The Second

16th Card Book

Vol. 2
By

Paul Gordon
(Compiled & Edited by Paul Gordon)
The Second 16th Card Book, Vol. 2

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 The Second 16th Card Book, Vol. 2

ISBN: 978-0-9555256-1-2

2007 Copyright © Paul Gordon & Natzler Enterprises. No part of this

publication may be copied, translated, transmitted, transferred or
reproduced in any way whatsoever without the prior written permission
from Paul Gordon and Natzler Enterprises. All Rights Reserved.

Dedicated To
Mark Worgan
A very good friend and a wonderful comedy magician.
(If you meet him, ask him to show you his unique Curry Turnover!)

With Very Special Thanks To

Tom Craven
For conceiving the original project and for his magic.

And to all the contributors (this book and the first volume) for their
excellent tricks, routines and wonderful ideas. Sincere thanks to all.

Published by
Natzler Enterprises
Worthing – Sussex – United Kingdom
www.paulgordon.net

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Contents

Introduction ................................................................ 7

Understanding the 16th Card Principle ..................... 11

The 16th Card Utility (Gordon) .................................. 12
Impossible 16th Card Location (Gordon)................... 14
Craving For Craven (Craven) .................................... 19
The Very Best Poker Hand (Gordon) ........................ 20
My Darned Nemesis (Gordon) .................................. 24
Moracle Finesse (McBride) ........................................ 28
Startling Aces (Gordon) ............................................. 29
Okay, TC! (Gordon).................................................... 31
Idea To Preset Two Equal Piles (Hucko) .................. 35
Oracle, Moracle, Miracle (Gordon)............................ 36
16th Card Force (Gordon) ........................................... 38
The Third Card (Gordon)........................................... 39
24 to 27 (Gordon) ........................................................ 40
Craving For Craven # 2 (Craven) .............................. 42
Placement For Lucky Number Aces (Hucko) ........... 44
Staggering! (Rindfleisch)............................................ 46
Top And Bottom & The Quine Keeper (Craven)...... 47
PG on TC (Gordon) .................................................... 51
PG on TC # 2 (Gordon)............................................... 52
8-16 (Gordon).............................................................. 53
Lucky Seven (McBride) .............................................. 53
The Ace of Spades Trick, Plus! (Hucko) ................... 55
My Own Peculiar Way (Matney) .............................. 58
Another Peculiar Way (Matney) ............................... 60
16th Card Tinkerings (Gordon) .................................. 63
Quite Staggered (Rindfleisch).................................... 64
More Hemeroids (Gordon) ........................................ 66
More Hemeroids # 2 (Gordon) .................................. 68
An Oracled Royal Flush (Gordon) ............................ 71

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On The Faro & Klondike (Gordon)............................... 72

Setting The 16th Card (Gordon) ................................. 76
Courtship Display (Kane) ......................................... 77
The Choice Is Yours (Craven) .................................... 79
The Choice Is Yours 2 (Craven) ................................ 80
The 16th State & City (Rindfleisch) ............................ 82
Cyclic Creativity (Gordon) ........................................ 84
Poker Perfect (Gordon) .............................................. 90
The Myriad Concept (Gordon) .................................. 92
The Sympathetic 16th (Rindfleisch) ............................ 93
The Computerised Deck (Rindfleisch) ...................... 96

Paul Gordon ‘Bonus’ Section (non-16th card magic)

A Kick For Dr. Daley .................................................. 101

A Lesson In Acting ..................................................... 106
A Nice Four-Ace Trick ............................................... 108
Aces For Connor Sewers ............................................ 110
Illogical & Discrepant “Endfield” Vanish ................. 112
Costa Aces................................................................... 115
The Session Stunner ................................................... 116
Multi-Tasking ............................................................. 120
Mind-Reading Bluffer ................................................ 122
Kings, Aces, Flushes! .................................................. 123
Phone A Friend........................................................... 126
More On The Gordon Diary Trick............................. 129
Phil’s No Fake............................................................. 131
S**t Hot & Bu**er it! ................................................... 133

Last Word ................................................................... 137

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Paul Gordon & Harry Lorayne (New York, early/mid 90’s.)

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Introduction
Paul Gordon

Here we go again. I did warn you! In the first volume I said

we might be back, and we are; with a vengeance! All new
ideas – some very unusual – and all very good! When
compiling this book, one prominent creator friend said he
wasn’t really ‘into’ deal & duck stuff! He didn’t realise that
most of the ideas didn’t and don’t use the deal & duck
concept. And when it is used, it’s done fast! In fact, most of
the ideas (in both these books) are very commercial. I know;
I use them in my professional (laymen-only) act!

Now, as I just said, it’s often remarked that deal/duck

procedures (and maths-based card magic in general) are
boring. Well, isn’t any magic if performed that way! I work
fast (not hurried) and suggest that, when doing these effects,
you do, too. Or, at least use a presentation that’ll retain
interest. “Pace” is a good watch-word, here! I recall reading
Harry Lorayne’s “Three’s Company” (see Vol. 1 or Quantum
Leaps) back in 1979. I thought it seemed dull, long-winded
and unnecessary! Big mistake on my part! A few years later I
saw him perform it. It was exciting, fast, entertaining and
magical. (For ‘it’, maybe read ‘he.’)

When I read magic books, I don’t like to read the written

suggested patter; I like to ‘find’ my own. That’s why my
books don’t contain reams of patter; I want the reader to
find his own way, too. Sure, every now and then I suggest
phrases (to keep the item flowing), but I have faith that all
my readers can interpret in their own way. A mistake I think
some magic authors make is to assume that all of their
readers want to make top-notch world-class presentations.
To the novice, that can be a very frightening prospect. Most

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magicians are amateurs and simply want tricks to fool (and

entertain) ‘the boys’ at their local magic club. By instinct and
experience, the (good) professional magician will know
what to do – how to present; he doesn’t need to be told.

I’ve long held the view that short fat balding entertainers (if
you are, by the way, I’m not trying to be being offensive –
I’m just trying to make a point) shouldn’t try to be tall, svelte
and aristocratic. In the same vein, softly spoken shy novice
magicians are best steered away from the Bill Malone
approach; certainly in the early days. Bill Malone is
excellent, but his character certainly isn’t ‘meek & mild.’ So, if
you read a ‘nuts & bolts only’ write up of a card trick, you
have a better chance of interpreting it to fit your style. As I’ve
said elsewhere, that’s why I don’t advocate novices learning
from DVD’s! You will, by a process of osmosis, become a
clone of the performer/teacher.

The advent of video (20 years ago, plus) spawned, sadly,

hundreds of David Williamson’s. Yet again, David
Williamson is great; but one is enough! I’d like to write a
whole book about this and other soap-box views (in my
capacity as a professional card magician), but those who ‘do’
won’t need to read it, and those who ‘can’t’ (or don’t care),
won’t feel the need! Catch 22!

In both books, The Reverse Faro, The Straddle Faro, The

standard Faro, Deal/Duck and Klondike Shuffle are often
used. Well, I described (in Vol. 1) The Reverse Faro,
Deal/Duck and Straddle Faro in detail, but not The Klondike
or standard Faro. To keep the two-volume set complete, I
offer a description (see “On The Faro & Klondike”) toward
the end of this book. Believe me, with a little practice – the
Faro isn’t that hard to attain.

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In summary, I offer you – within these pages – a few dozen

card tricks for you to read, try and put your stamp on! If you
want a visual, funny, commercial and magical effect to whet
your appetite, go directly to “More Hemeroids # 2”. I may be
biased, but I think it alone is worth the price of entry. Oh,
and the “Endfield Vanish” and “Impossible 16 th Card
Location” and “The Very Best Poker Hand” and…Actually, I
truly think all the effects – if individually sold – would be
worth the price you paid for this book!

Paul Gordon

On a publishing note, we’ve listened to your comments about Vol. 1. So,

Vol. 2 has larger side margins; so you don’t have to ‘crack’ open the book.
Also, some photos have been repeated; that’s so you don’t have to flick back
(or forward) through the pages.

Paul Gordon doing a deal & duck effect with his teeth!
(Just Kidding!)

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Understanding The 16th-Card Principle

It should be of interest to you to know how & why this

principle works. Now, the following is just a guide because in
various routines, I (or my fellow contributors) often go off
on a tangent. But the following will help you understand if
you should get confused at any stage.

If you place a known card at 16th from the top of a 52-card

deck, the spectator can cut anywhere from 16 to 47 cards and
you are able to control it. (Getting a spectator to cut, “Oh,
about half!” is easy.) With that very basic knowledge,
miracles can – and have been created. So, assume the 3D is
face up (for teaching purposes only) at 16 th position. The
spectator cuts off and hands you, say, 27 cards. Do a Reverse
Faro with that packet (i.e., hand to hand spread and swiftly
upjog the 2nd, 4th, 6th, 8th cards etc), strip out the outjogged
cards and table the inhand cards. If you repeat the Reverse
Faro (with the just outjogged cards) again and again,
whittling down (reducing) the cards, the final card left will
be the 3D. That is the basic ‘Oracle/Moracle (Reverse Faro)
Elimination.’ However, there is more to know:

 If 16 to 23 cards are cut off, two cards will remain (after

the elimination) and the bottom card is the 16th (3D in our
example) card.
 If 24 to 31 cards are cut off, one card will remain (after
the elimination); the 16th (3D) card.
 If 32 to 47 cards are cut off, two cards will remain (after
the elimination) and the top card is the 16th (3D in our
example) card.

As I say, these are the basics. The following routines (and

the ones in Vol. 1) thoroughly explore the exciting
possibilities.

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The 16th-Card Utility

Paul Gordon

This is exciting! Okay, as the author/creator – I shouldn’t say

that myself. But, that’s how I feel about it! Excited. Why?
Well, this concept has so many uses. Let’s go…

First, I want to explain something in the way of a table. If

you ask a spectator to cut off “about half” of a deck, 95% of
the time they will cut from 15 to 30 cards. If they cut more,
you say, “A few less, please.” Or if they cut less, “A few
more, please!” Easy! We’ll come back to the table in a
moment, but until then; take a peek at it.

Amount of cards cut from the Cards remaining after 2 Reverse

deck. Faros.
13-16 Inclusive 4
17-20 Inclusive 5
21-24 Inclusive 6
25-28 Inclusive 7
29-32 Inclusive 8

For this first idea, stack the Ace to Eight of Hearts (these can
be any known cards; using the A-8 aids the teaching) on top
of the deck; AH on top. Jogshuffle and false cut. Give the
deck two Straddle Faro shuffles (1st cut must be at least 8
cards, the 2nd cut at least 15 cards). After each Straddle Faro,
strip out the ‘caught’ (interlaced) sections and
waterfall/cascade to top. Standard handling. (See Vol. 1 for
more info if you need it or see elsewhere in this book.)

Now, ask the spectator to cut the deck and hand you the top
section. She must give you at least 13 and no more than 32.
As I said, 95% of the time, they will. Take the cut-off section
and do a Reverse Faro (outjog the 2nd, 4th, 6th etc., etc cards)

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and lose (back to the deck) the outjogged section. Repeat the
Reverse Faro (with the remaining injogged section) and lose
the outjogged section as before. Now, depending on how
many cards she cut off – you will be left with either 4, 5, 6, 7
or 8 ‘key’ cards. See table. Interesting, eh?

Now, to knowledgeable magicians, they may ‘realise’ that

the two Reverse Faros negate the two Straddle Faros, but I
doubt it. Also, the “cut anywhere” aspect fools! Either way,
laymen will be stunned; once you routine this concept.

Routine ideas:
1. As you will always end up with at least four cards, a
four-Ace revelation is obvious. Obvious, but good!
Just start with the four Aces secretly on top and do
the handling as described above.
2. With 8 known cards (or “Three Kings” or “Si
Stebbins”) in order, as above (A-8), you will end up
with 4, 5, 6, 7 or 8 cards; in order. So, with this
knowledge, you can ask them to pick one of them
and you instantly know what it is. If you end up
with 8 cards and they chose the 5 th from top card –
they’ve got the 5H. Nice, eh? End as you wish.
3. After the second Reverse Faro, table (i.e., don’t put
on the deck) the stripped-out outjogged section side
by side with the injogged ones. (Table the
injogged/inhand ones, too.) Now, if they chose a
card from either packet and place it in the opposite
packet, bingo! You can locate it. If both packets are
cut back into the deck, you can look through the
deck (after some false shuffling) and if you see
displaced Heart, that’s their card. Or, an X card
amongst your Heart set up is theirs, too. Easy!
Example: They cut off 21 cards. After the second
Reverse Faro, you have two tabled packets. One of 5

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indifferent cards and one of 6 Heart cards. The rest

is obvious. By the way, to eliminate the second
Reverse Faro – just deal two piles of cards. Note,
however, the ‘Heart’ pile will be in reverse order;
Ace at bottom. Now, and this is good: After the first
Reverse Faro, use equivoque to force (and lose) the
outjogged non-Heart packet. You can then end with
an impossible location effect.

So, that’s it. Well, part of it. You are only limited by your
imagination. So, here’s a nice routine:

Impossible 16th-Card Location

Paul Gordon

The only ‘problem’ with “3” above is setting eight cards on

top of the deck. Well, I’ve solved that using Marlo’s (easy)
Jinx Switch. (See Endnotes for more on this switch.) What
we have here is two routines in one. The first (okay) effect
sets up the second (very good) effect.

