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ll)~~iQ~~:;~'n 1'''1
 - ----
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Welcome to the very first issue of Gambit. Special This issue contains plenty of material to sink your
thanks to Kevin Fox, without whose support this teeth into and I hope to include the same volume of
project would probably not have seen the light effects, moves and articles within each subsequent
of day. Also Andi Gladwin and Rob James for issue. This month my very good friend (and evil
asking me to release the magazine at the Session nemesis) Derek DelGaudio has contributed a
Convention. wonderful move that I first saw him demonstrate
Since releasing the first tester issue of in Las Vegas last year. Derek is an amazingly
Gambit at the Session Convention, my good friend talented performer, a gifted technician and a
Kevin Fox has passed away. Therefore this issue has good friend. I hope this is the first of many items
been re-worked, re-edited and contains a dedication that he contributes to Gambit. I have many other
to Kevin. Unfortunately, rushing the issue for the contributions lined up for future issues from some of
Session created many problems indeed and I was not the most talented guys out there. I mention no names
happy with it to say the least. This issue represents now but keep an eye on the website to find out more.
what I originally intended to release at the Session Getting Gambit ready for release has almost
Convention. driven me mad but after putting my arse in gear
Gambit will not be parroting time-worm I have managed to generate something that I am
axioms, no shitty tricks with rope or coins and no almost happy with ... that is as positive as I can be as
banal methods for handing out business cards. This I hate almost everything that I do. I truly hope that
magazine is designed to appeal to serious technicians Gambit runs for a long time.
and performers, and hopefully there is something Thank you for investing your hard-earned
here that will make you think. Even if you hate the money in this project. I have tried to produce the
content I hope that it will activate some chemicals type of magazine that I would want to read and I am
somewhere within you. sure that it will evolve over time, but for now get
I have a huge passion for card magic or some cards out, smoke some crack and enjoy.
perhaps more specifically gambling effects and
sleight of hand. However my main passion within
magic lies within the realm of mentalism, and Ben
. therefore Gambit serves as a creative outlet for my January 2009
interest with playing-cards. Yes, a self indulgent
pursuit, but frankly I don't care.
JAN09

3 Editor's Note

6 The Gambling Lesson

8 Real Scarne

10 The Simulation Shuffle

12 Face-Up Stripping Controls

14 EGD Bottom Deal

16 The Rub of the Green

18 Spotlight - Derek DelGaudio

19 Riffle Palm - Derek DelGaudio

20 In a Glimpse

21 The Power of Facing - Pat Mustard

22 Gambit Responds

24 Coming Soon ...

 BUY
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This routine was inspired by Chad Long's 'Shuffling these two cards or if the hand is weak then they may
Lesson" and was an attempt to create a progressive go through the procedure again 'hitting' more cards
routine with a gambling theme 2 • The presentation until they make a good hand or they bust. You follow
that I use is based upon psychological influence exactly the same procedure with your cards until
(see endnotes). I start by talking about different you have both produced a Blackjack hand, and once
card games, the way in which gamblers will bet again see who wins and keep score (if the spectator
on anything and how it is possible to predict and has won both rounds it will now be 2-0). Lose the
eventually control the actions of another player. State Blackjack hands on top/inside the packets. The Aces
that you and the spectator will playa series of games and the Kings will both be at the bottom of their
in which a running score will be kept. respective packets.

To begin, secretly place four Aces on top and four For the third game I say that we will play 'Three
Kings on the bottom. Execute a shuffle retaining Card Brag'. We both pick up our packets and cut
both top and bottom stock then ask the spectator to them into three packets (Jay Ose cut)3 and take the
cut off half and keep it. At a convenient moment top card off each packet. Now assemble the cards
shift the four Kings to the top of your half. In (Jay Ose cut fashion) and compare the Brag hands to
the following explanation both the spectator and see who has won. If they do not understand Brag I
yourself do exactly the same thing: usually mention obscure Trinidadian games such as
'Sipsam' in which one simply adds up the values of
For the first game ask them to cut into their packet each card to produce a number and whoever has the
and turn over (cut-high card) you do the same to see highest number wins. Again after this game keep a
who wins, then replace the cut portions and keep score.
score.
For the final game play Poker. Instruct the spectator
For the second game play 'Blackjack', asking them to place down bunches of three/four cards in a row
to deal down (making sure they go past the top four of four piles on the table and then to deal out the
cards) and stop whenever they like, then turn over remaining cards that they have in their hand on top
the card they have stopped at. They now shuffle the of the four piles. You follow this procedure also. At
remaining cards in hand before dealing through the the end, both you and the spectator will have four
cards again and stopping at another card. This will piles of face-down cards each. Turn over the top
produce two random cards. They can 'stand' on card on each of your packets to reveal four Kings.

