TOSSING

BROADS
Tony Giorgio
~
First Published November 8, 2009

10 9 8 7 6 5 4 3 2 Copyright 2009

All Rights Reserved

Tony Giorgio

Edited by: Kaye Jacobs

Graphic Design & Layout by:

Dave Champagne
 T MAY HAVE BEEN IN THE FALL OF 19 63 OR

I perhaps in the early spring of1964. I don't

remember exactly when-but the occasion is
indelible in my somewhat fragile memory. One afternoon,
my lawyer, the late Hy Ginsberg, called and told me that he
wanted me to visit a place
which would surprise me; I
accepted his invitation. That
evening he picked me up and
drove east on the 101 Freeway
to the Cahuenga Pass, where
he turned south and headed

Y
dedicate these notes to Jay Ose and to the for Hollywood. As we passed
countless early Castle performers without the Hollywood Bowl, I asked
whom there would be no Magic Castle~ My Hy where we were going at
thanks also to my good friends, Howard Hamburg for his eight o'clock in the evening; he
support, and my special thanks to Glenn Vodhanel, without replied, "We're almost there." A minute later he turned right
whom there wouldn't be any notes. In conclusion, thanks to on Franklin Avenue and continued straight ahead for a short
Jay Ose wherever you are. distance to a private road, made a right turn, drove up a hill
and stopped in front of an old Victorian mansion which I
had passed a hundred times. Voila, the Magic Castle"'!
Hy was a close friend who knew that as a youngster I
was a professional magician and that I would be surprised to
see what was happening behind the walls of the once
abandoned mansion built as a personal residence in 1908 by
Roland Lane who once owned a large portion of the land
that now comprises Hollywood. I did not know that Hy had
Although I gave up my membership in the Academy of visited the Castle as a guest, and for a mere twenty-five
Magical Arts, it would be revisionist history not to mention dollars, he had purchased an associate membership in the
my association with the Magic Castle"' in its early days. Academy of Magical Arts ("AMA").
Hy's promise of a surprise was fulfilled when I saw a
portly young man seated at a table doing card tricks. I later

4
learned that his name was Larry Jennings. Seated at another tricks and illusions. Dick is also a very talented ragtime
table was Al Wheatly performing his 1954 invention, the pianist. He is the only pianist to record the complete works
Chop Cup. I immediately recognized Wheatly, whose act, of Scott Joplin.
"Chop Chop and Charlene," I had seen in various west coast The most notable early member of the Academy was
nightclubs. Then there was Harry Mendoza doing a coin Harry Blackstone Sr., who was the greatest stage performer
trick at another table and magicians performing all over the I have ever seen. Until his death in 1965, Harry was
place; I thought that I was visiting a magicians' convention. omnipresent at the Magic Castle where he sat at a card
®

