise in the routine. Perfect timing is also an
essential part of your craft. Learn to work under
all kinds of conditions and practice with the lay
audience.

Most magie books end abruptly after the last trick.

There is more to doing magie than just learning the trieks
in this book. There are some mIes whieh I have always feIt
are extremely important to the close-up magieian. 1'11set
them down here and hope that you will agree with me and
fo11ow some of my adviee. Magie is ademanding art and
requires a great deal of discipline.

6. Try to vary your routining so that your act isn't

top heavy with too many "take-a-card" tricks. Do
your most powerful trieks and routines first. Once
you have them, hit with the simpler effects and
end with a strong "blockbuster." Remember that
you must not stay on too long. Magie musn't be
tedious. Make every triek important. Always leave
them wanting more.

1. You should have a sincere love of magie and a

desire to perform we11.Never do magie for the sake
of "showing off." In too many cases ego spoils a
good performer and his performance. Don't be
vain. Be humble and you'l1 go a lot further.
2. Magie needs people. If you like people, you'l1
have your rewards watching them enjoy themselves. You'l1 also make new and interesting
friends.
11

,I
,,1

3. Master your craft. Read, study and practiee as

often as you can. Try to make every performance
technieally perfect. There is no substitute for skil1.
Treat magie as one of the arts and strive for that
perfection whieh makes you an artist.
4. Be very discriminating when selecting an effect
for your repertoire. Sleights should be used
invisibly and only as a means to an end. If a
particular effect does not suit your own style,
forget it. Things must appear to happen by magie.
Be natural and choose tricks that you can do easily
without straining. Try to vary your trieks to offer
more versatility. Choose effects that will mystify,
but above all, they should "ENTERTAINI"

if

11

7. Always make sure that your appearance is neat

and you are well groomed. You should be dressed
better than the best-dressed person in your
audience. Your hands and fingernails should always
be clean and manieured. To establish "class" try to
use a brand new deck. A dirty deck will destroy
the magic of your image. If you can afford it, give
the deck away after your performance.
8. Be yourself. Don't try to emulate another's style
or technique. Find your own style. If you can Use
humor in your act, do so. If it doesn't fit, don't try
to be a comedian.
The serious magie student can turn professional and make
mney with his talent. The magie buff and collector can
make friends with his hobby. I know of no more fu1filling
and rewarding art form. It is truly MAGIC!

5. Misdirection is vital to most effects. When

working close-up, look at the people you're talking
to. If you look at them, they'lllook at YOu.This

124

125

You shouldn't practiee magie on an empty stomaich. I

have always found thatcooking relaxes me and, if done
weIl, commands another kind of applause. There are also
times when you'Il b~ out of work. For those times, this
recipe will be most important. At least you'Il eat.
Follow these instructions as you would a card move. In
the handling you'Il find your own tuches. Use them. For
example, you might want to use Doves instead of Chieken.

A"oz con PolIo

CHICKEN WITH SAFFRON RICE AND PEAS

(TO SERVE 4)

MAGICIAN'S
RECIPE
I

A 2Y2- to 3-pound chieken (or dove), cut into

6 to 8 serving pieces
Salt
Freshly ground blackpepper
I tablespoon margarine
~ pound salt pork, finely diced
I cup finely chopped onions
I teaspoon finely chopped garlic
I tablespoon paprika
I cup finely chopped rtomatoes
I Y2cups raw medium or long-grain regular-milled
rice or imported short-grain riee
(from Rice Bowls)
I cup fresh or frozen peas (from Shell Game)
3 cups boiling water (from Lota)
1fsteaspoon ground saffron or saffron threads
crushed with a break-away wand or with the
back of a spoon
2 tablespoons finely chopped parsley

127

Pat the chicken pieces completely dry with paper

towels and sprinkle them liberally with salt and a few
grindings of pepper. In a heavy 4-quart dove pan or
casserole, melt the margarine over md'derate heat. Add the
salt pork dice and, stirring frequently, cook until they have
rendered all their fat and become crisp and golden brown;
then, with a slotted spoon, * transfer them to paper towels
to drain. Add the chicken to the fat in the casserole and
brown it, turning the pieces with tongs and regulating the
heat so that they color quickly and evenly without
burning. Set the chicken aside on a platter.
Pour off all but a thin film of fat from the casserole.
Stir in the onions and garlic and cook for about 5 minutes,
or until the onions are soft and transparent, but not
brown. Stir in the paprika, then the tomatoes and bring to
a boil, stirring frequently. Cook briskly, uncovered, for
about 5 minutes, or until most of the liquid in the pan
evaporates and the mixture is thick enough to hold its
shape lightly in a spoon. (Dai Vernon prefers 4 minutes.)
Return the chicken and pork dice to the casserole, and
add the rice, peas, boiling water, saffron and 1 teaspoon of
salto Stir together gently but thoroughly. Bring to a boil
over high heat, then reduce the heat to low, cover tightly
and simmer for 20 to 30 minutes, ot until the chicken is
tender and the rice has absorbed all the liquid. Stir in the
parsley, and taste for seasoning. Cover and let stand off the
heat for 5 minutes before serving. If it doesn'1 look too
good, cover dove pan and change the whole thing to a
string of Weller franks.
*Marlo may dispute the use of the slotted spoon, but
Slydini assures me that it makes the transfer easier.

128

rB

,I::

(13

[IJ

111

111