[1] Paul Harris, Art of Astonishment Vol 2

(2] I sent Paul Wilson a basic version of this effect back in [3] This cut has become commonly known as the Ose cut;
October 2007 after a card session together. He informed me however it is much older than most people realise. It was first
that he had come up with the same idea. described by Conradi-Horster in 1896.
6
The spectator turns over the top card on each of his
packets to reveal the four Aces.
• It's theatrically beneficial to keep track of who
wins each mini game as it adds more power to the
ending, though it doesn't matter who wins each mini
round. By paying attention to the bottom cards of
your packet in the first two phases, one could have a
slight advantage by using a bottom deal accordingly.
If you place a joker in the box at the very beginning
it will act as a 'wild card' in the final phase so that
each of you end up with a 'fiver' which is higher
than a royal flush.
• To build each phase theatrically it is a good idea
to bet your wallet, wife, soul etc., and then suggest
that they are doing very well (or not as the case may
be) in resisting the psychological influences that you
are trying to employ; so for the final game they must
concentrate as much as they can and you will play
for a hypothetical pot of' everything that you both
own' . At the end, shake their hand and say that they I think that 90% of everything on the planet is rubbish.
played perfectly. If you add 'magic on television' into the equation it
• One can either play the games at the same time becomes 93.4%. Why is so much magic on television
as the spectator or you can go first and they follow. rubbish? It's hard to accurately answer this question so
instead lets point the finger at magicians and television
Both approaches have advantages and disadvantages.
executives. Magicians will do anything to get on
The effect progresses from a game with one card,
television. If they were doing anything else in life then
to two cards, to three cards and finally to four/five I am sure they would stand as much chance of getting
to finish. If you keep track of where the stacks are on the telly box as a jar of eyeballs has of shagging
then it is a simple matter to add extra shuffles where Beyonce Knowles live on Sky News. Add into the
desired and give the spectator as much freedom as equation the arrogance of television executives (who
possible. no nothing about magic, yet insist on complete control)
• Because of the structure of this effect it is a simple and you have a perfect formula for producing retarded
matter to present alternative card games (such as television programmes punctuated with bad magic, bad
Texas Hold' em or Rummy) and include different music and bad theatre. Studies have shown that these
cutting/shuffling procedures at will. Of course shows struggle to keep 'special' children interested long
enough to stop sucking their Lego for less than five
any eight cards could be used in the climax, and
seconds. Of course there are exceptions to the rule but
therefore you can predict them all ahead of time. The
unfortunately this accounts for 0.02% of the total output.
possibilities are endless. How you exploit essentially I know that everyone must feel the same way? .. 'yeah ...
a force of eight cards and what path you choose to bad innit'. If '24' smells like petrol & sweat or 'Family
get there is down to you. Guy' smells like crayons & rap then magic on television
smells like a stomach wound stuffed with ancient beer
"Keep postedfor The Gambling cans. I'll light a candle and hopefully that will mask
Lesson 2" the stench. Basically the problem is people; robots and
cyborgs may be the answer.

7
 -
will note it. Hand the deck out to be shuffled and ask
anyone present to name any card that they wish, for
example someone mentions the Three of Clubs. Take
back the shuffled pack and say the following:

"Now I will 'Lock the Deck' ... just so it's impossible to

tamper with the order that you have shuffled them into."

As the above line is delivered, take the deck and place it

into the box and close the flap, positioning the Aces on
the bottom of the deck. When saying 'Locking the Deck'
it should be said in such a way that you are suggesting
this is standard gaming terminology for such a procedure.
For both practical and theatrical considerations, the
'Locking the Deck' ruse is a very nice way to start any
gambling effect. I normally toss the boxed deck into the
centre ofthe table. Now ask someone present to name
any number of hands for a game of poker; let's suppose
that they say five. As soon as you have this information
say the following:

~EL1
"Five hands ... ok ... in a moment I'll take the cards out of
the box and give the cards just two shuffles and one cut. ..
after the second shuffle I want you to tell me which hand
;C:ELZ-Z1~ of the five will win ... only then will I cut the deck and
deal the cards ... are you ready?"