Hy explained that we were in a private club for magicians table demonstrating tricks with a gaffed deck of cards (short
and their guests. card) which he sold to spectators. It broke my heart to see
Hy then introduced me to Jay Ose, a true gentleman, this master illusionist, who had entertained countless
brilliant entertainer, and a consummate magician who in a thousands of people, having to sell trick cards for extra
large measure was responsible for money.
the popularity and present day The famous Pakistani magician, Kuda Bux, who had
success of the Magic Castle ~ A his own television show in the early days of television, was
detailed history of the Magic also another of the Castle regulars. Kuda was advertised as
Castle'" is beyond the scope of "The Man with the X-Ray Eyes." Members of the audience
these notes, and there are only a would cover Kuda's eyes with soft dough and a blindfold
few of the early Castle performers and then completely cover his head with bandages, yet he
still living, but I must tell you was still able to see. I asked him countless times to teach me
some anecdotes stored in my how he did it. His response was a classic; he would look me
memory of those early days at the in the eyes and say, "Tony, it cannot be taught."
Castle and of the notable> Another great talent who spent many an evening in the
magicians and magic aficionados I met there. Magic Castle" in its nascent days was Bev Bergeron. Peter
Among those early members of the AMA were Snag Pit, Bob Wagner, Phil Graham, Bill Chaudet and Leo
Werris, a comedy writer who was one of the writers on the Benke regularly performed voluntarily and without any
Jackie Gleason show; Joe Berg who moved his magic shop compensation as did most of the magicians I have
from Chicago to Hollywood Boulevard; Senator Crandall mentioned.
and Johnny Platt, also Chicagoans who found a home in Then there was Charlie Miller who knew more about
Hollywood; and Dick Zimmerman, a very talented magician card cheating than any magician I ever met, but if one
and inventor of magic and an illustrious AMA member. broached the subject or asked him questions regarding card
Dick created the Linking Hula Hoops, the Dancing sharps and/or their methodology, he would change the
Ring on Rope, Crystal Clear Card Box, Clearly Impossible, subject. I had met Charlie before the advent of the Magic
Zimmer Egg, Zimmer Stab, Sure Thing and many more Castle ~ When I met him, he made his living selling marked
6 7
cards to card hustlers. A deceased friend of mine once lost a Montana and Nevada with suitcases full of samples. He
couple of big pots in a table stakes low ball game before he would phone in the orders he received to an assistant in San
realized that Charlie had mistakenly marked high cards as Diego who would ship the orders to Benny's clients; I
low cards. referred to Benny as a couturier to fallen women.
Charlie also worked in peek join ts signaling suckers' Benny studied magic at the Chavez School of Magic.
hands and worked with a bunco crew putting in cold decks. Following World War II (''WWII''), Benny Chavez-who
Charlie' also had a short tenure as an eye in the sky in the started the Benny Chavez School of magic in 1941-
casino of the Las Vegas Dunes Hotel which once occupied received approval from the California State department of
the land where the Bellagio Hotel now stands. education enabling veterans ofWWII to study magic under
Francis Carlyle, a great night club performer, was also a the G.l. Bill of Rights. Tin Ear Benny, who was a WWII
capable card mechanic who could move under fire. He was veteran interested in magic, enrolled in the Chavez school
attracted to Hollywood by the l'yIagic Castle~ and became an excellent card manipulator. The inimitable
Channing Pollock was also a graduate of the Chavez School.
Perhaps the most knowledgeable magician who became
an early AMA member was Lou Lancaster. Lou, who had Jay Ose and Dai Vernon were the only magicians the
great manual dexterity, used to do a coin roll with eight Castle ever hired as resident magicians. Vernon's
silver dollars, four with each hand, simultaneously. international fame and reputation drew magician visitors
from all over the world, while Jay Ose's popularity attracted
Benny Roth, who was one of the frequent Castle
the laymen.
visitors, was a semi-professional magician who was deaf and
wore hearing aids with a volume control that he hung Both Jay and Dai had a tremendous edge over other
around his neck. Everyone called him "Tin Ear Benny" a exponents of the art of magic; they both had great charm
moniker bestowed on Benny by comedy writer and TV and charisma. Jay was the most charismatic, and his
producer Lou Derman who also had a moniker which I gave audiences all fell in love with him and his performances.
to him-"Friday Night Lou." Every Friday night Lou In addition to his charisma, Jay had a marvelous
performed his comedy magic in the close-up room. His memory which he augmented with his knowledge of
performances produced the loudest laughter ever heard mnemonics. Every time Jay encountered a celebrity or a VIP
within the walls of the Magic Castle~ Lou had a brother guest, he would entertain them, and in the process, he
named Bill Derman who produced television game shows, would ask them many questions. He asked for the names
and in his later years became a successful trade show and birthdays of wives, children and their lucky number.
magICIan. The questions asked were all related to the performance
Tin Ear Benny had a very unique occupation; he was a of a card trick; for example, Jay might ask for the number of
vendor of "trick clothes" (trashy lingerie worn by prostitutes children the person had and count down that many cards to
who work in brothels.) Every three months Benny would find the selected card. So it was with names; he would spell
take a trip to the states of Oregon, Washington, Idaho, out the name and deal a card for each letter in the name.
8 ')
With the aid of mnemonics, he would commit to memory thing that I have ever seen." I commented, "It's the
all the information he gathered from the spectator while damnedest thing that I have ever seen," and I meant every
performing a trick. word I said.
Imagine the surprise when a returning customer was In all of his presentations Jay had the ability to convince
asked how his children were and Jay mentioned their names. an audience or an individllal that he, Jay Ose, had superior
He would then ask, "How is your wife Mary? Isn't she skills which enabled him to perform seemingly miraculous
having a birthday on the 17th?" tricks. When performing for magicians, Jay used to try
Jay always asked people to name their favorite card seemingly impossible effects which were dependent on luck.
which he would commit to memory. Having memorized the If the trick worked he would take credit, if he guessed
customer's favorite card enabled Jay to do a "think of a card wrong he would manage to segue to another trick.
trick" months after asking a person to name their favorite On a Sunday afternoon long ago, Bill Derman had a
card. ' pools ide party at his home, and I was one of the invitees.
One slow evening at the Magic Castle; Jay and I were The other guests, including Jay Ose, were all regular
seated at the bar when one of the evening's visitors asked members of AMA. Jay, in a swimsuit, was seated on a
Jay, ''You're Mr. Ose, right?" Jay nodded, whereupon the blanket at pool side relaxing under the sun when our host
gentleman asked Jay ifhe could deal a card from the middle Bill Derman handed Jay a deck of cards and asked him to do
of the deck. Jay replied, "Of course." The visitor then asked a card trick.
Jay ifhe could do it for him. Jay again said, "Of course," and Jay ribbon-spread the cards on the blanket and asked
proceeded to take a deck of cards from his pocket. Bill to name a card. I don't remember the name of the card,
Jay then did a double lift, turned the two cards over as but I do remember Jay moving his hand back and forth over
one and removed the top card, which he very slowly inserted the face down cards and turning over the named card. Bill
into the center of the deck, carefully leaving about a 16th of laughed and remarked that it was just luck, whereupon Jay
an inch of the card protruding from the side of the deck. He asked Bill to name another card, repeated the hand
then pointed to the edge of the protruding card and said, movements over the ribbon-spread and again turned over
"That is what the gamblers call a brief; now I'm going to the mentally selected card. Bill Derman was startled and
deal the card from its location in the center of the deck and convinced that Jay was able to somehow find a mentally
create the illusion that the card is being dealt from the top." selected card from a face down unarranged deck. Bill told
Utilizing his flair for dramatics, Jay froze his actions for a Jay that it was the greatest card trick he had ever seen and
few seconds and ended the suspense by dealing the top card asked Jay why he didn't do the trick in his Magic Castle®
face down on the bar and asked the gentleman to turn it act. Jay replied, "I never cared for it."
over. Jay then stood, looked at him straight in the eye and An annual visitor from Albany, Oregon was my dear
said, "Thirty years of practice," excused himself and walked friend Jerry Andrus, the recently departed genius, creator of
away. The gentleman said, "That's the most remarkable magic tricks and optical illusions, whose best known
10 11
invention was "the linking pins." Jerry saw magic as an art of One of the original members of the Academy was Jan
deception and had very strong and negative feelings about Grippo, a Hollywood agent turned producer. Jan produced
people who used magicians' ploys as a means of separating all of the Bowery Boy pictures and was an avid supporter of
the unwary from their money. He found the performance of the Castle. Jan was an excellent card manipulator and the
magic repugnant without spending several minutes at the brother of magician and fight manager Jimmy Grippo who
opening of his performance disclaiming any supernatural once talked me into becoming a heavyweight prizefighter;
powers and explaining that all the magic they were going to that's a story for another time.
see was accomplished with trickery. I once theorized and Jan loved to start arguments between Dai Vernon and
told Jerry that telling the audience that he wasn't doing me. Many a night the three of us stood in front of the
anything that called for supernatural powers demeaned the shuttered Castle until two or three o'clock in the morning
audience's intelligence; I was never able to dissuade him . and argued about magic, its techniques, presentation and
Jerry was a confirmed agnostic, who was the best. Dai would argue until he got sleepy, and
but when represen tatives of various then he would make a statement that could not be refuted ,
religions seeking converts knocked turn and walk away. Our arguments were sometimes so loud
on his door, Jerry would invite the that the people who lived in the apartments on the hill
prosyletizers in and start a debate. I above the Castle would call the Castle to complain of the
spoke with Jerry via telephone a few noise. There came a time when Milt Larsen forbade our
days before his death in August of nocturnal rants.
2007. Among his last words, Jerry In 1968 I had a 16-week engagement performing in the
asked me, "Wouldn't it be funny if Hollywood Playboy Club's VIP room. After work, I would
there is a heaven ?" To which I spend some time at Dino's night club on the Sunset Strip
responded, "Jerry, if there is a heaven, I will give you a writ- and then head home. On my way home, I passed the Magic
ten guarantee that you will be admitted without question." Castle~ At that time, Dai Vernon had an apartment in a
It is impossible to discuss the Magic Castle," sleight of small apartment house located east of the Castle, adjacent to
hand or close-up magic without mention ofDai Vernon, a the exit road from the Castle to the parking lot. The
man who became a legend in his own time. I first met Dai apartments have since been torn down. I knew that Vernon
in 1946 while walking up New York City's Broadway with always stayed up late. He would sit at the kitchen table until
Jimmy Grippo who introduced me to Vernon as one of his the wee hours of the morning practicing moves and playing
stable of prizefighters. The next time I saw Dai was on my Solitaire.
second visit to the Magic Castle ~ I reminded Dai of our On many a night I drove up the entrance road to the
casual meeting in 1946, but because it was seventeen years Castle, circled down to Dai's apartment and knocked on the
earlier, he never remembered it. door. Dai was always delighted to see me and immediately
13