From a shuffled deck, spread through it (faces toward you)

and remove, don’t show the faces, the Ace to Eight of Hearts
and table them face down in order; Ace at top. As you
remove them, however, downjog the eighth-from-face card
of the deck. Your patter is, “Let’s remove a bunch of cards;
some of my favourites!”

Flip the deck face down into dealing grip and catch a pinky
break above the bottom eight cards; made easy by the
injogged card. Pick up the Heart packet and as you flip it
face down onto the top of the deck, (the rationale is to free-
up your right hand to gesture etc) table all the cards above

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the break which leaves you holding an eight-card packet. (I

have to assume you know this handling. It’s pretty
standard.) The Heart cards are now on top of the deck (that’s
the switch) and you now work, for the first effect, with the
eight X cards.

Have a card selected from the eight-card packet. Have it

remembered, returned and then control it to the bottom.
False (slip) shuffle retaining it there. One quick Deal and
Duck will leave you with the selection. Reveal it with flair.
It’s not a miracle (well, maybe it is to laymen), but it does set
you up for the real meat!

Now, into the best part. Say, “That isn’t bad, but how about
something impossible?”

So, the Ace to Eight of Hearts is now on top of the deck.

Return the other ‘just-used’ eight cards to centre and
Jogshuffle and false cut retaining the top eight (Heart) cards.
Give the deck two Straddle Faro shuffles (1st cut must be at
least 8 cards, the 2nd cut at least 15 cards). After each
Straddle Faro, strip out the ‘caught’ interlaced sections and
waterfall/cascade to top. Standard handling.

Now, ask the spectator to cut the deck and hand you the top
section. She must give you at least 13 and no more than 32.
As I said, 95% of the time, they will. Stress the free choice
aspect: “Cut anywhere…just less than half!”

Take the cut-off section and do a Reverse Faro (outjog the

2nd, 4th, 6th etc., etc cards) the packet. Strip out the outjogged
cards and hold the packets, one in each hand. Use
equivoque to force (and lose back to the deck) the
previously-outjogged non-Heart packet. (My friend Lee
Warren suggested ditching the non-Heart packet by simply

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saying, “Hmm…too many cards. Let’s whittle them down a

bit!” Then he just works with the Heart packet. Nice idea!)

Anyway, deal the remaining cards into two piles (as if

dealing in a card game) on the table; first card to the left (a
Heart), second to right etc., etc. You are going to ask them to
choose a pile but you will work differently depending on
which pile they chose. If they choose the Heart pile, let them
slide out a card, peek at it and shuffle it and all the cards
(and the deck) together. Due to the order of the cards, you
know what it is. So assume that there were 5 in the pile, with
the Ace on bottom, it’s easy to tell. If they choose the third-
from-bottom card, they have the 3H. Reveal it with flair. It is
impossible! And, it’s strong!

But, if they choose the non-Heart pile, they are to slide out a
card and add it to the other (Heart) pile, and shuffle it. They
cut this packet into the deck. One quick run through of the
deck will inform you of their card; the odd one amongst
your run of Hearts. (Note: Their card might be one above or
below the Heart run, depending on how they shuffled the
packet. To avoid that, have them drop the packet onto top of
the deck and after you’ve jogshuffled, their card is either
among the Hearts or the first one after!)

If you prefer the strong “impossible” handling (their free

choice of the Heart pile), simply force it with equivoque so
that you get a 100% miracle!

Oh, I could go on for ages on this concept; but – you get the
gist!

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Photo. 1

Photo. 2

Photo. 3

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Photo. 4

Endnotes: The Jinx Switch requires good timing. Try this. As

you spread through the face-up deck (tilted towards you),
upjog the eight Heart cards and down/injog the eighth from
face card. See Photo. 1. The right hand strips the Heart cards
out and tables them (face down) in order; Ace at top. (Just
quickly rearrange them whilst pattering.) The deck is placed
aside, during this, still with card slightly injogged at rear.
Pick the deck up in to face-down dealing grip regaining the
break with the pinky. The right hand picks up the Heart
packet and holds in on the deck as in Photo. 2. (Note, deck is
vertical; facing you.) Now, flip it face down onto the deck
(Photo. 3 is a mid-action shot) and pick up all the cards
above the left pinky break and table (slightly spread for
misdirection) them as in Photo. 4. Done! The left hand holds
a packet of 8 indifferent cards. You must, I emphasise,
practice timing and misdirection with this move.

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Craving For Craven

Tom Craven

Use a marking system like the Ted Lesley deck as follows:

Starting with the 19th card from top, mark it as 19. Then the
next card is marked 20 etc, until you get to 29. You have
eleven cards marked from 19 to 29. (ED: If you don’t know
the Ted Lesley system, use any marked deck that ‘gives’ you
positions of cards, not just values etc.)

Have a known card at 16th from top and have its mate 42nd
from top. Start by doing a false shuffle. Ask the spectator to
cut off close to half the deck (he should cut into your
numbered cards.) If the top card of the bottom half is
numbered 27, then you know he has cut off exactly 26,
which leaves the mate at 16th from the top of that half. So,
each half would have mates 16th from the top. See ‘note’ for
the other possibilities.

Do the Moracle elimination (Reverse Faro etc) and both

eliminations up with the two mates.

Note: If the top card of the lower half has the number 24 on
it, you know he has cut only 23 cards, so you need to shift 3
cards from top to bottom; then the mate is 16th again. If you
see the number 29 on top of your half, then he has cut that
many, and you need to shift 3 cards from face to back. Now
the mate is 16th again. I’m sure you get the gist. It’s a strong
routine; don’t be put-off by the set-up.

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The Very Best Poker Hand

Paul Gordon

I think this is unique. Now there’s a statement if ever there

was one! I’ve twinned my effect(s) “Duffiecrosgord” (Peter
Duffie’s England Up Close e-book and my own Card
Conjuring) and method (thanks to both Aldo Colombini and
Peter Duffie) to come up with an unusual Royal Flush
revelation. It’s a slow build-up with a slap-in-the-face
kicker ending.

The set-up is easy. The Royal Flush in Spades on top in J, K,

Q, A, 10 order; Jack on top. (Mnemonic: Set them in order
and switch the Ace and Jack.)

Jogshuffle, retaining the set-up, and say, “Let me show you

the very best poker hand’! But, let’s find in magically –
unusually! Let’s see if we can spell to it. Watch!” Here you
spell T-he-V-e-r-y-B-e-s-t-P-o-k-e-r-H-a-n-d – one card per
letter. In other words, you deal 20 cards to the table. Place
the deck aside, it’s not used again in this routine.

Pick the 20-card packet up and do a Reverse Faro (upjog the

2nd, 4th, 6th, 8th cards etc., etc), Strip out the outjogged section
and table the injogged section. Repeat this with the
remaining inhand cards and then repeat twice more so that
you have four tabled packets. Standard, by now, procedure.
Position check: The leftmost packet has 10 cards, the next (to
its right) has 5 cards, the next has 3 cards and the rightmost
pile has 2 cards.

This is unusual; I’ve not seen it in print before: Say, “Four

piles for four cards in poker. Oops, should be five!” Here
you pick up the 10-card (leftmost) pile and do a Reverse
Faro. The outjogged cards are placed (squared) where the

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10-card pile came from and the injogged packet is placed to

the far left.

Here comes the startling “piece” from “Duffiecrosgord”:

Now, you appear to pick up each packet and flip the top
card face up saying, “Here’s a hand you don’t want to get!”
But, what you actually do with each packet is a block push-
off (and turnover) of all the cards above the bottom card. It’s
easier than you think.

Block Push Off: The left thumb at the outer left corner
pushes off all the cards above the bottom card to the right.
The right thumb & fingers grasp the outer right corner and
drag the pushed-off block to the right long edge of the single
card. This block is flipped over – face up – onto the single
card. Photos 1 & 2.

Photo. 1

The last (rightmost) 2-card pile is a genuine one-card push-

off. Now, backtracking, after you’ve ‘done’ the first
(leftmost) pile, each successive pile is overlapped onto the
one prior so that you end up as in Photo. 3. Point out the
cards, whatever they are, saying, “Pretty feeble, eh!”

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Photo. 2

Photo. 3

Carefully square (don’t flash the other face-up cards) the

overlapping 5 packets as you say, “But, here’s a hand to die
for…” With these words, you pick the squared pile(s) up (at
fingertips as in Photo. 4) and smartly flip them over (bring
them to the mouth and blow on them as cover for the
‘reverse’ – Photos. 5 & 6) and instantly spread the cards on
the table to reveal a Royal Flush in Spades! See Photo. 7.
Fast, eh!? And pretty! Oh, and darned unusual!

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Photo. 4

Photo. 5

Photo. 6

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Photo. 7

My Darned Nemesis
Paul Gordon

In Best of Friends III, there is a Robin Robertson effect called

“That Darn Four of Clubs!” I liked the concept, but not
particularly the routine. I wanted more of the running-gag
and a good kicker. If I say so myself, this is a strong laymen
piece; it’s very entertaining. But, beware; do it at pace!

Start with the four Aces on the top of the deck in any order.
Jogshuffle keeping them there. Say, “If ever I want an Ace, I
spell it. Look!” Here you spell Ace of Diamonds, one card
per letter (13 letters/13 cards), onto the table forming a pile.
But, stop at the last ‘d’ of Diamonds; so that you have 12
cards on the table. Turn the top card (the ‘s’) of the deck
over. Assume it’s the 10H. (Your ‘nemesis card’ will always
be different, obviously.) Say, “Oh…my darned nemesis! The
Ten of Hearts. Worst card in the deck!” Flip it face down to
position. Collect the tabled pile and drop them onto the

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deck; onto the 10H. Do a quick jogshuffle retaining the top

13 cards at least.

Say, “I see. I forgot to spell ‘the’! Let’s try again with The Ace
of Clubs!” So, spell The Ace of Clubs (stop on the ‘b’ of
clubs) so that you have a 12-card pile on the table. Turn the
top card of the deck over (the ‘s’ of clubs) to reveal the 10H
as you say, “Oh, not again!” Flip it face down to position.
Collect the tabled pile and drop onto the deck; onto the 10H.
Do a quick jogshuffle retaining the top 13 cards at least, but
add one card to the top during the shuffle! Don’t forget this
part of the trick!

Say, “Third time lucky? Let’s go for The Ace of Hearts!” So,
spell The Ace of Hearts (stop on the ‘t’ of hearts) so that you
have a 13-card pile on the table. Turn the top card of the
deck over (the ‘s’ of hearts) to reveal the 10H as you say,
“This is getting stupid!” This time, table the 10H. Place the
deck to one side and pick up the tabled 13-card pile. Say,
“Let’s really lose this darned card; darned Ten of Hearts!”
Push off the top five cards of the inhand pile and table them.
Drop the 10H on top of them. Deal four cards onto the 10H
(you must reverse the order of these four cards, hence the
deal) as you say, “This should do it…” Finally, drop the
remaining four cards onto the tabled packet (do not reverse
their order) as you continue to say, “…really lost!” Pick up
the, now, 14-card pile and drop it onto the deck. Jogshuffle,
if you will, but retain the top 10 cards in order.

Hold the deck in readiness for a Straddle Faro. Cut off at

least ten cards and do a Straddle Faro (Photo. 1), but (as
taught in The Second 16th Card Book) lose the second from top
card just before you cascade the interlaced sections onto the
deck. Briefly: Just as you are about to cascade the cards, the
left fingertips slide the second from top card (top card of

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outjogged section of interlaced packets) onto the main part

of the deck. It’s now lost! Photo. 2.

Photo. 1

Photo. 2

Table the deck and say, “Cut the deck around centre and
hand me the top half. I’m going to find The Ace of Spades if
it kills me!” They cut off half the deck (they can cut from 16
to 31 cards; big leeway) and hand you the top half. Hold it in
dealing grip.

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Perform a Reverse Faro (upjogging the 2nd, 4th, 6th etc., cards).
Photo. 3 shows a small packet after it has been Reversed
Faro’d. Strip out the outjogged cards and table (forming a
pile to the left) the inhand cards. With the remainder, repeat
the Reverse Faro.

Strip out the outjogged cards and table (forming a pile to the
right of the tabled pile) the inhand cards. Repeat the Reverse
Faro. Strip out the outjogged cards and table (forming a pile
to the right of the two tabled piles) the inhand cards. Repeat
the Reverse Faro. Strip out the outjogged cards and table
(forming a pile to the right of the three tabled piles) the
inhand cards. You are left holding one card.

Photo. 3

Say, “If this was The Ace of Spades…or any Ace…would

you go wild?” Flip it over to show the 10H. Throw your
arms in the air, roll your eyes, huff and wheeze. Theatrics
required here, but no over-acting! Do this is they laugh out
loud! Finally, turn over the top cards (the Aces) of the four
tabled piles as you say, “…Turned out all-right, though –
didn’t it!)

End! Strong trick. Funny trick!

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Moracle Finesse
George McBride

This effect belongs to Lin Searles and utilises ‘the’

mathematical principle discovered by Alex Elmsley. The
original Searles handling can be found in both Pallbearers
Review and Volume 1 of this book. The following is an
alternative handling, which may appeal to some.