Effect: With apparent intense concentration remove the deck

An audience member genuinely shuffles a pack of cards. from the box (discard the box) and execute two tabled
Any card game is named, any number of hands are named riffle shuffles making sure that you retain the Aces on the
and a random playing card is named. From this position, bottom. As soon as the second shuffle is completed look
the performer manages to deal himself a perfect hand at the spectator. He names a specific hand to win, and as
and shows that he had predicted the named card ahead of soon as he does, execute a blind cut!. Deal out five hands
time. of poker, bottom dealing the Aces to yourself. However,
all of your focus is on their named hand (deal it slightly
Notes on presentation: out of line with the rest); this gives extra psychological
I do not present this as a magic effect but rather an ability misdirection to the bottom deal. In the final round, deal a
to psychologically predict the actions of an opponent in a fith card to the other hands, but not to yours. Whilst still
card game, memorise bunches of cards and tip the odds in holding the deck say the following;
my favour. These notions are communicated via subtlety,
suggestion, implication and theatrical skills rather than " The cards have been thoroughly shuffled ... we could
blatant verbal revelation and hopefully the audience will have been playing any card game, any number of hands
feel as if they have just seen the tip ofthe iceberg. were named ... you wanted hand number three to win ... an
impossible situation ... any of these cards could have been
Method: in play ... let's see how you did."
This is the most economical, technical and theatrical
solution that I could create in order to produce what was When saying 'any of these cards could have been in play'
in my mind the perfect gambling demonstration. I wanted casually spread through the remainder of the deck and
to present a demonstration of the highest order of sleight if you see the Three of Clubs (the named card) cull it to
of hand and psychological manipulation, namely being the top and keep the portion face down in the left hand.
able to deal a perfect hand and read a person's mind with If the Three of Clubs is not present, simply close the
any card game, any number of hands and any deck of spread and keep the portion face down in the left hand.
cards. This effect is 90% presentation. Now concentrate on the four hands (neglecting your
Start by having the four Aces face down in the own), turning the hands face up one at a time and leaving
card box and place the box to one side. This is the only
preparation. When ready to begin spread through the
cards and casually place a card in one of your pockets. [1] F or theatrical purposes I would suggest a quick and
Do not make a big deal of this just do it and those present simple blind cut that you can execute without looking at the
hands.
8
 -;: named hand until last, and commenting on the poker 3. When revealing the poker hands it is a good idea to
_lues. If the Three of Clubs is present in any of these make sure that the spectator's named hand is stronger
-,., ds, manoeuvre it to the back. Collect all the cards than the other hands (with the exception of yours) and
: gether and place them with the portion you are still the best way to do this is to bluff, exaggerate and lie
-olding, leaving your hand face down on the table. about the strength of the hands. If you are confident,
It is likely that by now you will have come across direct and casual with your assessments then the
the Three of Clubs, and in collecting the cards simply spectators will not question you for a second. Simply
make sure that it is on top of the deck. If you have not improvise and take credit for what is there, and if you
seen the Three of Clubs, then there is only one place that must, point out things that do not exist. However,
it can be. Your pocket! Try not to get too excited if this because you are collecting the hands it is an easy
happens; just calmly proceed through the routine. matter to do this without giving spectators too long to
There is only a 2% chance that the above question your statements. Do not rush through this;
situation will occur. Most of the time the named card will be confident and direct with your statements.
be in the unused remainder of the deck or it will be in one 4. It is of course obvious that instead of using the
of the other hands. It is a simple matter of improvising 'Locking the Deck' ruse one could simply palm out
when collecting the cards so that it ends up on top of the the Aces and add them on after the deck has been
deck; In which case 98% of the time your current position shuffled. This is true, and I use both approaches. The
will be: four Aces on the table, and the deck in the left 'Locking the Deck' ruse however is theatrically more
hand with the named card on top. Whilst burying the appealing for me and it suggests an extra level of
other hands in the deck there is a perfect moment to top fairness.
palm the named card.
Ask if anyone remembers that you put a card
in your pocket at the very beginning, before a card was
named and any card could have been named. Reach
into your pocket with the palmed card and simulate its Gambit drives faster when it sees the words
removal but do not reveal it yet. Slowly turn over your 'Baby on Board' .
tabled hand to show the four Aces, mention that the card
you placed in your pocket at the very beginning was
the 'kicker' card, show that it is the Three of Clubs and
watch as your audience does chimp flips or sits in stunned
silence.

Endnotes:

1. This effect, which is an impressionistic one, is

nothing like the legendary 'Scarne Aces'. I was
inspired by the stories that I had heard many years
ago about John Scarne and his skills at the card table
and created this with him in mind. I have hidden my
name in the title.
2. It is obvious to see that due to the methodology there
is a lot of room for producing the named card in any
way that you wish. The major point to remember
is that you are casual in your manner and handling
which helps to avoid suspicion. I choose to produce
it from a pocket to show that I knew the card ahead
of time. However, there are many variations that one
could use. I think that it makes perfect sense to reveal
the named card as the 'kicker' card in your hand and
there are many ways to do this. Firstly, one could
only deal four cards to oneself, executing a simulated
deal on the fifth round and at the end adding the
palmed card to the hand as you pick it up and show
the cards. Secondly, you could make sure that the
named card ends up on the bottom of the deck and
instead of it being palmed and added it is simply
dropped/loaded onto your hand as you reach over the
hand to spread the deck across the table.

9
 ,

This false shuffle was designed to be very soft, The cards are held in the right hand with the thumb
very casual and without the tension or a hard riffling at one end and the fingers at the other, as if one was
sound. This shuffle is based on an amalgamation about to begin an ' in the hands' riffle shuffle. Make
of many ideas that I have had flying around my sure that the outer end of the deck is held at the base
head for a while. I suppose I first started thinking of the fingers, not the finger tips.
about this shuffle when Jerry Andrus showed me his
' Satan's Shuffle'l in 2005. It is also related to the Break the deck into two packets in the standard
'Charlie Chaplin Shuffle' which is a visual gag first fashion by riffling half the cards off with the thumb
seen in a Charlie Chaplin movie. and levering them up into the left hand so that they
occupy the same position as those in the right hand.
The Simulation Shuffle is an ' in the hands' shuffle Arc both hands as you allow the cards to fall at a
without a bridge or strip-out. rapid pace off of the left thumb so that they land flat
and haphazard onto the left and right fingers .
[1] Andrus Card Control, 1976, Vol 1, p.58 Once this packet has been exhausted start the same
10
 The pictures used here do not do the Simulation
Shuffle justice. I'm sure that you can appreciate how
difficult it is to describe this type of shuffle with
snap shots. That said, there are some specific points
to pay attention to in the photos. In fig. 1 you will
notice that the right thumb has started to release its
cards before the left hand has exhausted its packet.
Timing is crucial and therefore to get a perfect
illusion the tolerances become very fine.

In fig. 2 you will notice "that the left thumb is still in

a raised position even though it holds no cards. This
' thumb simulation' is responsible for a large portion
of the shuffle's illusion. Make sure that you also
simulate tension at the same time as mirroring the
right thumb in space.
procedure with the right-hand packet allowing them
to fall haphazardly onto the bottom half.
Hold the packet on the same plane with the left
hand as your right hand gently taps the right
end cards flush. Pay particular attention to the
timing of releasing the right packet so that there
is no discemable moment between the left packet
finishing and the right packet beginning. The thumbs
on each hand must also exactly mirror each other
throughout as this adds to the illusion considerably.
If seated at a table one can tilt the backs of the
cards toward oneself and square them softly on
the table. Most importantly you must not look at
the hands during the shuffle; however glancing at
the hands during the break off or the square up is
psychologically sound. Remember that the cards
' fall flat' in the shuffle by applying a subtle amount This mirroring is still apparent in fig. 3. Both thumbs
of spring as they are released, therefore there will come to rest on the top of the deck. At this point one
be very little tension in the hands during the shuffle. can start to square the cards in the hands or perhaps
I cannot stress how deceptive this shuffle is both on the table. Sometimes it also helps the illusion if
visually and psychologically. the deck is tilted (with the faces of the cards toward
the audience) when you are in the position shown in
fig. 2. At that point the cards can be tapped square on
the table. Timing, thumb simulation and attitude are
everything. When performed correctly this shuffle
will fool the eyes and the minds of those present.