12
gave me a resume of what had happened in the Castle that voice of Harry Houdini. I have returned. Why do you
night. He then invited me to play Gin Rummy for a penny a malign me?"
point. Dai kept the score and the books; I don't believe we Vernon dropped the cards on the table and said,
ever settled up. I may still owe a couple of dollars which 'Who is that?" Then he stood and walked to the front door.
would be payable to Dai's estate, but I think that the statute Dai's apartment was at a corner of the building, so I just
oflimitations has rendered the debt uncollectible. ducked around the corner and stood with my back to the
One hot summer's evening while driving home from wall. I heard Dai open his door and walk down the two or
my Playboy gig, I decided to pay Dai a visit and playa joke three steps leading to his door. Then I heard him go back
on him. I knew that he did not like Harry Houdini because into his apartment and shut the door. I waited about three
he would often speak ill of him personally, in addition to or four minutes and again peeked in. He was back at his
trashing his performance. The mere mention of Houdini kitchen table with the cards in hand. I repeated my ghostly
would elicit Dai's recollections of Houdini's elephant vanish. message and ducked around the corner of the building. I
He'd say, "Tony, three stagehands would push a big cabinet heard the door open and Dai shouted, "Tony Giorgio, cut
on wheels onto the stage. Then Houdini and the elephant out the bullshit; where are you?"
trainer led the elephant into the cabinet, and Houdini closed
the curtain in front of the elephant. When he opened the
curtain, the cabinet looked empty; however, it had taken
three men to push it on stage, and it took eight or nine men
to push it off stage." I have never met any eye witnesses; as
far as I know, Dai's story may be apocryphal, but it's funny.
Vanishing elephants aside, Dai claimed to have fooled
Houdini with a simple card trick, and he likely did; the trick
has fooled many magicians.
The joke I had planned capitalized on Dai's disdain for
Houdini. I parked my car and walked to Dai's apartment.
The window next to his front door was partially open with
the shade pulled down. There was about an inch of space
between the window shade and the window sill which
allowed me to peek into Vernon's abode. As usual, he was
seated at the kitchen table with a deck of cards in his hands.
With my head at the opening under the shade, in a high
pitched but audible whisper I said: "Vernon, this is the
 TOSSING BROADS The basic move in tossing
{aka Three-Card Monte}
broads is throwing the top card
instead of the bottom one.
Illustration 1 shows the cards
ready for a throw. The gaff
I9 TH CENTURY VICTORIAN BRITISH throw is really not difficult; you