Beforehand, place the four Aces at the following positions:

1st, 2nd, 4th and 8th from the top of the pack.

To begin, the pack is false shuffled maintaining your set-up.

With a spectator sitting directly opposite you, drop the pack
face down onto the table in front of him. Ask him to cut the
pack into 5 approximately equal piles. As this is being done,
watch where the original top portion of the pack falls. Now
this top portion must contain between 8 and 16 cards. With
good spectator management this should pose no problem.

Ok, so they have cut the pack into 5 fairly equal piles. Pick
up the original top portion of the pack.

You are now going to carry out a ‘different’ Reverse Faro as

follows: Begin by outjogging the top card of the packet. (I
mention this specifically because the usual way to start a
Reverse Faro is by injogging the top card.)

Continue in this manner as per usual and strip-out the

outjogged cards dropping them on top of the right hand
tabled packet.

Execute another Reverse Faro (same as before) with the

remaining cards in your hands. Strip-out the outjogged

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cards and drop them on top of the 2nd from right-tabled

packet.

Do another Reverse Faro removing the outjogged cards and

dropping them on top of the next tabled packet. (In some
instances you may only have 2 cards left here; just outjog
and remove as you have previously done.) This leave’s you
with 1 card; this card is turned face up to reveal an Ace and
is dropped face up on the last tabled pile to the left.

Conclude by turning over the top cards of the other 3 piles

to reveal the other 3 Aces.

Startling Aces
Paul Gordon

For some reason, this effect fools magicians. I say ‘for some
reason’ because, to me, it seems pretty standard. But a
‘magician-fooler is always good to record, to get in print!
Basically, it’s a four-Ace reveal.

Start with the four Aces secretly on top of the deck in any
order. Jogshuffle keeping them there. Read the following
carefully as it’s an unusual way of doing a Straddle Faro:
Hold the deck in preparation for a Faro Shuffle and cut off
about fifteen cards or so; exact number (as long as it’s more
than four) is immaterial. Perform the Straddle Faro and strip
out, but before you waterfall/cascade the cards, your left
fingers slide out the second-from-top card (of the ‘interlaced’
cards) and add it to the top of the ‘interlaced’ cards. (Harry
Lorayne used the slide out procedure in Richard Vollmer’s
‘Earthly Powers’ from Apocalypse, but he slipped the slid-out

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card to the top of the talon as in Photo. 1. As I say, here it

goes to the top of the ‘interlaced’ cards. If you can’t do this
variation of Harry’s move, simply lose the card to the
bottom section of the deck and then add another to the top
of the deck during a jogshuffle.)

Photo. 1

To finish the shuffle, cascade (standard procedure) the cards

to the top of the deck. Position check from top of deck: X, A,
A, X, A, X, A, rest of deck. Do a quick jogshuffle retaining at
least the top seven cards in order.

Say, “Name any suit and let’s see what happens!” You are
going to ask this question four times and each time they truly
can name any suit. So, assume they say (for the first time)
‘club’. With the full deck in dealing grip, do a Reverse Faro
(up and downjog cards; the first to be upjogged is the
second card from top) spelling c-l-u-b. Only the upjogged
cards are spelt. At the finish, you have four cards (four
letters in ‘club’) upjogged. Strip the outjogged cards out of
the deck and table them, squared, face down to the left.

Again, say, “Name any other suit and let’s see what
happens!” Now, the following ‘bluff’ (a displacement) is

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necessary to re-set the deck. So, assume they say ‘diamond’,

start to spell (upjogging cards etc) d-I and then stop. Stop
when two cards are upjogged. Say, “Oops, I forgot to
shuffle!” Use this moment to casually (secretly) switch the
positions of the second outjogged card (the actual fourth-
from-top-card) and the one beneath it; the fifth-from-top
card. It’s easy to do. Then, close the deck and jogshuffle. “So,
you said diamond?” Do the Reverse Faro so you end up
with seven cards (diamond spells with seven letters)
upjogged. Strip them out and table them next to the first
tabled packet.

You can now freely repeat the procedure (no displacing

required) with ‘heart’ and ‘spade’. (Jogshuffle between each
named suit.) You end up with four tabled packets.

Say, “There’s something I just don’t understand. You named

the suits in any order. Any order! Correct? Correct! So, how
the heck does this happen?” As you say the last sentence,
turn over the top card of each of the tabled packets to reveal
the four Aces!

I think that the any-order suit spell (a bluff) is the pivotal

part of this routine. It will, and does, fool magicians. As for
laymen…

Okay, TC!
Paul Gordon

The TC stands for Tom Craven, not Top Cat! Now, I

generally dislike lie-detector effects. This is kind of a bluff
one. I like it. Here goes:

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On the top of the deck you require four cards of the

following nature. The first and fourth must be of the same
value, the second and third of the same colour; and that
colour is the same as the top card. The second card,
however, is of the opposing suit. How confusing is that!?
Not really. I’ll make it easy for you. Set from the top down:
7H, 10D, 3H, 7S. Study the set-up. Once you’ve done this
effect a few times, it’ll all fall into place! And, of course, you
can use your own combination of cards. But, if I have
confused you, try this mnemonic: From a shuffled deck, note
the top card. Assume 4C. The next three cards relate to it in
colour, suit and value order – in that order. So, under the 4C
you need to cull a spade (same colour, opposing suit.)
Assume KS. Then under the KS a club, assume 10C. Finally,
another 4-spot. Assume 4H. So, this order from top down
would be 4C, KS, 10C, 4H. Do you get the gist yet?
Anyway…

Photo. 1

Jogshuffle the deck retaining the set up. Force the top card
(7H), have it shown around and returned. Using Tilt, get it
to fifth from top. In other words, catch a break under the top
four cards and do Tilt. Position check from top: 10D, 3H, 7S,

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X, 7H, rest of deck. (See Photo. 1 for an image of Tilt

happening.)

Hold the deck in preparation for a Faro Shuffle and cut off
about fifteen cards or so; exact number (as long as it’s more
than five) is immaterial. Perform the Straddle Faro and strip
out, but before you waterfall/cascade the cards, your left
fingers slide out (Photo. 2) the second-from-top card (of the
‘interlaced’ cards) and add it to the top of the talon. It gets rid
of it!

Photo. 2

To finish the shuffle, cascade (standard procedure) the cards

to the top of the deck. New position check from top: 10D,
3H, X, 7S, X, X, X, 7H, rest of deck. Jogshuffle retaining the
top eight cards as you patter (standard stuff) about ‘lie
detection’ with cards.

Ask the spectator to cut off about half the deck and hand
you the top card. Listen: They can cut anywhere from 16 to
31 cards. No less, no more. Set aside the original bottom half,
it’s not used anymore.

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Perform a Reverse Faro (second card is first one upjogged)

with the original cut-off top half. Strip out the outjogged
cards and table the inhand portion. Say, “What was the
colour of your card?” Whatever their reply, turn over the top
card of the tabled packet to reveal the 10D. Say, accordingly,
‘you lied or ‘you told the truth.’ “Your card was red!”

Perform another Reverse Faro. Table the inhand (injogged)

cards, to the right of the first tabled packet. Say, “Heart or
Diamond?” Whatever their reply, turn over the top card of
the tabled packet to reveal the 3H. Say, accordingly, ‘you
lied or ‘you told the truth.’ “Your card was a Heart!”

Perform another Reverse Faro. Table the inhand (injogged)

cards, to the right of the second tabled packet and the
remaining small packet to the right of the third. (See note.)
Say, “Just think of anything but the correct value?” Turn
over the top card of the third packet to reveal the 7S. Say,
“Hmm…you are trying to fox me! It’s a seven!”

Finally say, “It’s red, a heart, a seven. It must be…” Turn

over the top card of the fourth pile as you say, “The Seven of
Hearts!” How about that? Nice!

Note: Depending on how they cut at the beginning, you

could end up with two cards after the last Reverse Faro.
Lose the top one by scooping it under the last pile. (See the
opening ‘item’ as to ‘why’ this happens.)

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Idea to Preset Two Equal Piles

Richard Hucko

Objective: Your objective is to get two piles of equal value

on the table (7 cards or less in each pile) without the
spectator being aware of the packets being equal. Then you
can finish with the original two pile idea. (ED: Richard is
referring to my “That’s Odd” ideas from Volume 1 of this
series. There is no routine here, just a method!)

Preset: Start with 16 cards (the force card on the face of the
sixteen card group) and the packet face down.

Method: Spread the cards face down to display them and

eye count six from the bottom, get a break above the six
cards and square the packet (you have a break below ten
cards). Cut the ten cards (at the break) to the table and ask
the spectator to cut the tabled packet somewhere in half (if
the spectator only cuts off one or two cards have him cut
more to even up the piles – the least number of cards in
either of the piles can be three). Ask the spectator to choose
either packet.

Still holding the 6 cards in your left hand, pick up the packet
that the spectator did not choose and say that you’ll take this
packet and will shuffle it; but have the spectator shuffle the
packet that he chose.

As the spectator is shuffling his packet, transfer the other

packet into overhand shuffle grip and run the cards singly
(onto the left-hand 6-card packet) and secretly count them.
Once you know the number of cards in the packet you just
picked up from the table, you subtract that number from ten
and the result will be the number of cards within the

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spectator’s packet. I.e., if the number of cards is 6, then 10-

6=4. That means the spectators pack contains four cards.

If the spectator is done shuffling his pack, have him give it a

complete cut; while he is doing this spread through the
cards and get a break under the same number of cards he
has in his packet.

Next, cut these cards to the table. You now have two packets
of equal value without the spectator knowing this and
without him knowing that you’ve adjusted the number of
cards in your pile. The sequence should be done casually
without calling much attention; all that should have
happened in the spectator’s mind is that you each shuffled a
small packet of cards and placed them back on the table. Try
it and you’ll see that this sequence can be done very quickly
and should not arouse suspicion.

You are now ready to finish with Paul Gordon’s original two
pile idea, by having the spectator eliminate one of the two
tabled packets.

Oracle, Moracle, Miracle

Paul Gordon

This is not an easy (technically) routine, although I do offer

an easier handling in the endnotes. This will be a brief write
up as, by now, you should know where I’m heading.

From a shuffled 52-card deck have a card selected and once

returned, control it to top. Top palm the selection and hand
the deck out for shuffling. When the deck is returned,
secretly return the card to top.

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Deal the deck into two tabled piles of 26 cards each; but keep
an eye on the ‘selection’ pile. The chosen card will now be
on the bottom of it.

Say, “After all this shuffling, the only way I can locate your
card is by ‘bettering’ the odds for myself. So, now I have
split the deck in two – I might be able to find it. But, I’ll
never look at the faces! That’s a promise”

Now, you pick up the non-selection pile and spread a few

cards off the top (a hand to hand spread) and appear to look
at the backs “for fingerprints!” Spread about half the cards
and re-square. Table it as you mutter, “Hmm…not sure!”

Pick up the ‘selection’ pile (selection on bottom) and do the

same spreading action. Here, however, you spread over ten
cards (by eye-counting) and ‘pass’ (I do the Tommy Tucker
Pass) them to bottom. Table the deck as you mutter, “…still
not sure!” (The pass is quite easy with half a deck, and their
selection is now 16th from top!)

Say, “I’ll lay a bet your card is among these.” Here you pick
up the selection pile as you continue, “Let’s eliminate the
cards…see what happens!” To end, you do the Moracle
move (Reverse Faro, lose injogged section and repeat until
left with one card) and reveal their selection (the remaining
card) with flair. It’s a strong effect!

Endnotes: You can eliminate the palm by simply

jogshuffling the deck and you can eliminate the ‘pass’ with a
double undercut control. Not as strong, but – okay!

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The 16th-Card Force

Paul Gordon

This is very useful and quite a fooler! It’s utilitarian, too. In

other words – do with it what you will. So, from a shuffled
deck – spread through it (face up) and locate a pair of low-
value (from 3 to 7) mates. Assume you see two Five-spots
together of any suit. Cut them to the top of the deck and flip
it face down into dealing grip. Jogshuffle if you can.

Spread through the deck for a card to be chosen. Have it

looked at, returned and control it to the bottom; retaining
the two Fives on top. I control it to top and after a jogshuffle,
cut it to bottom.

Spread off the top eight cards (don’t reverse their order) and
table them in a pile. Spread off eight more and drop them
onto the already-tabled eight-card pile. Repeat with eight
more cards. You now have 24 tabled cards with the Fives at
positions 17th and 18th. As you do this say, “Your card is
among these I think…maybe these…or these. We’ll see!”

Now, as you have Five-spots as ‘key’ cards, cut five cards

from the bottom of the inhand packet from bottom to top.
The selection is now 5th from top. Table this packet near the
spectator. (That’s why you control low-value cards; less to
cut from bottom to top!)

Pick up the 24-card packet and deal it into two 12-card

packets as you say, “Let’s mix these like this! Please pick up
any pile and drop it on the other. Your choice!” So, they pick
up either of the 12-card packets and drop it on the other.
Whatever they decide, a Five-spot is now 16th from top.

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Perform a Moracle elimination (see last effect) and you are

left with one card. Flip it face up as you say, “Correct? Your
card?” When they say “no” – continue, “Well, as it’s a Five –
count to the fifth card in the deck there!” Point to the portion
you tabled near him.