I also have 'cover' versions of this shuffle which are

very deceptive and may appear in later issues.

Gambit eats its' dysfunctional young.

11
( - - )
The following system of card control is subtle and and the hand cover is enough to obscure the face
can be used in a variety of ways. The fundamental card at the start of the sequence. A similar technique
concept is very simple, very practical and highly can also be employed if the deck is already in a face-
deceptive. The technical foundations of the down condition on the table; however, attention must
following card controls are not original with me; be paid to the deck's orientation.
however, I believe that the applications may be If the deck is face down on the table (short
original. ends toward yourself and the audience) simply arch
Basically you are going to complete a false your right hand over the deck placing your thumb at
box/stripping cut; however, you will do it face up. one end and your four fingers at the other end. Now
When done at speed the eye is drawn toward the simply tum the face of the deck toward yourself as
tabled packets and the fact that many cards are seen the left hand grasps the left end of the deck. The
suggests that the cards are being mixed. The images right hand now releases its grip, turns palm down
on the right show you the basics of the technique; and grips the right end of the deck. The deck is still
however, there are some refinements and tips that I slightly angled toward yourself, now simply execute
believe make the sequence more deceptive. I angle the sequence detailed in the above paragraph.
the stripping action as I believe it makes the stripping The other possibility is that the face-down
more understated than the usual technique. deck is sitting on the table with the long sides toward
With the deck face down in mechanics grip yourself and the audience. An almost identical
simply tum the hand palm down as your right hand technique is used to the one previously described
comes over to grip the deck. You will notice that the however you will notice that although the technique
face card of the deck is adequately covered by your appears identical, a different side of the deck is
hands and it is a simple matter to angle the deck grasped by the left hand. Both of these techniques
toward yourself as you begin stripping off the first also ensure that the face card of the deck is never
packet. After this packet has started to be removed exposed to the audience from any angle. Once the
the rest of the deck is lowered to a horizontal plane principle aim is understood these techniques are
and the action continues. Both the angle of the deck easily grasped. A couple of quick but important
technical points for the stripping control (either
face up or face down): Firstly, the right hand moves
whilst the left hand remains almost stationary during
Babies crying in supermarkets give the cutting sequence. The left hand simply serves
Gambit strength. as a stabiliser as the right hand moves back and
forth dropping off packets. Secondly, the left hand
allows the packets to drop in marginally different

12
:: ots, thereby increasing the illusion of randomness. place. This is a very deceptive sequence.
Between 3 and 7 stripping actions is usually best. If you can afford to start by cutting the
A full deck face-up control can also be deck (when using a cyclical stack) the EU.S.C is
employed when the pack is already face up with face very useful. Simply start by stripping off a block
ard clearly visible. Simply undercut half and place from the top and then follow by stripping from the
on top (holding a break). Now execute the stripping bottom. The cards have simply been cut. This is very
control, stripping the top half to the table followed deceptive as upon completing the sequence the face
by stripping packets from the bottom as normal. card will have changed (photos 1 to 6 show this cut
However if you were to simply place the last packet sequence). You can also use this sequence to cut to
on top then it would be seen that the card hadn't specific cards: The card you wish to locate is second
changed, so an additional technique is required. As from the top, so execute a slip cut on the first packet
the last packet is placed on top, the fingers of both and then continue stripping from the bottom until
hands revolve the deck inwards thereby turning the you wish to stop. The card will appear face up on
deck face down. This revolve happens the instant top.
that the final packet begins to touch the rest of the
deck. This sequence simply appears as if you have There are many possible variations by altering the
given the deck a series of face-up cuts and then techniques described such as cutting to cards at
turned the deck face down. A more advanced version specific locations, varying the techniques to affect
of the above sequence is to start with the pack face a 'double undercut' or cutting longitudinally. Of
up and give it a 'Push Through' shuffle. The top course all of these techniques can be used with
section is cut to the left and as this section (with the a face-down deck. I just feel that these face-up
face card) comes through the deck you execute the techniques offer a different stylistic approach that
EU.S.C with this half onto the tabled half, revolving can be psychologically more convincing when
the deck face down as previously described to hide executed with a casual attitude.
the return of the face card. The cards have been
given a shuffle and a series of cuts whilst the deck
is in a face-up condition and not one card is out of

13
•

I believe that the Erdnase grip style grip becomes very obvious. The following technique and
is one of the most practical and I don't feel that this is a serious handling I developed in 2004 as
deceptive techniques for bottom problem; however, there are a way of disguising the Erdnase
dealing. I use a strike method occasions when I would like grip without compromising it's
instead of a push-out. The it to look much more casual efficiency:
Erdnase grip limits the amount conforming to an archetypal
of left-hand finger movement way of holding the deck so that Hold the deck in a standard
and can be done casually with there is no chance of the grip Erdnase grip. Now bevel the
a light grip; therefore tension betraying the technique about to deck forward so that the top half
can be seriously reduced from be employed. of the deck is forward of the
the wrist and fingers. When middle finger (fig. 1). Viewed
executed correctly it is a from above this looks very
beautiful technique. unconsidered (fig. 2). You can
see that the deck is bevelled
There is, however a slight in both photos; however, this
problem that has always bugged doesn't look suspicious or
me, and it is an aesthetic unnatural. The grip is soft and
one. The grip looks natural if looks very natural; technically,
employed by a dealer in Las the bottom half is in an Erdnase
Vegas, say, but the grip can look grip and the top half has spilled
a little suspicious in any other over into something which
context. resembles a mechanics grip.