I
N THE
2
underworld slang, playing-cards were called simply throw the top card
broads. Playing a game of cards was known as instead of the bottom card as
"Spreading Broads." Cheating at cards was called "broading" shown in illustrations 2 and 3.
and a card sharp was called a "broadsman." It is important to note that
The broadsman who tossed broads was called a "broad it isn't necessary to throw the
tosser." The broad tosser and his confederates were known cards in a wide arc; the shorter
as a "broad mob." Given the language used by the American the arc, the better the toss. The
broad tossers, it is rather obvious they learned their craft throws are propelled by a quick
from English grifters. turning of the wrist.
Before describing the All three of the cards you will use must be bent in the
broad tosser's sleight of hand, I manner shown in illustrations 4, 5 and 6. To facilitate the
wish to dispel some of the bending of the cards, they should all be placed together in a
mythology about Three-Card packet and bent simultaneously.
Monte. The prevailing myth is
that the broad tossers used a
queen as the winning card and
would say "Find the Lady." I have heard magicians say that
the term "Tossing Broads" is derived from using three
4 5 6
queens. Actually, any two identical black cards and a red
card were used universally. In the language of the American Next, the upper right corner and the lower left corner of
grifter, the term "playing a gaffed joint," (also called a flat the cards should be bent in the manner shown in illustra-
joint or flat store) is slang for operating a gaffed game where tions 7 and 8. Again, keep the cards in a packet when you
the mark cannot win. Tossing Broads is a gaffed game that bend the corners. Pre-bending the corners back and forth
cannot be beat; hence, the broad tosser plays a gaffed joint, makes it easy to put in and take out the lug. "Putting in the
or flat joint. lug" is the vernacular for bending the corner of the red card
so that the spectator will follow the card with the bent
corner; of course, "taking out the lug" refers to straightening
16 17
out the bent corner on the red card and bending the corner "boosters" and "plants" are all synonymous. The term "shills"
of a black card without the spectator detecting the switch. is used in gambling casinos to describe employees who are
used to get a game started. The term is also used by scam
auctioneers to describe employees who are used to bid up
prices. The term "booster" also refers to an employee who is
part of the mob. Although the term is archaic and seldom
used, the "outside man" who is in charge of the sticks, may
7 8
also be called a "booster handler."
Illustrations 9, 10 and 11 show the maneuver. There is The idea that Three-Card Monte is a game in which
no need to use the little finger to turn up or straighten out the sucker-who is referred to as the mark-can turn over
the lug. Because of the preparation of the cards, the corners the winning card is not possible. Ultimately, Tossing Broads
are easily bent and straightened out by exerting finger is not a gambling game; it is a bunco game where the mark
pressure when you pick up the cards. has no chance of turning over the winning card. One of the
self-styled internet gambling experts claims that a mark can
turn over the winning card, and if the mark does turn it
over, the broad tosser and his confederates simply talk the
sucker out of being paid. If they are unable to convince him,
9 10 11 they simply run away; nonsense!
Playing Broads, along with "the shiv," "laying the note,"
and "the smack" are all "short con" games. A short con game