The fifth card is his which should get a decent round of

applause. So, as you can see – the 16th card principle can be
used as a force.

The Third Card

Paul Gordon

All you need to do is get a Three-spot to the top of the deck.

Jogshuffle, keeping it there. Spread through the deck for a
card to be chosen. Have it looked at, returned and control it
to the top; above the Three.

Spread off the top eight cards (don’t reverse their order) and
table them in a pile. Spread off eight more and drop them
onto the already-tabled eight-card pile. Repeat with eight
more cards. You now have 24 tabled cards with the selection
at 17th from top and the Three at 18th from top. As you do
this say, “Your card is among these I think…maybe
these…or these. We’ll see!”

Table the remainder; it’s not used again. Pick up the 24-card
packet and deal it into two 12-card packets (first card to left,
second to right) as you say, “Let’s mix these like this!” Pick
up the left-hand pile and drop it on the right-hand pile.

Perform a ‘by now standard’ Moracle elimination and you

are left with one card. Flip it face up as you say, “Correct?

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Your card?” When they say “no” – continue, “Well, as it’s an

indicator card, a Three.” Place it aside and pick up the
‘Moracled’ packet. Count to the third card. It’s his! Not bad,
eh?

24 to 27
Paul Gordon

This is similar to “The Third Card” (above) but probably

more direct. From a shuffled deck, spread through it face up
and secretly cut any 6-spot to fifth from top. Jogshuffle
retaining it there.

Hold the deck in readiness for a Straddle Faro and do

likewise by cutting about ten to fifteen cards from the top of
the deck. See Photo. 1. Strip out the interlaced sections and
before you waterfall/cascade to top, you lose the second
from top card (Photo. 2) to the top of the unshuffled cards.
Do one more ‘regular’ Straddle Faro (cut at least ten cards)
and the 6-spot is now 15th from top.

Hold the deck in right-hand Biddle Grip (i.e., from above)

and ‘dribble’ it to the table. You ask the spectator to say
‘stop’ – but you need to time it so that she says ‘stop’ before
you reach the 15th from top card; the 38th from bottom card.
This should be quite easy.

She takes the stopped-at card (card on top of tabled pile) and
you drop the right-hand portion on top of the tabled
remainder. The 6-spot is still 15th from top.

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After she’s looked at the selection, take it back and get it to

second-from-top using Tilt under the top card. Photo. 3. The
6-spot is now 16th from top.

Photo. 1

Photo. 2

Hold the deck as if you were about to do a Faro Shuffle and

cut about centre. The bottom half is placed aside (not used
again). Now, you must cut no less than 24 cards and no
more than 27 cards. Hence the title! So, cutting ‘about centre’
does it. It’s quite easy.

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Photo. 3

Take the packet (24 to 27 cards) and do the standard Moracle

(Reverse Faro) elimination forming a new table pile. The last
card will be the Six. Reveal it and say, “Have I got it? Is this
your card? No!?” Continuing, say, “Well…it indicates it’s
the sixth card from here!” Point to ‘Moracled’ tabled portion.
The 6th from top card is theirs. Let them count to it. End.

Craving For Craven # 2

Tom Craven

I kept this version of Tom’s first handling separate so as not

to overload you. This is very good. Unlike “Craving For
Craven # 1”, this handling uses just a regular deck. A 13-
card setup is required. Starting with the 19 th card, have any
Ace through to King in order. Suits are immaterial. So the
26th card is the 8. If the spectator cuts off exactly 26 cards, an
8 will be on the face of his packet. Remember that there are a
pair of mates at 16 and 42 from the top. Let's assume these
mates are the 10H and 10D.

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Here's the handling: False shuffle (or shuffle less than 16

and throw back on top). Place the deck on the table. Ask the
spectator to cut about half the cards and turn their cut-off
packet face up on the table.

You now see the value of the card cut off, but you need
justification for this packet to be turned face up. Assume in
this example, you see a black 6. (This tells you he cut off only
24 cards.) You say, "A black card. In that case I'll predict red
cards." Have him pick up his packet and turn it face down.
As he does this, you will cut 2 cards from the top of your
packet to the bottom. (Now both mates are 16 th from the top
of their respective packets.)

Let's say after the cut you see a red 9; you know the
spectator cut off 27 cards. Say, "A red card. Okay, we'll use
red cards." As he picks up his packet, you'll cut one card
from top to bottom in your packet.

Since you'll always know the amount cut off, you can adjust
your packet accordingly. If your mates are red and there is a
red card, say, "I'll use red." If you see a black card, say,
"Hmm…a Black card, so let's go with red cards."

Good thinking on Tom’s part. You need to do the calculation

with a clear head, so – best not do this effect during a
drinking session!

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Placement for Lucky Number Aces

Richard Hucko

Objective: To position the Aces for the ‘Lucky Number

Aces’ effect from Volume 1 of this series (Ace positions 16th,
27th, 53rd, and 54th from the top of the pack). This can be done
in front of the spectators, but should be done casually as if
loosing the Aces into the pack after a four-Ace effect.

Method: To begin, the four Aces should be out of the deck

and the deck face down in dealing grip. The first thing you
are going to do is to position the two black Aces at the third
and fifth positions from the face of the deck. The next two
paragraphs will explain an easy way to accomplish this.

Pick up the first black Ace, but as you do, push over the top
card to obtain a pinky break under the top card of the deck.
Place the black Ace face down on top of the deck and double
undercut the two cards (above the break) to the bottom (the
black Ace should now be second from the face of the deck).

Next, pickup the second black Ace, but as you do, push over
the top two cards of the deck and obtain a break below
them. Add the second black Ace face down to the top of the
deck and double undercut the three cards (above the break)
to the bottom of the deck (the two black Aces should be
third and fifth from the face).

Pickup the third Ace (first red Ace) and place it face down
on top of the deck, but obtain a pinky break below it. Double
undercut this Ace to the bottom. Position check: The red Ace
should be at the face of the deck, the fourth card from the
face should be a black Ace, and the sixth card from the face
should be another black Ace.

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Cut the top 26 cards off the deck to the table (you may use
the faro check if you know it). This leaves you with the
bottom 25 cards in your hand.

Spread the cards and obtain a pinky break under the third
card from the top of this packet. Transfer the three cards
above your break into a tilt position (Photo. 1) and insert the
fourth Ace (second red Ace) face down into the break then
square the packet.

Pickup the top (26-card) packet and place on top of the

packet in your hand.

Photo. 1

Perform a Reverse Faro with the entire deck (outjog 2nd, 4th,
6th, 8th cards etc., etc). Strip out the outjogged cards and place
on top. The Aces should now be positioned as follows: Red
Ace 15th from the top, red Ace 26th from the top, black Ace
second from the face, and black Ace third from the face.

Lastly double under cut the bottom card to the top and you
now have placed the Aces in the proper positions (16th, 27th,
53rd, and 54th from the top of the pack) for the ‘Lucky
Number Aces’ effect.

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Staggering!
Joe Rindfleisch

When Joe sent me this ‘staggering’ effect I was amazed at

how fresh and different it was. With proper presentation,
you could have a very puzzling gambling/betting effect here.

Effect: Three spectators are invited to choose a piece of

paper out of box (or your pocket). Each piece of paper has a
number on it; whoever gets the highest number is ‘the
chosen one’ and that number will be the number of cards
that will be used for each person. All of the other papers are
opened to show no trickery has taken place. The person who
won the lottery is given the deck and is asked to deal each
person the same number of cards that was ‘chosen’ in the
lottery. The cards are dealt in the classic poker style of
dealing; one card at a time to each spectator. Once each
person has a set number of cards they are asked to eliminate
cards by using the under/down deal so they are left with just
one card. After the dealing process, each spectator is left
with just one card. When the cards are turned over they are
found to be Aces! Not only that, but the magician made a
prediction. He reaches into the cardbox (or wallet) to reveal
the final Ace!

Preparation: Take the Ace of Spades and place it in your

wallet, pocket or inside the cardbox. Place the other 3 Aces
in the 5th, 6th and 7th position from the bottom of the 52-card
deck (Get them to the bottom and then cut four cards from
top to bottom.) In a box, hat or pocket, drop folded pieces of
paper (predictions) with the numbers: 8, 9, 10, 11, 12, 13, 14
and 15 written on.

Method: Perform the effect as written, but when the number

is chosen, deal out that many cards to the three spectators as

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a demonstration. Assemble all three piles and place them

under the cards that are left in your hand. Give the cards to
the winner to deal. Finish the sequence as described above.

Paul Gordon comment & routine thoughts: This is

staggeringly clever – just what you would expect from Joe
Rindfleisch. As for presentation, you could use, say, four
Kings instead of Aces and say, “Whoever gets the high card
wins” etc., etc. They all get Kings…which is funny. What’s
funnier is that so do you. My preference is to eliminate the
final Ace/King cardbox reveal and keep this effect as a
betting theme with just three climax cards. Or, go further
than Joe and have the 10S, JS and QS at the desired positions
from bottom and once revealed (via the under/down deal) –
produce the KS and AS from the cardbox/wallet for a Royal
Flush ending! Another idea is to remove the mates (as
predictions) of the near-bottom-of-deck cards and then after
all the spectator procedure – you end up with the mates of
the predictions!

As they say, “You are only limited by your imagination!”

Top and Bottom with The Quine Keeper

Tom Craven

Tom Craven wrote two little booklets on the magic of John

Quine: The Card Magic of John Quine and BS-Timations. Both
books explained tricks that utilised The Quine Keeper move.
Harry Lorayne ‘varied’ the move (less flourishy) and titled
his handling The Second Keeper. (See Apocalypse.) Harry’s
handling is the version I prefer, so before we get to Tom’s
effect – here’s description of the ‘variant’ move:

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The basic concept of the move is that although you Faro

Shuffle (‘straddles’) the deck, all the cards except the 2nd
from top card get truly mixed. Nice notion. So, hold the deck
in readiness for a Faro Shuffle and cut off the top 15 or so
cards and Faro them into the centre of the bigger portion.
Photo. 1.

Photo. 1

Photo. 2

As you can see, there is an unshuffled block on top (and on

bottom) of the larger portion. If you tilt your hands upwards

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a tad, that ‘top unshuffled block’ will slide down and square
up (Photo. 2) with the 15 (or so) right-hand portion.

Photo. 3

Now, if you cascade the cards (normal ending for the Faro –
Photo. 3), that top block will separate and get caught at the
base of the right fingers. See Photo. 4.

Photo. 4

It’s really automatic; no assistance from you required. To

end, the right hand takes that ‘caught’ portion and inserts it
into the centre of the deck as in Photo. 5. End. All the cards

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have been shuffled except the original 2 nd from top card

which remains in position. It’s a clever idea.

Photo. 5

This wonderful trick can be done with the original ‘Quine

Keeper’ move or Lorayne’s ‘Second Keeper’ variation. I use
the latter as described above. The item after this (“PG on
TC”) is a simplified handling, but same effect.

Effect: The Magician spreads the cards face up on the table

to show them all to be different. The cards are scooped up
and turned face down. The deck is now shuffled. The
spectator now takes one card and inserts it face up into the
deck. All the cards above the face-up cards are taken by the
magician, and the ones below are taken by the spectator. The
person holding the bottom portion turns those cards face up.
The magician, holding the upper portion, holds them face
down. Now, a Moracle elimination is done by each. (Outjog
the 2nd, 4th, 6th cards etc.) All the injogged cards are
eliminated. This is repeated until only one card is left in each
packet (see endnotes). One card is face up and the other is
face down. The face-up card and the face-down card are
shown to be mates!

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Handling: To make this work, you need one of the mates at

9th from the top, and the other one 19th from the top. (I note
the bottom card, assume 10C, spread nine cards and cut
them to the top. I then cull the 10S to 34th from face.) Do one
original ‘Quine Keeper’ (see endnotes as to how to hand the
Lorayne Second Keeper variation) so that the 9 th card is
transposed to 16th from top. It also moves the card that was
19th to 17th from the bottom. You need it, however, 16th from
the bottom; so you remove the card from the face and hand
it to the spectator. He is instructed to insert the card face up
into the middle of the deck. (You have a 20 card leeway
here.) Then split the deck at the face up card and proceed as
in the effect.

Endnotes: Firstly, on occasions – with the Reverse Faro

(Moracle Elimination) – you might finish with two cards
(before the last one is outjogged) instead of three. If so, it’s
(the key card) always the bottom one of the two.

Second Keeper Handling: When you do the straddle, cut of

more than 19 cards and less than 25. And, when you lost the
‘caught’ packet – it must be inserted near the bottom of the
deck. I just cut it to the very bottom.

This may appear complicated, but just read the instructions

– with cards in hand – a few times. After a while, you will
get it!

PG on TC
Paul Gordon

This’ll be a very quick write-up. From a shuffled deck, note

the 5th from top card (assume 2D) and as you spread the
deck face up, locate the mate of it (2H) and cull it to the

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top/rear of the deck. Flip the deck face down and jogshuffle
adding four cards to the top of the deck. Position check from
top: X, X, X, X, 2H, X, X, X, X, 2D, rest of deck.