On my 'Past Midnight' DVDs There are many ways to get

I explained a bottom deal that into the EGD. Firstly, one can
uses the Erdnase grip and a simply bevel the deck with the
messy dribble into the hands. right hand before commencing
This was an exercise that I used the deal. However, sometimes
to eliminate tension from my a one-handed method is more
technique, disguise the grip desirable. To get into the EGD
and allow me to deal from a with one hand simply place
variety of potential positions. the deck into the Erdnase grip
This bottom deal allowed me making sure that the third finger
to develop a casual and relaxed only contacts the bottom third
bottom deal. When using the of the deck. Now with a slight
Erdnase grip with a normal tossing action the cards above
squared deck the strange box the ones secured in the Erdnase

14
 "Like acquiring
many other
feats a perfect
understanding of
the exact manner
in which it is
performed will
a
avoid the principal
difficulties. Practice
will soon do the
rest"
The Expert at the Card Table
S. W. Erdnase

grip will slide forward. Practice

will form an appropriate bevel and
once this knack is acquired one
can work on lessening the degree
of 'toss' needed. Disguising the
toss action as part of gesticulation
renders the preparation for EGD
invisible.

A possible obstacle during

the deal concerns maintaining
the integrity ofthe disguise.
It is possible to use the above I have only relatively recently
technique as part of the deal discovered that Ed Marlo had
action if readjustment is needed. a similar idea (M.I.N.T. Vol. 1,
Bevelling the correct amount in pp.339-340, Pseudo Method).
Stay Stack is not a real stack
advance will of course eliminate However, the technique was TRUE
this scenario. applied to the Marlo Master Grip
to give the appearance of a ' full Faro shuffling reduces cholesterol
grip' whilst executing the Cigar FALSE
Understanding the nature of the
Erdnase deal is essential before Bottom Deal. The deal isn't
Dr Jacks is alive and lives in Bath
adopting the strike take and very well covered from the front
TRUE
the EGD. Personally I believe and this fact isn't helped by the
that the EGD bottom deal is pictures in M.I.N.T which are Vernon couldn't pressure fan cards
incorrect. . TRUE
one of the most deceptive and
practical techniques available Erdnase is a stupid name for a child
when considering all possible The EGD bottom deal is more FALSE
performing contexts and styles. covered, flexible and natural in
It is the deal that I use and one appearance. Card magic contains 13.1% fat
TRUE
which I have kept quiet for a long
time. For those of you who like
deal work I hope you like it.

15
.,~----------------------------------------------------~

Sex & death with playing cards

From a theatrical perspective I II J~e su"6Ject ef3am61in3 is all encem~assin3'

find gambling demonstrations
very appealing. However one It cem6ines man's natural ~/a)j. instinct wit~ ~is
is walking a tightrope. Most
laymen would probably mention a-esire te .J.<new a6eut ~is fate ana- ~is future. II

con men and James Bond within ,,-,Franz Rosenthal, Gambling in Islam, 1975
the same breath if pushed to
comment about winning in a
casino. I feel that magicians have sex appeal of gambling whilst look simplistic, puzzling, illogical,
over romanticised the card cheat, unknowingly dealing with its abstract, and dull ... Perhaps.
embodying this fantasy character most repugnant features; a mix
with skill and integrity when that is very difficult to blend well A card table is not a necessity for
the reverse is much closer to the unless you have paid tremendous a gambling demonstration and
truth. I feel that magicians who attention to staging, scripting and neither are playing-cards, dice or
perform gambling demonstrations showmanship. chips for that matter. The premise,
should try to remember that presentation and showmanship
there is nothing honourable or Framing and presentation are are the effect. Cards are just one
respectable about cheating. It is fundamental. One does not of many possible visual aids. I
a pursuit that society associates have to become' Mr Card feel that a major tool for gambling
with all manner of unsavoury Cheat' exhibiting highly skillful demonstrations, one which is
and disreputable characters. techniques in order to entertain. commonly neglected, is the
Gambling itself isn't immune The major appeal of a good use of 'silence' or the 'unsaid'.
from the same associations, gambling demonstration is Think about this scenario for
simultaneously speaking of comparable to that of correctly a moment: You are a worldly,
wealth and high society, poverty structured magic: the mysterious. experienced, talented, skillful
and low life scum. Gambling A gambling demonstration is and creative gambler. Would you
seems to have the allure of a car often a perfect Trojan Horse for reveal the 'real work' (whatever
crash and the appeal of a new magic effects which exhibit feats that means) if asked to explain
space shuttle in flight, romance of memory, choice, influence, some of your thoughts? Or just
and grit, luck and skill, sex and mind reading or skill. The enough to keep everyone happy?
death. Gambling has a super impossible becomes slightly more It is the perception of information
sexy bright side punctuated with paletteable when anchored to the withheld that intrigues an
nerve and intelligence. The other seductive and mysterious power audience. Bear this in mind and
side of the coin is gritty and dark of winning in games of chance. let it inform your work so that less
dripping with cowardice and When viewed through this lens becomes much more.
desperation. I find that this makes an audience may view gambling
for an electrifying contradiction, demonstrations as complex, There is a seductive attraction
a contradiction that ordinary impressive, logical, magical and attached to finding four of a kind
people intuitively understand. entertaining; conversely making from a shuffled deck, reading
Magicians want to have the traditional magic demonstrations peoples tells or dealing any