I
N RECENT YEARS I HAVE OBSERVED SEVERAL
modern broad mobs in operation. Basically, refers to bunco games that are designed to beat the mark for
they're not using the same methodology used by the money he/she has on their person; whereas the "big con"
the old timers I knew, and they lack the ability to win the refers to beating a mark who is sent to the bank for money.
money without generating heat. The broad mobs I speak of This is called "putting the mark on the send."
are mostly a thing of the past and are not to be confused Because Tossing Broads is a con game, the mark is
with the petty street grifters who are not capable of beating never allowed to turn over the winning card. The reason is
a mark without getting a "beef' (complaint). The number of that once the mark turns over the black card thinking it was
people in a broad mob can vary. I have seen just two people red, he will never make a second bet. Therefore, the most
playing Broads and as many as five. important part of winning the money is to maneuver the
Ideally there are four people in the mob: the broad mark to bet all or most of the money he has on his person
tosser, two "sticks" and an outside man who may also be on one turn of a card.
called a "booster handler." The terms "sticks," "shills,"
18
 tosser not only tosses to the big top. to see what's going
observes and broad tosser UC:\AU~::;l:I mark's curiosity
Ull."'Vl~ his confederates to take the the
U>1.I.-'_"LU by the broad tosser is
and motivate the
he says, "Close
V"-LVVVH1'" is a scenario of a broad mob man to stand behind the to prevent anyone
interfering with the play.
to tosser then proceeds larceny-triggering
VUllllC;. The tosser tosses the square and
out it, trace it, see this is red,
to operate and to is black. It's fair and square. red one here and
re~rls1:en~d by "beefing ~r.~I,,'·_ -L-01H~JJ.i:lJllllJ one there. Five get you
marks). the
I seen broads tossed on Stick #1
cardboard boxes, pocket for
UUU}J.IC-ll,"" and on all sorts of
his eyes
are not on the cards. The tosser the position
red card by switching it card, which now
the winning red card a black card, and
will get you ten; who sees Stick #1, who
did not see the dollars on the
standing side by which of course is now a black card; so he loses
VU"",l\,.'" man. We will refer to
as "Stick #1" and
#2." The outside man
~""_, .. ~" deliberately to
card game. They are said to
joint." little show is put on
walk by, the tosser directs is to influence the mark
to "bally" (to make noise). bally the gaff on the joint.
joint arouses the reaches for his money.
20
 the to two