Perform two ‘out’ Faro Shuffles*; which places the red Two’s
17th from top and 16th from bottom. As in Tom’s effect, use
the top card to split the deck in two (have the spectator use it
as a knife; they have plenty of leeway either side of the 26/26
juncture). Using the top card as a marker gets rid of it so that
both red Two’s are 16th from top and bottom of the deck.
(Don’t forget to lose this marker card; but not among the
pivotal 16 card blocks.)

As in the last effect, flip the bottom half face up and do the
Moracle Elimination with both halves to finish with the red
Two’s! (* First shuffle can be the easier ‘straddle variety.)

PG on TC #2
Paul Gordon

This isn’t as good as the previous two routines, but needs

recording anyway. If you set the mates at 5 th and 11th from
top and do two ‘out’ Faro Shuffles, you are into a ‘both
packets face down’ idea! All you need to do is to lose the top
card to about centre (slip cut) and cut at 26/26. Both mates
are now 16th from top of each packets. So, do the Moracle
Elimination with both face-down 26-card packets and
bingo!; the mates!

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8-16
Paul Gordon

Another quick write up; another quick effect. You need to

have two cards chosen and controlled to 2nd and 5th from top.
Easy: Control one selection to top and jogshuffle one card
onto it. Have second card returned to top (during a
jogshuffle) and add two cards onto it.

Perform two Straddle Faro shuffles (pull out and cascade to

top; usual handling) cutting about ten cards each time.
Finally, double undercut top card to bottom. The selections
are now 8th and 16th from top.

You now need to get the spectator to cut (stress the free-
choice aspect) “just less than half” – but he can only cut from
16 to 23 cards inclusive. An 8-card leeway, which isn’t bad!

If you now do the standard Moracle Elimination, you are left

with two cards; the selections.

Lucky Seven
George McBride

The following trick is based on Bill Taylor`s clever addition

to Alex Elmsley`s 7 –16 routine; both of which can be found
in the first volume of this series..

Beforehand, ensure that the Sevens are positioned as follows

from the top of the deck: Red Seven, 7th – Black Seven, 8th –
Red Seven, 15th & Black Seven 16th. (16 card stack)

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Begin by false shuffling the deck retaining your stack.

Explain to the spectator that the number Seven has always
been lucky for you. Ask the spectator to think of any number
but not the number Seven. Lets say any number between 7 &
15. As soon as the spectator has thought of a number, hand
him the deck asking him to tell you the number. Instruct
him to deal that many cards face down onto the table one at
a time, one on top of the other.

Ask him to deal another packet containing the same amount

of cards onto the table beside the first packet. As in Bill
Taylor`s addition to the Elmsley trick, subtract 8 from the
number of cards dealt. During the time the spectator is
dealing the second packet, simply pick up the first packet
and transfer the subtracted remainder from the bottom to
the top of this first packet.

Example: Spectator elected to deal 12 cards. So, 8 from 12

would leave 4. Therefore, 4 cards must be moved from the
bottom to the top of the first packet.

Carry out an under/down deal with the first packet until 1

card remains. The spectator carries out the same procedure
with the second packet. This procedure produces the 2 Black
Sevens.

To finish, pick up both tabled packets placing one into the

left-hand dealing position, and the other into the right-hand
dealing position. As you continue to patter about Seven
being your lucky number, begin dealing the cards onto the
table simultaneously one card at a time. On the number 7
turn over both cards revealing the 2 Red Sevens.

Note: As in Mr. Taylor`s routine, if the spectator chooses 8

then no cards need to be moved from the bottom to the top

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of the first packet. Also, if 8 is chosen, one can simply turn

over the tabled packets after the under/down procedure.
Personally, I prefer to continue with the lucky Seven theme
and the simultaneous counting down to the other 2 Sevens.

The Ace of Spades Trick, Plus!

Richard Hucko

Effect: A spectator cuts a random portion of cards to get a

secret number. This number is used to find the Ace of
Spades. As a surprise ending, the three other Aces are
found.

Preset: Place the four Aces at the bottom of the deck with the
Ace of Spades at the face.

Method: This effect is based on Ed Marlo’s “Ace of Spades

Trick” (Marlo’s Magazine Vol. 2, pages 320-321). The method,
however, (using Paul Gordon’s “Impossible 16th Card
Location” ideas) is entirely different and has an added
climax of finding the three other Aces.

Ask the spectator if he has ever seen the infamous Ace of

Spades trick. Whatever answer you receive, say that you’re
going to show him the Ace of Spades trick (If the spectator
says that he has seen the trick, I usually say that I’m going to
show him my version of the trick).

Request the spectator to cut off a small portion of cards

(maybe about a third – it needs to be less than half and
greater than six), have the spectator count the number of
cards that were cut and remember the number.

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The following should be done as the spectator is counting

the cards: Perform a faro check (Marlo) with the remainder
of the deck to split it exactly in half (if the number of cards is
odd, make sure the portion that contains the Aces has the
greater amount of cards). Be sure to remember if the packet
is odd or even. If your packet is odd then the spectator’s
packet is odd, if your packet is even, the spectator’s packet is
even. After you have split the portions in half place the
bottom half on top to bury the aces into the center (no break
is needed).

Next, riffle down your packet and have the spectator replace
his cards into the rest of the deck (Make sure not to riffle
past the Aces – the spectator’s cards must go somewhere
above the Aces).

If the spectator’s packet is an odd number you will need to

do an ‘in’ Faro; however, if the spectator’s packet is an even
number, you will need to do an ‘out’ Faro. Complete the
Faro shuffle then hand the deck to the spectator. Ask the
spectator to deal down to his number (dealing to the table
reversing the order of cards as they are being dealt). When
the spectator has dealt his number to the table, have him
turn over the last card dealt and it will be the Ace of Spades.
Say with confidence, “That’s the infamous Ace of Spades
trick.”

Casually place the Ace of Spades aside and pickup the top
card of the pile the spectator has just dealt, use this card as a
scoop to pickup the rest of the packet (this displaces the top
card to the bottom). The condition of the packet that the
spectator dealt now should be an Ace, x card, Ace, x card,
Ace, and remainder.

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Weave the packet (the cards the spectator dealt) into the
center of the rest of the deck, performing a partial Straddle
Faro, but remove the caught cards (cards interwoven with
the spectator’s packet) and place on top allowing the caught
cards and the cards the spectator dealt to cascade on top
(within this context, this does the same as placing the
spectator’s dealt cards on top and performing an ‘out’ Faro).

Tell the spectator that the Ace of Spades is a powerful card

and that you will demonstrate this. Have the spectator cut
off a small portion of cards (about a third – it should be at
least 9 cards). Take the packet that the spectator cut and say
that you’ll give the cards a mix. Perform a Reverse Faro
(outjogging the second card, fourth card, sixth card etc until
you go through the entire packet). Strip the outjogged cards
out and place them to the table, but as you do fan or spread
the cards to show the spectator the faces. This allows the
spectator to see that the cards are truly mixed, when you are
done make sure the cards are face down on the table.
Perform a second Reverse Faro and strip them out, then
casually fan or spread the cards to show the spectator the
faces then place them face down on top of the first packet.

You should have at least three cards remaining in your

hand. The top three cards are the Aces. If you only have
three cards left, fan them and wave them over the Ace of
Spades then state that the Ace of Spades can actually cause
the other Aces to be drawn to it. Display the three Aces and
you’re done. If however, you have more than three cards left
in you hand, square this packet and casually flash the face of
the cards to the spectator as you point to the Ace of Spades.
State something about the Ace of Spades’ power and place
the cards onto the other cards on the table then pickup the
entire stack of cards and spread over the top three cards (Ed.
displaying the face of the last packet sort of reinforces the

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fact that the cards have been mixed). Wave these cards over
the Ace of Spades and show that they are the three other
Aces.

My Own Peculiar Way

Ryan Matney

Karl Fulves’s ‘Oracle/Moracle’ elimination process is used

here in combination with an old force, which may be based
on Hugard’s handkerchief force. Lin Searles’s ‘Moracle’ was
the first to vary Fulves’s procedure for a production on the
discarded piles. (See Vol. 1 of this series for both “Oracle”
and “Moracle.”)

A five-card set up is needed. Get any Royal Flush to the top

of the deck. The order of the cards is immaterial. Let’s
assume you are using the Royal Flush in Hearts. Let’s also
assume that the Ten is the top card.

False shuffle the deck and then cut your stack to the middle
holding a break above it. Riffle force to the break to force the
Ten of Hearts on the spectator. Have the Ten returned back
on top of the stack and double cut to control all back to the
top.

Begin an overhand shuffle to ostensibly lose the card as

follows: Milk-build the top and bottom cards and drop the
deck on top of them so they go to the bottom of the deck.
Run 8 cards singly and return them to the top of the deck.
Run 7 cards singly and return to the top of the deck. Run 4
cards and return to the top of the deck. Finally, Run three
cards and return back the top of the deck. The deck is now
set for the rest of the effect. Position check: The top two
cards are Flush cards, then an X card, another Flush card, 3

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X cards, another Flush card and the 10H is second from

bottom.

Double cut the bottom two cards to the top of the deck.
“Sometimes, I get lucky and cut your card to the bottom. Is
this it?” Turn the deck face up to display the bottom card
and get a break above the bottom two cards of the face-up
deck; the selection and an X card. Cut off about half the
deck with your right hand holding the packet from above
and say jokingly, “What about this one?” and point to the
card now on the face of the lower half. The answer will
again be no. “Oh well, looks like I’ll have to do it the hard
way.”

Turn the packet in your right hand face-down and

apparently place it on the bottom of the half in your left
hand. In actual fact, your left little finger executes a pull
down of the bottom two cards and the right hand packet
goes into this break, above the bottom two cards. Maintain a
separation between the two back to back packets as you
push them flush. Immediately, flip the upper face up half
face-down and square onto the lower half. You have
effectively reversed the bottom two cards of the deck, which
is now face-down.

Say, “I’ll use a simple process of elimination which will

produce clues that should lead to the discovery of your
card.” While holding the deck in your left hand, offer it for
the spectator to cut off a packet of cards. She must cut at
least 16 cards but no more than 32 cards. As soon as she lifts
the cut off packet away from the deck, your left hand turns
palm down, reversing the entire deck and deposits the deck
on the table to the side. Ignore it for now.

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Take the spectator’s packet from her and begin the Oracle
elimination. That is: Give the packet a Reverse Faro (I.e., out-
jogging the 2nd, 4th, 6th, 8th cards etc). Then strip out the out-
jogged packet and drop the inhand packet to the table. You
are going to form a row of four piles in this way. Repeat the
Reverse Faro and strip out twice more to make two more
piles and finally, place the remaining cards on the table for
the fourth pile. The Reverse Faro is not needed for the last
packet.

Say, “These four piles contain the clues that will tell me
about your card.” Have the spectator turn over the top card
of each pile. You can make a comment about each card as
she does so but I wait until all four are face up before I say,
“I see they are trying to tell us something. Your card must be
a red card. It must be a heart. It must make a really good
poker hand when added to these four cards. It must be the
Ten of Hearts!”

Pause a moment before you continue. “You know what else?

It must be your lucky card too, because it’s the very one that
you just cut to!” Turn over the top card of the deck you
placed aside to reveal the selection and conclude the effect.
Be careful not to disturb the deck and expose the reversed
cards.

Another Peculiar Way

Ryan Matney

Set-up: The deck must be stacked as follows. Remove the

Royal Flush in Hearts, the Ten of Diamonds and 12
indifferent cards. Arrange the cards as follows: Ten of
Hearts, indifferent card, Ace of Hearts, King of Hearts,

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indifferent card, Queen of Hearts, three indifferent cards,

Jack of Hearts, seven indifferent Cards and finally the Ten of
Diamonds. Drop this packet on top of the deck with the Ten
of Hearts being the top card of the deck and you are ready to
begin.

Give the deck a false shuffle and cut the stack to the middle
of the deck holding a break over it. Riffle force to the break
and allow the spectator to take the Ten of Hearts out of the
deck and show it around. Have the card replaced at the
same location and double undercut the stack back to the top
of the deck.

Give the deck another quick jogshuffle as you patter that the
card is now lost in the deck and finish by double cutting the
top two cards to bottom. Spread the deck between your
hands and remark, “A pack of cards is very interesting;
sometimes it can give us more information than we realize.
By using a simple binary sorting procedure, maybe I can
deduce the card you selected without resorting to sleight of
hand.”

As you close the deck get a break above the bottom two
cards and half-pass (Christ Twist) them so they are face-up
on the bottom of the face-down deck. (Ed: I have to assume
you know what a half-pass is. If not, see Roberto Giobbi’s
Card College.)

You are now going to use a very old force in a delayed way.
Hold the deck in your left hand and ask the spectator to cut
off a ‘bunch’ of cards to ‘program’ with. She must cut
between 16 and 32 cards. As soon as she cuts the packet off,
turn your left hand palm down with the remainder of the
deck and table it, reversing the deck in the process.

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Take back the packet the spectator cut from the deck and
very openly perform a Reverse Faro. (Upjogging the 2nd, 4th,
6th, 8th cards etc.) Strip out the outjogged cards and table the
inhand packet. Make sure this packet is well visually
separated from the rest of the deck you previously placed on
the table. Repeat this procedure three more times making
four separate packets in a row on the table. You will be left
with a single card. The final packet you table may well just
be a single card itself.