16
 be acknowledged and then
controlled. There is a paper thin
line between a cheap and nasty
. o~ t)!
demonstration and one which is
"O)~:D~~~s'n llll
astonishing. Knowledge of your
audience and refined presentation
is the only way to get purchase
on this otherwise bucking Trojan
Horse.

Just a small point to consider;

99.99% of gambling demonstrations
will focus attention on entertainment.
However that is no reason to
embrace nonsense and abandon
fact . I have seen many performers
talk about memory systems, card
counting, shuffle tracking, sleight of
hand and card sharks without even
the most basic knowledge about the
history, prevalence or validity of the
techniques that they highlight. Don't
rely on the script that you heard
someone else use or the script as
written in the book you' ve just read.
It is an easy matter to learn a little
modem knowledge about the subject.
I would recommend Steve Forte's
book Casino Game Protection to
gain a much better understanding
about the reality of cheating, rather
than blindly accepting the many
myths and misunderstandings that
are commonly thought to be fact by
magicians. A little knowledge can
go a long way. I'm not suggesting
that you start spewing modem
hand called for that I find hard side of gambling isn't something information about gambling at your
to adequately put into words. that you should ignore. In fact it next audience but like anything in
Finding common ground between can add spice; but be careful. life, it is better to be armed with
my perspective as a hobbyist and up-to-date information rather than
superstition and guff. What is
my perspective as a performer Having knowledge about the factually conveyed to an audience
is an interesting duality and one world of gambling, working is almost irrelevant. Theatrical tools
which informs my choice of on your technique, working on are more important. However I just
material. Finding this balance is your presentations and your feel that you are in a better position
essential. to entertain if you understand a little
choice of material are of course
about what is fact and what is fiction.
obvious requirements. So what How this new knowledge informs
In a world where poker players is the main point that I am your work is up to you.
are now superstars, housewives trying to communicate here?
have a venture with television Well I suppose I am trying to Is it just me
roulette and teenagers supplement highlight the dark tightrope that or am I the only
masturbation with Internet good gambling demonstrations person on the planet
Hold' em, we have to realise can successfully navigate. who thinks that Adam
that we are living with changing The dark side of the world of Sandler is about as
attitudes toward the subject of gambling should inform your funny as Cancer?
gambling. This said, the darker work. However, it needs to

17
 .
<"-' --_..J}

Derek is a very close friend and an incredible card guy. He is the real deal and I guarantee will achieve some
great things. I recommend all of his crap. He is 24 and has a scar on his left knee.

Q: Who are you? Q: Do you love or hate magic?

A person not to be trifled with. Far too much of both.

Q: Why? Q: Deuce or two?

I have trained extensively to defend against triflers. 2

Q: Strangulation or Poison? Q: Trey or three?

Depends on if I am giving or receiving. 3

Q: Do you ever bring people down the garden Q: Do you fear the eye in the sky?
path and turn the hose on them? I'm an atheist. For me, there is no eye in the sky.
I try everyday.
Q: What is heavier, oil or water?
Q: Have you ever said, "That'll get the money"? Water.
No (yes).
Q: Muriel Marlo or Bess Houdini?
Q: Have you ever said, "Read 'em and weep"? Bess
Yes, but only in reference to some magic literature.
Q: Best living magical person is?
Q: What finishing move would you use on an Can't pick one ...
audience?
The Glide

Gambit wears chainmail and lipstick.

Derek and I in drag. Las Vegas, March 2008

18
 ...-• .,11&1...
Derek DelGaudio
(Description from Only Notes by Derek DelGaudio)

This was developed after r saw an unbelievable For the sake of this description we will only concern
shuffle chop on Steve Forte's Gambling Protection ourselves with one card: The Ace of Clubs, which
series. The card was stolen off the bottom of the is on top. Begin an in-the-hands riffle shuffle with
deck into flat palm in the action of a riffle shuffle. the top half in the right hand and the lower half in
r later found out this move was invented by Allan the left. Shuffle the cards letting the Ace of Clubs
Ackerman. The chop is perfection and r highly fall last. Now bridge the cards upwards creating
recommend you learn it. The only downside is that an arch. The back of the Ace should contact your
it requires a table, you can only palm one card and right palm (fig. 1). The Ace is literally pushed into
that card goes into flat palm which is seldom used by the right palm. All that is needed is to get the other
magIcIans. cards out of the way. Now cascade the cards together
completing the shuffle (fig. 2).

If you would like to palm more than one card, you

simply let the number of cards that you wish to palm
fall last from the right hand packet. Then bridge
the cards placing them directly into right-hand
palm. However, you can use the left thumb to keep
the cards in place (fig. 3). Then cascade the cards
together and remove your left thumb when you feel
that the cards are securely in palm.

The riffle palm described here can and should be

done standing. You can palm multiple cards with
the card(s) delivered into full palm under cover of a
natural action.

That's it! It will feel a little unnatural at first so you

will have to find the positioning that works best for
you.