turns
tosser

tosser
behavior.
one of the
all
and four
They their way to a previously
They then move to
tosser did
not to
bet. it
slow to act, or
betting), our broad tosser
in a lug.

over

tosser would turn, pick up

ready." together. would "Het L i l l i

tosser is going to execute the " " " r:nl with

card to the right. tosser would

23
outside man to step in front of the mark so that he would no though you tossed on the square, you will get different
longer see what was going on. If the mark didn't walk away, responses; so no matter what you hear, turn over the red
the mob would disperse and reassemble in another location. card and say, "You're right."
The question now arises: how do you stop the mark The next two or three tosses you will use the gaffed
from turning over the winning red card? The answer is throw, and after the audience has missed finding the red
rather simple. Remember that when the tosser says, "I'm card, you turn all three cards face-up. Then, you pick up the
ready," all his confederates know that he is going to execute red card and use it as a pointer. Point to a black cara and
the gaffed throw and lay the red card on the right. Should say, "The reason you're not finding the red card is because
the mark reach for that card, both sticks would simul- you're not watching the middle of the card." Using the red
taneously reach for the same card and say, "I see it." The card as a pointer, you point to the center of a black card and
broad tosser would say, "One at a time gentlemen: wait for say, "Focus your attention here in the center." Next, point to
your turn." The outside man would also join in the tumult the other black card, and as you point to its center with the
by saying, "Do it again." The tosser would then toss the red card, put a little pressure on the red card. The corner
cards, and if the mark went for the red card, both sticks will easily bend because of the preparatory bending. You
would again argue that they were first; and that is how the have now put on the lug, but you must pretend that you
mark doesn't get to turn over the winning card. If the mark don't see it.
actually gets his hand on the card, the sticks would yank the Toss the cards a couple of more times. The audience
card out of the mark's hands and argue that they were first will find the lugged card. Stop for a couple of beats and
and shout "pay me" to the broad tosser. notice the bent corner. You can say, "No wonder you're
In such a situation the mob again disassembles and finding it; the corner is bent!" Pickup the bent card, turn it
reunites at another location. over and it's black!
Of course, before the last toss, you took the lug out of
TOSSING BROADS FOR ENTERTAINMENT the red card and put it on a black card.
F PROPERLY PRESENTED, "TOSSING BROADS" IS In the next effect, the red card is apparently torn; then
an unsurpassed piece of entertainment. In the cards are tossed, and the torn card turns out to be black.
performing Three-Card Monte, do not apolo- This effect is my invention. It has never been used by any
gize to the audience for fooling them; they expect to be broad tossers, and it wouldn't be usable because of the heat
fooled. On the other hand, do not laugh at them. A good it would create.
opening remark I have often used is, "Now I am going to . It all begins with doing a gaffed throw so that the
show you a 'dirty trick'." center card on the table will be black. The card to the left:
The first three tosses should be on the square, and the will be black and the red card will be on your right. Bl:call!ic
audience should be asked to point out the red card. Even
24
of your gaffed throw, the audience will think that the red
card is in the center.
Next is the important part.
As shown in illustration #12,
you're going to put a tear in a
16 17 18
black card and convince the
MAILING THE WINNING CARD
spectators that you tore the red