Say, “I believe I have the information I need now to divine

your selected card.” Turn the card you are holding face-up
to reveal the Ten of Diamonds. “Yes, it’s the same color as
your card and the same value. Your card, therefore, must be
The Ten of Hearts!”

Pause a moment and then say “But unfortunately, I can not

take the glory of finding your card now, because you
already did that when you cut the deck!” Carefully turn
over the top card of the deck you reversed and placed aside
to reveal the selected card. Take care not to upset the deck
and reveal the reversed condition.

Finally say, “I know I said I wouldn’t resort to sleight of

hand myself, but, since you found your own card, I couldn’t
resist!” Turn over the top card of each of the other four
packets to reveal a Royal Flush in Hearts to match the
spectator’s selection.

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16th-Card Tinkerings
Paul Gordon

If you take a 16-card packet and do four Reverse Faros (and

each time strip out the outjogged cards and place under the
inhand ones), the cards are back in order? Well, using that
knowledge – I came up with the following:

Set-up: From top; X-card, any Jack, any 4-spot, any 5-spot
and the Ace to King of Diamonds in order. The KD is 17 th
from top. (I prefer to use a black Jack and black spot cards as
they provide more contrast later on. You’ll see why!)

Performance: Jogshuffle retaining the set up and say, “If I

want to find a card, I just spell it. For instance, The King of
Diamonds. Watch!” Here you spell/deal 17 cards to the table
for The King of Diamonds. (Don’t forget to spell/deal ‘the.’)

Show the KD on top of the tabled portion and return it. Pick
up the 17-card packet and momentarily place it atop the
inhand talon, but as you take it off again (an ‘oops’ moment)
– you leave the bottom X card (the one that started at the
top) on the deck. You now hold a 16-card packet. Place the
deck aside, it’s not required again.

Without reversing their order, spell to the Ace of Diamonds

(don’t spell ‘the’ this time) as you say, “Let’s try the Ace of
Diamonds without the ‘the’!” Show the AD but leave at
position.

Do two Reverse Faros (upjogging the 2nd, 4th, 6th 8th cards etc)
and each time strip out the outjogged cards and place onto
the inhand portion.

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Say, “If I want, say, a Jack – I spell it – j-a-c-k!” So, without

reversing their order, push over three cards and show the
fourth card as a Jack. Return it to position. “If I want a Four,
I spell it!” So, still spreading from the card after the Three-
spot, spell f-o-u-r and show the Four. Continue on the card
after the Four “…or a Five”, spelling f-i-v-e to show the Five.
Remember not to change the order of the cards. (What’s nice
here is that you show three non-Diamond cards which is a
bit of a fooler for other magicians.)

Do two more Reverse Faros (upjogging the 2nd, 4th, 6th 8th
cards etc) and each time strip out the outjogged cards and
place onto the inhand portion.

Drop the 16-card packet onto the deck and double cut the
top three cards to the bottom. Jogshuffle the deck (retaining
the top 13 cards) and then deal the top 13 cards into a face-
up row as you say, “Look…if you want all thirteen
Diamonds…easy!”

This is not a miracle, but – what the heck!

Quite Staggered
Joe Rindfleisch

This idea of Joe’s is certainly worth recording. You might

want to compare his thoughts with my “Two Pile”
handlings in Vol. 1.

Effect: Two piles of 8 cards each are placed on the

table. Each person is asked to make their packet unique by
adding 1-7 cards to their packet or they have a choice of
adding no cards at all. (In order to make this as random as

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possible it is suggested to the spectators to pick different

numbers, but if they were to pick the same number it would
not make a difference.) The two piles are each given a quick
shuffle and cut, by the magician, and handed back to the
spectators. Both spectators will now perform the under/down
deal until they are left with just one card. When they turn
the cards over they are the two back Aces. Not only that, the
magician asks one of the spectators to look into the card box
and read the enclosed prediction that was written before the
trick even started. The Prediction reads, "You will both pick
the two black Aces.”

Preparation: Place one black Ace on the top of the deck and
one at the bottom. On a piece of paper write, "You will both
pick the two black Aces.”

Method: False shuffle the deck (retaining the Aces in

position) and spread over and count 8 cards face down and
table them. Double under cut the bottom Ace to the top and
spread off another 8 cards. Each spectator should have an
Ace on the top of their packet of 8 cards.

Ask the spectators to choose the amount of cards to be

added to their pile. If the spectators don’t want to add
cards, then you all set for the under/down deal. For cards 1-7
the process works like this: For each number of cards that are
added on top of the piles, the same amount of cards need to
transferred from the bottom to the top.

Here are some options for doing this:

1. Spread and count the number of cards from the

bottom and cut.
2. Milk build shuffle that many and throw behind.

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3. Thumb-count the bottom cards cutting them to the

top in two-card increments until you reach the
number. This should be executed quickly.
4. Hold the packet from above in Biddle Grip. With the
other hand, slide-off the top and bottom cards
(Klondike Shuffle) and milk-build the selected
number and then throw on top. This action is
performed on each packet to ensure they are
thoroughly shuffled.

The spectators are given the cards and are asked to perform
the under/down deal. The cards they are left with will be the
black Aces. End as in the effect.

More Hemeroids
Paul Gordon

In Vol. 1, I described four ‘hemeroid’ effects. This could have

been No. 5, but I prefer the above title. This handling is quite
commercial and magical.

From a shuffled deck, spread it face up and note the card

below (to the right of if you spread from left to right) the
KD. Assume it’s the 2S. Locate its mate, the 2C and table it
face down as you say, “I need a secret prediction.” Before
you close the spread, cut the deck at the KD bringing it (and
the 2S below it) to top. Flip the deck face down and
jogshuffle retaining the top two cards.

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Photo. 1

Force the KD (I use the slip-cut force) and whilst its being
looked at, get the top four cards of the deck ready for Tilt
(Photo. 1). The KD is returned into the Tilt break so that it
ends up 5th from top.

Perform a Straddle Faro (Photo. 2), strip out (interlaced

‘caught’ sections) and cascade to top of the unshuffled left-
hand cards; standard handling. Repeat. Position check: The
2S is still on top and the KD is 17th from top.

Photo. 2

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Say, “I know an easy way to find your card. I spell it!” Here
you spell T-h-e-K-i-n-g-O-f-D-i-a-m-o-n-d-s (17 letters/17
cards) onto the table. Show the KD, the 17 th card, and take
your applause. Drop the KD onto the left-hand cards and
retain them in dealing grip.

Pick up the 16-card packet and drop it onto the left-hand

cards. False cut, if you will. Table the deck and ask the
spectator to “cut off, oh, about half.” They can cut from 17 to
31 inclusive, no more – no less! They hand you this packet.

“Remember my prediction?” Point to it. “Well, watch this!”

Reverse Faro the cut-off packet (outjogging the 2nd, 4th, 6th, 8th
cards etc). Strip out the outjogged section and place the
inhand cards onto the deck. Repeat this ‘Oracle Elimination’
until left with one card. Show it as the 2S. Show the
prediction as the 2C using your best acting skills! Note: After
the last ‘Oracle (Reverse Faro) Elimination’, you might end
up with two cards. The ‘key’ card will be the lower of the
two. Discard the other.

More Hemeroids # 2
Paul Gordon

This is definitely commercial. It’s based on my own “That’s

Odd” (Vol. 1) and Karl Fulves’s “Another Oracle” from The
Book of Numbers.

On the face of a blank-faced card (back to match the deck),

paste a ‘bizarre’ photo (naughty, funny, rude; up to you as
to how ‘far’ you go; I go very bizarre). This card goes 2nd
from top of the deck. The top card is the KD.

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Make a written prediction (on a piece of paper) saying,

“We’ll end up with an odd card!” Fold it and place it under
an ashtray.

Force the KD (I use the slip-cut force) and whilst its being
looked at, get the top four cards of the deck ready for Tilt
(see last trick). The KD is returned into the Tilt break so that
it ends up 5th from top.

Perform a Straddle Faro, strip out (interlaced ‘caught’

sections) and cascade to top of the unshuffled left-hand
cards; standard handling. Repeat. Position check: The
‘bizarre’ card is still on top and the KD is 17th from top.

Say, “I know an easy way to find your card. I spell it!” Here
you spell T-h-e-K-i-n-g-O-f-D-i-a-m-o-n-d-s (17 letters/17
cards) onto the table. Show the KD, the 17 th card, and take
your applause. Drop the KD onto the left-hand cards and
retain them in dealing grip. Say, “But that has nothing to do
with my prediction. Watch!”

Pick up the 16-card packet and drop it onto the left-hand

cards. False cut, if you will. Table the deck and ask the
spectator to “cut off, oh, about half.” They can cut from 17 to
31 inclusive, no more – no less! They hand you this packet.

“Remember my prediction?” Point to it. “Well, watch this!”

Reverse Faro the cut-off packet (outjogging the 2nd, 4th, 6th, 8th
cards etc). Strip out the outjogged section and table the
inhand cards next to the deck. Repeat this ‘Oracle
Elimination’ until left with one card. Place it aside, face
down.

Say, “Let’s look at my prediction. It says, ‘We’ll end up with

an odd card.’” Flip over the ‘discard’ cards and point out the

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odd and even values as you say, “We could have ended up
with any of these; it depended on how deep you cut! True?
But, your card is really odd. Look at it!”

As they turn over the tabled (bizarre) card I look away and
say, “Well, if that isn’t odd…I don’t know what is!”

Note: After the last ‘Oracle (Reverse Faro) Elimination’, you

might end up with two cards. The ‘key’ card will be the
lower of the two. Discard the other. And, instead of pasting
on a picture onto a blank-faced card, ask your local magic
dealer if they sell ‘gag’ cards. Most do!

Further to my comment about gag cards, here’s a few more

‘prediction’ ideas and cards to match:

1. “You will end up with the tree (misspell ‘three’) of

hearts!” Use Tree of Hearts gag card.
2. “You will end up with a red card!” Use the gag card
with ‘red’ written on it.
3. “You will end up with a spot card!” Use the gag
card with a spot on it.
4. “You will end up with a high card!” Use the gag
card with the word ‘high’ written on it.
5. “You will end up with a spade!” Use the gag card
with a garden spade on it. Same goes for ‘club’ –
‘diamond’ and ‘heart’!
6. Or, you can still use my “odd card” patter and show
one of the 14½ Spade cards etc.

None of the 6 version above are as funny as using a ‘bizarre’

photo of something to make your audience (barroom
audience) laugh.

This is (can be) a very funny routine; act it out well.

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An Oracled Royal Flush

Paul Gordon

I thought I’d mentioned this handling in Vol. 1. I hadn’t!

Well, if you like Royal Flush revelations; this could be right
up your street. All the moves required have been
(exhaustively) described many times before in these two
books. So, on the assumption that you’ve read them – here
goes:

Set the Royal Flush in Spades (10, J, Q, K, A) on top of the

deck; the QS must be 5th from top. Perform two Straddle
Faros (and strip out to top etc) and say, “If I want a good
hand in Poker – I simply spell it. Look. The Queen of
Spades!” Here you spell T-h-e-Q-u-e-e-n-O-f-S-p-a-d-e-s (16
letters/16 cards), one card per letter onto the table. Turn the
next card (the 17th card) over to reveal the QS.

Place the deck aside and leave the QS on view. Pick up the
tabled 16-card packet and do a series of ‘Oracle Reverse
Faro’ eliminations (upjog the 2nd, 4th, 6th cards etc, strip out
and table the injogged packet) until you are left with four
cards. These are the other Royal Flush cards. Reveal them
with panache! (I do a through-the-fist reveal.)

Or, you could drop the four Flush cards onto the deck, false
shuffle and deal four hands of five cards. Turn over each
packet to reveal a Flush card at the bottom of each hand.

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On The Faro & Klondike

Paul Gordon

To keep both volumes of this series complete, I offer a

description of both the easy-to-do Klondike Shuffle and the
not-so-easy, but attainable, Faro Shuffle.

The Klondike Shuffle: Assume you are holding a packet of

cards as in Photo. 1. The left thumb and fingers pull/slide off
pairs (one card from top and one from bottom) from the top
and bottom of the packet as in Photo. 2.

Each pair is tabled, one on top of the other thereby forming a

new pile. Done! Easy!

Photo. 1

The Faro Shuffle: Ed Marlo and Alex Elmsley are the two
main protagonists in the evolution and understanding of
The Faro Shuffle. (See Marlo’s Faro Shuffle & Faro Notes and
Elmsley’s articles in Pentagram; also reprinted in The Collected
Works volumes.)

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Photo. 2

Others who have ‘explored’ include Karl Fulves, Murray

Bonfeld, Harry Lorayne, Paul Swinford, Ravelli (Ronald
Wohl), S. Brent Morris and, to a certain extent, myself.

There are two main types of Faro Shuffle; the ‘In’ variety
and the ‘Out’ variety. The ‘In’ Faro places the top card
second from top and the ‘Out’ Faro retains the top card on
top. There are many other varieties of the Faro, but that’s for
another time.

Basically, the object is to weave (interlace) 26 cards perfectly

(one on one) into 26 cards. The cards weave & alternate.

So, hold the deck as in Photo. 3. Hold the deck thoroughly

squared. Any jagged edges, slightly protruding cards, bends
& buckles etc will cause blocks of cards to weave. Not good!
Note the left little finger acts as a table; it stops the deck
‘falling’ and going out of its squared position.