Ed Marlo had a similar palm that he would execute

after a faro shuffle. He would grasp the cards from
above in the right hand and the card would be
palmed as the cards were bridged. This shuffle is
similar, but the riffle-shuffle action is more natural.

19
 Once they have a card in mind
and have finished shuffling take
This section concerns effects the cards back and casually spread
that can be generated using a the cards until you find their
glimpse and presentation as its selection. Spread four cards past
main modus operandi. One can their selection and cut the cards
literally use one method and ten at this point (turnover pass). As
different presentations to generate you are doing this say that in a
ten different effects. This is an moment they are going to spread
efficient and practical system that through the cards so that they can
allows you to perform a variety see" all of the faces. Hand them
of powerful effects that cultivate the deck and ask them to spread
interaction, allowing you to relax through the first 10-15 cards.
and concentrate on showmanship. They can either lie (bluff for the
Personally I believe that some of timid or Catholics) or tell the truth
the most powerful effects possible about the presence of their card in
with a deck of cards fall into this that bunch. Of course you know
category. that their card is not present so
The lie detector plot is you can apparently interpret their
one which has always fascinated response correctly. Keep going
. . ...&. .iiI. .~&, T"; a".. . me because of its obvious open through this process another two
interpretation to presentation and or three times until they have a
the interaction with an audience bunch of maybe 8-15 cards. Now
that it creates. I have only ever get them to throwaway cards
used one method and every time from either end until they only
that I have performed this effect have 3 or 4 cards remaining (you
the handling is slightly different. know that their card was 5th from
Have the cards shuffled then the top so follow it in this process
have a card peeked at, glimpse to make sure it remains in their
the selected card and then have hand at all times). Whittle it down
them shuffle. All the work is to one card (making sure that they
now complete. Whilst they are keep their card hidden) and ask
shuffling it is a good idea to them if it is their card. They will
reinforce the idea that they have say yes and this is a very powerful
a card in mind and introduce the moment which seems to have no
premise of being able to read other explanation other than your
Coming Soon ... tells, sense tension and spot a ability to spot a lie. Now say to
lie. The procedure that you now them that you will try to work out
Tricks with a Crack Pipe
go through can be anything! what the card is. Ask them three
Volume 1
Asking them to call out suits or four quick-fire questions to
and values whilst you listen to which they can lie or tell the truth,
Advanced pipe technique
their voice or you can get them pause for a few moments, look at
to fool the family.
to separate the cards into two them and then name the card.
piles and state which it is in, you The spectator will
Plus tips on how to use an
repeat and whittle it down to a remember your locating a card
ITR as an effective crack
few cards. The possible variations that they were 'thinking' of and
pIpe.
are endless and all of them use then naming it. They will also
the same method with a 100% remember that they held the cards
guaranteed successful ending. the entire time. A simple yet
I could list many possible baffling effect.
handlings; however, the one that I
am about to describe is one which
I use the most often.

20
- - - - - - - -- - -- - -- - -- _ ... _--

"'

By Pat Mustard

Temples of Doom

Magic lectures are shiny shells that surround a puff of The answer should be "Fuck No!". Allow them the
air, a severe lack of nourishment. Magic competitions pleasure of playing with thumb screws rather than being
are as pointless as opening your favourite chocolate and surrounded by egotistical retards intent on showing off in
throwing it away only to gorge on the wrapper. Most an environment that trivialises magic.
magic DVDs and books are like listening to Led Zeppelin I am told that conventions outside ofthe U.K. don't 'roll'
backwards whilst a cat uses your knees as a scratching this way. I am unable to comment as my experience in
post. If you consume all of the above you will develop this area is limited and I am too scared to investigate as I
brainworms that burrow into your soul whereupon they am still shell shocked from my last experience.
die and poison you from the inside out. This poison also I'm not sure what the answer is to the terrifyingly
acts like LSD making you wander around in a trance outdated nature of the magic convention. It has a lot to
nodding at everything then going home as if everything do with context and format; I think that having a piss-
is ok. This condition is known as 'The Emperor's up, a Poker competition, a bare-knuckle fight between
Brainworm' . the most senior magicians present and one lecture from
Magic conventions seem to be cathedrals for the someone who has something to say other than ' J hold it
elements in magic that grate me the most, filled to the this way' may be one step forward, however I feel that
brim with bum boxes - and the situation also seems to be there is something even better out there. Something else
getting worse. I managed to avoid conventions for about must be developed; get a large quantity offags, alcohol,
five years; however, I have started attending them again cigarettes, a drawing board, a pen, a ' Rocky Montage'
. and I feel very dirty. This must stop or I must shower style soundtrack and get working. If you build it they
more frequently. will come ... except if ' they ' are the same 'they' that get on
There is a major problem with context and your nerves. Build it so that 'they' don't come. Of course
. content, something must change within the magic not all conventions, lectures and products are bad; just the
community in order to develop something of value. vast majority.
Would you take a friend to a magic convention? If the And lastly, death to the magic competition! They
answer to that question is yes then you either don't value have been the same since the 1950s. Just knowing that
your friendships or you only have friends within magic. they exist is enough to make me vomit.

Place a deck into Si Stebbins, now give the deck 14 out-faro shuffles and cut at the 2 of Spades. Now give the deck 9 in-faro
shuffles and cut at the 9 of Diamonds. Give 6 more out-faro shuffles and the deck is in Mnemonica!