I
N THE GRIFTER'S WORLD THERE ARE MANY
card. (Note that after the card is
torn, the tear should be flattened apocryphal tales. One of those stories is about a
12 broad tosser they called the "Mailman." They
so that it is not visible when the
called him the Mailman because before becoming a grifter,
cards are tossed.) Now the convincer: with your right hand,
he worked for the U.S. Postal Service as a mail carrier.
pick up the red card, being careful not to expose its face.
(The audience thinks it's a black card.) The story is that when the Mailman couldn't spring a
mark, he would have the outside man paste a postage stamp
As shown in illustrations 13, 14 and 15, the right hand
on the back of the red card.
now picks up the black card with the tear in it. The next
move is actually a gaffed throw done upside down. The two No one I ever met either saw or performed the
cards are held in position for a gaffed throw with the red maneuver; however, there is a version that is rather difficult
card on top and the black card on the bottom. to perform, but certainly worth practicing.
The tosser tears the corner off of a dollar bill, and using
his saliva, or wetting his finger in a glass of water, he
moistens the small piece of the dollar bill and sticks it on the
lower right side of the red card's back as shown in
illustrations 19 and 20.
13 14 15
With the back of the right hand facing the audience,
the wrist quickly turns the right hand palm up, and the red
card is thrown face up on the table.
Next, using the torn black card, turn over the red card
in the manner shown in illustrations 16 through 18. Then, 19 20
pick up the red card with the right hand and immediately The tossing and the gaffed throw doesn't change, but
make a gaffed throw. If all is properly executed, the audience when the right hand picks up the red card to get ready for
will think that the red card is torn. the gaffed throw, the tosser slides the black card under til .

27
dollar bill corner and transfers it to the black card. The With practice, the card may be made to rise more
transfer is completely covered by the back of the right hand. than half its length. The trick can be performed with more
Immediately after the transfer, the tosser executes the gaffed than one selected card.
throw. If the move is done properly, it is undetectable.
CONCLUSION
THE RISING CARD

I
THANK YOU FOR PURCHASING THESE NOTES
and for attending my lecture. Although the joke

I
HAVE A FASCINATION FOR THE RISING CARD
routine performed without the aid of any is old and everybody knows it, I am compelled to
gimmicks. All of the methods I've seen down repeat it; it's about the man visiting N ew York to attend a
through the years are rather easily detected. One day, quite concert in Carnegie Hall. He had forgotten the directions
by accident, I stumbled on a method that is not easily to the concert, and he asked a stranger, "How do I get to
detected. Because I came up with the idea independently, Carnegie Hall?" The stranger answered, "Practice."
but by accident, I figured that someone else might have So, in conclusion I say PRACTICE, PRACTICE
come up with the same idea. So until it is disputed, I hereby AND PRACTICE.
claim this rising card routine as "The Giorgio Rising Card."
Now, the explanation: the selected card is maneu-
vered to second from the top. The deck is held at its sides by
the thumb on one side and the four fingers on the opposite
side as shown in illustrations 21, 22 and 23. Note that the
cards are beveled in the form of a pyramid. To make the
card second from the top rise, press on the lower corner of
the top card with your little finger. Next, move the little
finger toward the center of the deck. This will cause the top
card to bend; the bending of the top card will cause the
second card to rise.

21 22 23
ADDENDUM
For the readers who are not familiar with "Three-Card
Monte," I will explain the basic tosses chronologically. You
start with the red card face down on the table and a black
card in each hand. The cards are held with the second, third
and little fingers on one end and the thumb at the exact
center of the card at the opposite end.
The first finger rests near the forward left corner of the
card close to its left edge. However, the finger positioning I
describe will vary in accord with your hand size and what
feels comfortable at the time. The important thing is to pick
up the winning red card separate but close to the black card.
In the fake or gaffed throw, the top card is thrown instead of
the bottom card. The throw should be practiced until it is
undetectable.
When the gaffed toss is executed, you create the illusion
that the winning red card is on the table and that you have a
black card in each hand. In fact, you have a black card on
the table, the red card is in your right hand and the other
black card is in your left hand. Next, you are going to create
the illusion that the spectators have seen both black cards.
To show the red card in your hand and the black card on the
table as two black cards, you drop the black card in your left
hand on the table and pick it up under the red card in your
right hand. You then turn your right hand with your palm
toward the spectators and show the black card. Next, you
execute a gaffed throw which places the red card to the right
of the tabled card.
Then, you show the spectators the remaining black card
in you right hand and throw it to the left of two tabled
cards. You now have a supposed red card in the center, a
black card to the left of the supposed red card, and the red
card is on the right. However, if everything went right, the
spectators think that they're looking at a red card with a
black card on each side.
Feel free to ask me any questions you may have.
T giorgio@aol.com.
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