The right hand cuts off exactly 26 cards. With practice, this is
easy to do. It’s best to cut in one go; fiddling causes cards to
go askew. Make it a neat cut.

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Photo. 3

Now, the corners (Photo. 4) ‘butt’ against each other. Note

that only the corners touch and the two sections are in a V-
shape on both the horizontal & vertical. (You can see the
vertical, but the horizontal V is so that the short ends of both
sections do not touch on their full length; it’s only the corners
that touch.) With a left-to-right see-saw action, both corners
start to weave together; like a hot knife into butter. If the
weave action is a struggle, start again before you break the
corners of the deck. It’s ‘knack’ thing. Practice!

If you want an ‘Out’ Faro, the right-hand bottom card goes

second from bottom (of the left-hand section), and note that I
start the Faro from bottom upward. (Most start from the top
of the deck going downward.)

If you want an ‘In’ Faro, the bottom card of the right-hand

section goes to the bottom of the left-hand section.

To hide the Faro from the audience, I flaunt it. I show it by

saying, “Look how good this is…now, I really can’t cheat!”
If I miss and have to re-start, I say, “No…not good enough.
I’d get thrown out of Vegas for that!” As Harry Lorayne
said, “If you can’t hide it, flaunt it!”

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Photo. 4

Oh yes, Photo. 5 depicts an ‘Out’ Faro at completion and

Photo. 6 depicts an ‘In’ Faro at completion.

Finally, when doing the Faro – you often find that after a
deck has been ‘Farod’ a few times, it kind of gets used to it;
making further attempts easy. My favourite cards to use for
Faro effects are the Stud brand.

Photo. 5

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Photo. 6

Setting the 16th Card

Paul Gordon

So, let’s assume you haven’t yet learned the shuffle

techniques for setting a known card at 16 th from top. Here’s
a very easy method with a trick to boot.

Take a shuffled deck and spread through it face up. Note

and remember the bottom card (assume 7D) and look for its
mate the 7H. But, as you spread the cards, (secretly) count to
the 16th from face card and cut the deck at that point. Also,
when you see the 7H, table it (secretly; not revealing its face)
face down.

If, however, the 7H is among the first 16 cards as you

spread, you don’t count it as you spread.

So, the tabled prediction card is the 7H and the 7D is 16th

from top. End by getting the spectator to cut the deck and do
the standard Reverse Faro (Oracle/Moracle) elimination. You
end up with the 7D which matches the tabled prediction
card; the 7H. Nice!

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Courtship Display
Marty Kane

The following is all Marty’s writing (with a couple of edits

from yours truly) and will need a couple of readings before
it falls into place. It’s a great effect.

Prearrange a 53-card deck so there’s a joker 2nd from the face

and no court cards amongst the bottom half dozen or so
cards. The three spectators facing you in a row are Yvonne,
Dee, and Carlo. While pattering, shuffle the deck,
maintaining the bottom stock. “You’ve probably heard the
phrase ‘Courtship Display’ as it applies to animals. In magic
there’s also a phrase ‘Courtship Display.’ It applies to court
cards – every kind of court card. You’re about to
demonstrate this.” “Yvonne, I’ll spread the deck. Say ‘stop’
anytime you see a court card you like.” So, turn your head
aside and hold the deck up, faces towards Yvonne. From
left to right, slowly spread the deck widely between your
hands, but don’t expose the joker. When Yvonne stops you,
say, “Okay, now remove your card, let the others see it, and
table it face down in front of you.”

After this is done, square the deck, and repeat the above
spread for Dee as you say, “Okay, Dee. Anytime you see a
court card you like that’s a different value and a different
suit from Yvonne’s card, say ‘stop.’” When Dee stops you,
say, “Okay, now remove your card, let the others see it, and
table it face down in front of you.” After this is done, square
the deck, and repeat the above spread for Carlo as you say,
“Okay Carlo. Anytime you see a court card you like that’s a
different value and a different suit from the other two
selected cards, say ‘stop.’” When Carlo stops you, say,
“Okay, now remove your card and table it face down in
front of you.”

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After all this is done, square the deck and turn it face down.
Face forward and (slip) shuffle the deck, sending the joker
from 2nd from the face, to the face. “To help you remember
your card, each of you will silently spell out the name of
your card while dealing one card per letter onto your card.
I’ll demonstrate. If Carlo chose a jack, onto his jack he’d
spell and deal…” Whisper and deal one card per letter, “…j-
a-c-k-o-f and then the suit.” Place the dealt pile into the
middle of the deck.

Now, carefully place the top third of the deck in front of

Carlo. Carefully place the middle third of the deck in front
of Dee and place the bottom third – at least 15 cards – in
front of Yvonne. (Only the bottom third must be at least 15
cards.) “When you’re done spelling and dealing your cards,
if you have any remaining, table these leftovers in front of
your pile.” If Dee or Carlo run out of cards during this, they
can take cards from the top of those their neighbor holds or
from the top of their neighbor’s leftover pile. After everyone
is done spelling/dealing, place Carlo’s ‘leftovers’ onto Dee’s
‘leftovers’ and place these on Yvonne’s ‘leftovers.’ Pick up
the assembled pile. The bottom card of this pile is the joker.

“Please pick up your piles. You’ll mix them a bit by spelling

aloud the phrase ‘Courtship Display.’ That’s the name of
the magical shuffle you’ll soon perform. As you spell those
two words, you’ll transfer one card for each letter from the
top of your pile to the bottom of your pile. I’ll demonstrate
this for you, so just follow along.”

Spell C-o-u-r-t-s-h-i-p-D-i-s-p-l-a-y, transferring one card per

letter from the top of your pile to the bottom of your pile.

“Let’s review what you did. You selected every kind of

court card, used different sized piles, and gave the piles a

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mix. I don’t know where in your pile your court card is and
you probably don’t know either. You’ll mix the cards even
further by performing the shuffle called the Courtship
Display. I’ll demonstrate this, so just follow along. Keep
performing it until you hold one face down card.” Perform a
Down/Under Deal with your pile until you hold one card.
When all hold one card, ask each spectator to name their
card, and then ask each spectator to turn over their card.
Their selections will be revealed. “Congratulations! Your
Courtship Display has displayed your court card!” Pause a
moment and say, “As I said earlier, the Courtship Display
applies to every kind of court card, and because I also
performed it, what I’m holding must be a...” Pause. Turn
your card face up to reveal the joker. “… Court Jester.”

Note: This is an extension of “Australian Self-Help” from

The Collected Works of Alex Elmsley, Volume 1 by Stephen
Minch.

The Choice Is Yours

Tom Craven

This quick and simple effect is a bit of a magician-puzzler.

Well, the method is. The description will be brief. Have a
card selected and once viewed, control it to 5 th from top.
Tom uses another handling, but I simply do this by
controlling the card to top and then adding four cards onto
it during a jogshuffle.

Perform one Straddle Faro (and strip out to top etc) followed
by one My Second Keeper (described elsewhere in this
book.) The selection is now 16th from top.

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Say, “To find your card, do you want one elimination or

two? The choice is yours!” Either way, you push over 16
cards from the top; one card per letter for the 16-card phrase,
“The Choice Is Yours.”

If they say ‘one’ elimination, do a down/under (deal/duck)

elimination and the last card is theirs. If they say ‘two’
eliminations, do a Moracle/Oracle Elimination (losing the
inhand cards – standard handling) and then do a
down/under elimination. Once again, the remaining card is
theirs.

This is not a major miracle, but an interesting use of free

spectator choice. I like that. The following, methinks, is
better…

The Choice is Yours II

Tom Craven

The following effect is strong, mainly because of the choices

offered. I think this trick will be hard for other magicians to
backtrack. See my end notes as to how I have eliminated
Tom’s set-up. But until then, here’s Tom!

Set a pair of mates at 15th and 16th from top (8C and 8S) and
the other two of that 4 of a kind at the top and 2nd positions
(8H and 8D). (See end notes.)

False shuffle and cut retaining the top 16 cards. After the
shuffle, tell the spectator that "The Choice is Yours." “Let's
spell that so you can make your choices.” Spell T-h-e-C-h-o-
i-c-e-I-s-Y-o-u-r-s using one card for each letter into
alternating piles. That is; the first card is dealt to your left, the

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next to your right etc., etc. At the end of the spell, there will
be 8 cards in each pile. The bottom card of each pile will be
mates, and the top cards will also be mates.

The spectator is told that their first choice is which pile to

use, and which to discard. Once the pile is chosen, the other
one is placed aside; but beside the talon, not on it. Now the
spectator is given a second choice: Would he like to use a
down/under, or under/down elimination? (To magicians I say,
“…Which obviously gives us a different outcome.”)

First scenario: Let's say they want to do a down/under

elimination. They will end with the bottom card of that pile.
So, you place the talon on top of the pile placed aside earlier
and cut the deck keeping a break below what was the bottom
card (this is the mate to the card the spectator will end up
with). As this is done, you announce that you will remove a
card at random and place it aside. Spread the cards and
remove the card above the break. Place it aside. After the
down/under elimination is completed, show the spectator
card and yours match.

Second scenario: If the spectator says they want to do an

under/down elimination, they will end up with the top card of
their packet. So, you place the packet placed aside on top of
the talon, cut and hold a break. Spread the cards as you say
you will remove a random card, and remove the card below
the break. After the under/down elimination is completed,
show the spectator card and yours match.

End notes: This is a strong effect. Not being one for tricky-
to-set set-ups, I do the following. I set a four of a kind on top
of the deck in R, R, B, B order (or, B, B, R, R order) and after
the alternating deal – the bottom two cards of each packet
will be your key cards. Pick up each packet – in turn – and

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slip shuffle bringing one key card to the top and leaving the
other on bottom. You are now set!

The 16th State & City

Joe Rindfleisch

This idea of Joe’s is very interesting and very good. I love the
way he has masked the maths of the basic principle! Before I
go further, UK readers can adapt it to Counties & Towns. I
haven’t had the time to do this, so UK readers need to get
their thinking caps on. (See endnotes for a few ideas.)

Effect: You announce to your audience that you will have a

spectator help you create a series of random occurrences that
will help you narrow down the deck to just one card. The
magician brings out a bunch of index/blank cards with US
states and cities written on them; and a prediction envelope.
The prediction is placed in the centre of the table and left in
plain view. You have a spectator choose any state/city card.
They then take the deck and spell the state dealing down
one card for every letter. Once they have dealt out the state
they drop the rest of the deck on top. They now spell the
city. The spectator now performs the under/down deal (with
the just-spelt ‘city’ packet) to eliminate all the cards except
for one. The ‘last’ card is turned over to reveal the Jack of
Spades. The envelope is opened and the prediction reads,"
You will choose the Jack of Spades.”

Preparation: Get yourself 29 index cards or 29 double-blank

cards. On each card write down the following states and
cities; the city on one side and the state on the other. Each
state and each corresponding city spells with the same
amount of letters (between 8 and 13). See table:

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Arkansas El Dorado New Jersey Princeton

California Los Angeles New Mexico Las Cruces
Colorado Lakewood North Carolina Roanoke Rapids
Connecticut Willimantic North Dakota Chamberlain
Delaware New Castle Oklahoma Muskogee
Kentucky Prospect Pennsylvania Philadelphia
Louisiana Lafayette Rhode Island New Shoreham
Maryland Aberdeen South Carolina Mount Pleasant
Massachusetts Middleborough South Dakota Chamberlain
Michigan Plymouth Tennessee Nashville
Minnesota Rochester Virginia Richmond
Mississippi Hattiesburg Washington Bellingham
Missouri Columbia West Virginia Shepherdstown
Nebraska Bellevue Wisconsin Milwaukee
New Hampshire Westmoreland

Arrange the cards so the cities are on one side and the states
are on the other. On a piece of paper write down, "You will
choose the Jack of Spades" and place it in an envelope with
the word ‘prediction’ on the front. Have the Jack of Spades
16th from the top of the deck. (Ed: I get the JS to top, add four
cards during a jogshuffle and then do two Straddle Faros.
Lose the top card with a double undercut. Set!)

Method: As stated, all of the states/cities spell from 8 - 13

letters. (The city and state card on each blank card spell with
the same amount of letters.) So if the spectator chooses "West
Virginia" they would count down 13 cards and place the
deck on top. Now they would deal the cards; one for every
letter of, "Shepherdstown", which also spells with 13 letters.
The deck is placed aside and the 13-card packet is picked up.
The spectator now performs the under/down deal (with the
13-card packet) which will leave them with just one card; the
prediction.

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Endnotes: What a very good idea and routine. UK readers

can use, say: ‘West Sussex and Chichester,’ ‘Yorkshire and
Harrogate,’ ‘Lancashire and Ramsbottom’ etc., etc.

Cyclic Creativity
Paul Gordon

Creators are going to have a field-day here. This is just a

basic concept, but using the word ‘basic’ might be slightly
demeaning. This concept doesn’t really belong in the 16 th-
card chapter of this book, but I’ve stuck it in here anyway.
It’s a close cousin. It’s utilitarian in as much that it has many
uses and variations; and, boy – can I see them coming! This
write-up needs perseverance. At first glance, it may seem
complicated. It isn’t. And, it’s easy. Right at the end of this
write-up is a ‘second’ (succinct explanation) example; so you
might want to go straight to that first before you read my
ramble.