21
 Kevin is the reason that this magazine
exists, he is also responsible for
introducing me to a variety of
interesting and influential characters
that have subsequently become my
friends. I wish I could have spent
more time with him and was able to
express my feelings in person. Thank
you Kevin for being such a good
friend to me, I will miss you terribly
as will all those who had the pleasure
~~~~
of your company and council. Kevin's
From left to right: Ricky Smith, Myself, Kevin Fox and Brian Glover (Session Convention - January 2008) passing is not only a major loss to the
This morning my friend Gordon an immediate bond with. Kevin was magic community, but also a loss for
Bruce informed me that Kevin Fox always working on something within the hundreds of close friends he made
had passed away. Kevin was an magic, always reading and always all over the world .. My th~ug~ts and
extraordinarily kind man, a pleasure had his finger on the pulse of the condole~ces are. wIth all hIS. ffIends
to be around and a good friend. He magic scene. It saddens me to my and famIly at thIS sad and dIfficult
was one of the few people I have met very core knowing that I will not be time.
over the past few years that I struck able to sit and chat with him again. Ben 26/01109

The Gambit website is now live, so if economical. Jerry 's routine has appeared
you wish to comment on anything in the in print twice, once in The Crimp, again
magazine please send emails to info@ in Cards at the Table, and on a video
gambitmagazine.com. Please check out he released called Selected Secrets. In
the latest news sections on the site as I several takes during the filming, I opened unintelligent slurs upon my character and
will be giving up-to-date information on by mentioning th is before commencing my education, and tried to portray me as
what's appearing in the next issue such the demonstration. Unfortunately, during a thief, a liar and a conceited egotist, all
as effects, articles and contributors. the editing process, this information of which are wholly unfounded, not to
I launched Gambit at the was not included. I did, however, ensure mention extremely childish.
Session Convention on the 17th of that Jerry was credited at the end of the I refused at first to involve
January 2009. I really had to rush the DVD. All credits were listed at the very myself in playground mudslinging, and
magazine in order to have it ready for end of the third disc, and not at the end decided to rise above it. But a year to
the launch and as a result the first run of each respective disc as I had planned. the day since I received his rude and
was full of spelling errors, grammatical This was a format problem rather than insulting email, the offensive aspersions
mistakes and issues with the layout. an attempt by myself to "hide away" are still on his website. I now feel that
Due to Kevin Fox's passing and the the credit as Jerry accused me of doing, the time is right to publicly defend
problems with the magazine r decided to or to secretly suggest that the routine myself and to explain my side of this
amend the first issue so that it was more was entirely my own. This would be a boring story. I would like to have let
representative of what I had in mind. I seriously arrogant thing to do, not to sleeping dogs lie, but my "God-like
now consider this to be the first issue mention foolish, given the fact that any arrogance and cynicism" (para) would
of Gambit magazine and one which is card man worth his salt would know the not allow it any longer. I am however,
dedicated to the memory of Kevin Fox. effect was Mr Sadowitz's. flattered that Mr Sadowitz thinks of me
Before r wrap up this issue of Jerry Sadowitz is someone who, enough to single me out on his rarely
Gambit, [ would like to raise a quick as a magician, I have a lot of respect for; updated website. For that, at least, [
point regarding a referencing issue that I and so I was gutted when he emailed me should be humbly grateful.
had with my Past Midnight project. to convey his anger at being rebuffed in Anyone who knows me well
On disc one of the set, I performed a this way. I immediately responded with understands that I try to operate with
routine I call "Open Triumph" which is a sincere apologies for the unintended honesty and integrity. I have known Jerry
take on Jerry Sadowitz's "Name a Card mistake, and humbly explained what had for over ten years, so it is a shame that
Triumph". In this routine, I managed to happened during the editing process. our relationship has turned sour over
cut down the number of shuffles and cuts Jerry did not get back in touch with me simple misunderstandings. This could
used in Jerry's handling. I believed then, to discuss this matter any further. Instead have been easily and amicably resolved
and still believe now that my variation he responded by publicly attacking without the need for public slander or ill
makes Jerry's method more efficient and me on his website with shameless and will. I apologise for waffling.
22
 Latest news

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Official Gambit merchandise and related products

 The Cards of Leon - An in-the-hands effect that is related to Simon Aronson's
Shuffle-Board. This effect is one that I have kept secret for a very long time
because of its simplicity, practicality and deceptiveness.

Some false shuffles. I have shown these shuffles to only a few top card guys. The
'Simulation Shuffle' is related to these shuffles.

The C.O.P. is a card control system I have been using for years. It is
' - _ - - - psychologically invisible, it has multiple applications, it is simple and very
practical. Plus the start of Switchman, a regular feature on deck switch technique.

Here's a quick little stack that you can do from a shuffled deck to control four of a
kind. It is accomplished with the minimum number of 'moves', it is quick, casual,
and very deceptive. This idea uses the C.O.P. Cull which will be explained in the
next issue. The cull is a refinement of an idea that appears in the Royal Road to
Card Magic ('A Poker Player's Picnic). This stack is very simple and just a basic
example on what will be explained in the next issue. Look at face card (let's say
a Seven) and use the C.O.P. Cull to cull the second Seven onto the face. Look
for the third seven and cull it under the spread, insert it back into the spread five
cards above the final seven. Hold a break four cards above the final inserted
seven and shuffle the cards above the break into the deck without disturbing the
~-. ' ,"""","

top or bottom stacks. False shuffle and cut the deck, then deal out five hands:
the first two rounds a Seven falls into your hand on the final two rounds
bottom deal the sevens into your hand. This sequence is very quick and
casual and uses a variety of techniques to quickly get four of a kind into
your hand.
24