Let’s get to the basic idea. Remove (just for this description)
the 13 Heart cards and arrange them in order, Ace on top
and the packet is face down. The deck is not used again;
certainly not at this stage. You can start with this 13-card
packet on is own or cut it (deal?) it off the deck. Up to you.

Perform one Reverse Faro (upjog the 2nd, 4th, 6th cards etc),
strip out the outjogged section and place on top of the inner
section. Do not forget this initial Reverse Faro.

Now, if you do the Moracle Elimination, you will end up

with four piles of cards, the rightmost being a single card.
Turn over the top card of each pile (last card, as I said, is a

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single card) and they will read, from left to right, 2H, 4H, 8H
and 3H.

My ‘discovery’ is that no matter what the order of the cards is to

start with, the last (rightmost) card is the original third from
top card and it is the card after (in the set-up) the top card of
the first ‘Moracled’ (leftmost) pile. Stay with me, here. So, if
you have a 13-card packet in any cyclic order (‘Eight Kings’,
‘Si Stebbins’ etc) the value of the top card of the first
‘Moracled’ card will indicate the value of a free selection as
long as that selection is controlled to third from top and the
stack is kept cyclic. As I said, don’t leave me here; keep
reading. It gets better! And, I’ll explain in more detail.

So, back to your Ace to King set-up. Set them in order again,
Ace at top, and cut the packet (just for this description)
bringing the Four to top. (In reality, you can do any series of
genuine cuts or Charlier Shuffles.) Spread the packet and
have a card freely chosen. Assume the 8H is chosen. It’s
returned back to its original position and as you close the
spread, get a break two cards above it and cut the packet. The
8H is now third from top.

Do one Reverse Faro (and strip out to top etc) and then one
Moracle Elimination. You have four tabled piles. The last
pile/card will be the selection; the 8H. Turn over the top card
of the first pile to show the 7H. This instantly tells you that the
selection was the one after it; the 8H. So, using jazz patter to
‘get to’ the 8H – you might say, “This card [7H] tells me
your card was red.” Turn over the top card of the second
pile to reveal the 9H. Say, “As this is an odd value, your
must have been even.” Turn the top card of the third pile
over to reveal the KH. Say, “As this is a court card, yours
must have been a spot card!” Continuing the jazz
(impromptu) patter, to find a way of ‘getting to’ the 8H. You

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might say, “As the King is really 13, one plus three is four
and double that is eight. Yes, your card must be the Eight of
Hearts. And, it’s gotta’ be this one!” Turn over the last card
to reveal the 8H. End.

Now, all of the last two paragraphs relate only to the Ace to
King set up. As it might look (if spread face up) a tad
obvious(!), another cyclic set-up is naturally better. But, the
table below shows you how it all works and the relationship
of the cards. You need to play with this concept. But, don’t
pass it by. Try it!

Top card Top card of first Top card of the Top card of the Last remaining
before the ‘Moracled’ pile second ‘Moracled’ third ‘Moracled’ card (selection)
first after Reverse pile after the pile after the and the end of
Reverse Faro etc. This Reverse Faro etc. Reverse Faro etc. the ‘Moracling’
Faro card is the one This card is one
shuffle. that tells you higher than that
the selection is depicted in
one higher. column two.
A 2 4 8 3
2 3 5 9 4
3 4 6 10 5
4 5 7 J 6
5 6 8 Q 7
6 7 9 K 8
7 8 10 A 9
8 9 J 2 10
9 10 Q 3 J
10 J K 4 Q
J Q A 5 K
Q K 2 6 A
K A 3 7 2

This table (above) depicts what happens if a cyclic-order 13-

card stack is Reverse Faro’d (once) and then ‘Moracled’. This
example shows an Ace to King set-up. So, the first row
shows the Ace on top (King being the 13 th card) and the

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Three being the card freely chosen. No cut is required

because it’s already 3rd from top where it needs to be.

Another example: As mentioned earlier, assume the Ace to

King stack is freely cut bringing the 10 to top. A card is then
freely chosen (assume 8H) and the packet is cut bringing it
to third from top. So, the top card will be the 6. So, see the
first column and the sixth row to see the outcome after one
Reverse Faro and the Moracle Elimination. I.e., 7, 9, K and 8.
The 8 being the selection and the first card, the 7, telling you
what it is.

Phew! I hope you understand all this. You do need to try it

with cards in hand and you’ll need to read and digest the
above description a few times. As I said at the start, creators
are going to love this concept.

Second Example: This example uses the Eight Kings cyclic

stack. (Eight Kings Threatened To Save Nine Fine Ladies For
One Sick Knave.) See photo. 1. Note that the cards are also
on CHaSeD order. Have the thirteen-card set-up on top of
the deck in reverse order. Say, “Thirteen is not unlucky for
magicians, it’s very lucky. Watch!” False shuffle the deck
and deal thirteen cards to the table.

Pick the packet up and hold it face down; the 8C is on top.

False shuffle the packet (Charlier Shuffle) or just do a series
of straight cuts. The packet can be cut, but must retain the
cyclic order.

A card is freely chosen (assume 6D) and returned back to the

same position. As you close the spread, catch a pinky break
two cards above it and cut the packet bringing the 6D to third
from top.

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Perform one Reverse Faro (upjogging the 2nd, 4th, 6th cards
etc), strip out the outjogged packet and place on top of the
inhand packet. This is, you say, a thorough shuffle!

Photo. 1

Do a Moracle Elimination (a reducing series of Reverse

Faros) so that you have four tabled packets. Rightmost
‘packet’ is a single card. Turn over the top cards of the first
three packets as in Photo. 2.

Now, the AS (the leftmost card) indicates that the selection

(the last Moracled card – the rightmost face-down card) is
the next card in the cyclic stack. In this example; the 6D.

So, you use jazz (impromptu) patter to ‘get to’ the 6D using
the face-up AS, JC and 10D. I’ve just done this trick so my
patter went like this: “The Ace of Spades is black which tells
me your card is the opposite. It’s red. The Jack of Clubs is a
court card so yours must be a spot card. The Ten of
Diamonds indicates the suit. So, it’s a Diamond spot card.
Correct? To get the value of your card I have to divide the
Ten by two and add one for the Ace. Ah, ha! Six. The Six of
Diamonds!” Turn the last card over to show the Six of
Diamonds. Photo. 3

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Photo. 2

Photo. 3

The patter is nonsense, but if no one has seen the trick before
– they don’t know what to expect anyway!

Have fun.

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Poker Perfect
Paul Gordon

This very easy routine is quite a puzzler. I can visualise a lot

of people doing it and I’m very pleased with my masking of
the maths. The first spell will really fool knowledgeable
magicians and the second phase is strong, too. Okay, enough
hype. You try it!

On the top of the deck you need the following five cards in
any order: QH, 8H, 3H, 8S and 3S. As all of these cards spell
with 16 letters (when you start with the word “the”), you
can use the 3S or QS as an alternative to one of the above.

Jogshuffle the deck (of simply false cut) retaining the set-up
as you say, “Poker is an unusual game. After years of
practice, I can locate cards from certain hands whenever and
however I want. Let me show you!”

Push off the top five cards and hand them to the first
spectator. Push off five more and hand them to a second
spectator. Finally, push off five more for the third spectator.

Tell each spectator to shuffle his packet and peek at the

bottom card. Have each spectator place his packet onto the
top of the deck in any order; as long as the first spectator’s
packet (your five known cards) goes first. Position check: From
the top, every fifth card is a selection and the 15 th is one of
your known cards.

Jogshuffle the deck retaining the fifteen-card set-up and add

one card (by jogshuffling of double undercutting) onto it.
Don’t omit this instruction!

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Say to the first spectator, “There is no way I could know

what your card is. True? But, if you tell me its name, I’ll spell
to it!” Assume they say “The Queen of Hearts.”

So, from the top of the deck spell/deal T-h-e-Q-u-e-e-n-O-f-

H-e-a-r-t-s (16 letters/16 cards) onto the table. Show the 16 th
card as the QH; that’ll fool the boys!

Place the QH aside and pick up the 15-card pile. Now, using
a Peter Duffie concept (also used in the second chapter of
this book), if you Reverse Faro (upjogging the 2nd, 4th, 6th
cards etc) this packet (stripping out outjogged cards and
placing on top of the inhand cards) an infinite amount of
times, the 5th and 10th from top cards (the other two
selections) simply swap positions. So, here’s how I use this
idea:

Say, “I’m going to mix these cards like this (do a demo
Reverse Faro) as many times as you choose. One, two,
three…up to you!” (If they say more than four, say, “We
gotta’ be home by midnight!”) If they say “three”, you do
two Reverse Faros as above and after you’ve done the third,
the outjogged (stripped-out) packet goes under the inhand
packet. To reiterate: The last time you do the Reverse Faro,
the stripped out cards go under the inhand packet.

Position check: The two remaining selections are now 3rd

and 13th from top of the packet. Say, “At your behest, these
cards are well and truly mixed!”

Deal the cards into two piles (dealing alternately); first card
to left, second to right etc., etc. Lose the right-hand packet
(back onto the deck) either by magician’s choice (force) or
simply discard them as you say, “Hmm…I think your cards
are in this pile [pointing to left pile] so let’s get rid of these.”

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Pick up the remaining 8-card packet. Deal the top four cards
onto the table and drop (don’t deal) the remaining four next
to them. The 3rd from top card in each pile is a selection. As I
do this I say, “They just have to be here…”

To end: You can either let each spectator pick up a packet

and do a duck/deal to end up with the selections, or – as I
prefer – pick off (with each hand) the cards off each packet
and stop sharply (as if you felt a magical tingle) on the third
cards. Ask for the name of the selections. As they tell you,
flip the two inhand cards face up (to reveal the selections)
with flair! The latter ending is better because it doesn’t
matter whose card is where as both are revealed at the same
time.

Yes, I know; this ‘non-16th card’ trick doesn’t really belong in

this section. But, as it’s my book – I’ll put it where I want!

The Myriad Concept

Paul Gordon

You can ‘go’ a million ways with this concept; hence the
title. My basic idea is this: You need two decks of cards. One
is a blank-faced deck with the numbers 1 to 52 written on
the faces. The second deck is a regular deck in memorised
order.

Show both decks. Take the memorised deck, false shuffle it

and have the spectator pocket it. Show the second deck
(numbered deck) and shuffle it for real. Then say, “Oh, you
mix them!” So the spectator shuffles. As he hands you back
the deck, note the face card – the number. Assume 32.

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Casually shuffle it to top and add four cards onto it (during

the shuffle) and then give the deck two Straddle Faros.
Doublecut the top card to bottom so that the ’32 card’ is now
16th from top. All this shuffling is done as you say, “I’m
going to make a prediction.” Also, during the shuffling,
recall the 32nd card in your memorised deck. Assume it’s the
Four of Clubs.

Write on a piece of paper, “Four of Clubs” and place it,

folded, in full view.

Take the numbered deck, have the spectator cut off “oh,
about half” and do the Moracle Elimination so that you end
up with the ’32 card’.

After some theatrical build up, show the prediction and

have the spectator count to the 32nd card in the regular
(memorised) deck. It’s the Four of Clubs!

Notes: I’m not going to patronise you and tell you how to
use this idea; I think it’s pretty obvious. Basically, you are
using one deck to ‘force’ a number/position/card in a second
deck. Go play!

The Sympathetic 16th

Joe Rindfleisch

The principal is disguised well within the course of this

routine. This is the perfect dating or couples trick with a lot
of potential for comedy. At the end of the write-up, I offer a
non-setup handling. Until then, here’s Joe – with some
editing from yours truly.

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Effect: The Magician takes a bunch of cards out of the deck

and two spectators are invited to freely choose a card each.
They can even change their minds and choose another
card. The magician mentions that these two spectators are
linked in some way, even down to the cards they have both
picked! The spectators are asked to turn over their cards and
as they do, they are seen not to match! After an awkward
pause you say that the cards need to be spelt. The deck is
handed to the first spectator and he spells out the value of
his card; one card for every letter. The deck is handed to the
second spectator and he deals ‘his card’ in the same manner.
Both spectators turn over the top card of their packet to
reveal two Aces. Now, both spectators begin to eliminate
cards using the under/down deal until each spectator is left
with only two cards each; a face-up Ace and a face-down
card. When both spectators turn over the face-down card
they are revealed to be the other two Aces.

Preparation/Performance: On top of the deck you need to

secretly cull all fourteen cards that spell with 12 letters. They
are the 4, 5, 9, Jack and King of Hearts and Spades; and the
3, 7, 8 and Queen of Clubs. As I say, all fourteen cards spell
with 12 letters including the word ‘of’ as in Q-u-e-e-n-O-f-C-
l-u-b-s. So, when you start the routine (after a jogshuffle or
two), you simply push over three bunches of four/five cards;
as long as you end up tabling all fourteen cards. I openly
remove them from a shuffled deck in a, “Oh, let’s use
this…and these…and maybe this” attitude. Or, just do this
trick as an ‘opener.’ Your call.

Now, as you cull the cards, you also need to get the Aces to
the 4th, 12th, 16th & 24th position from the top of the
(remainder) deck. Joe does it with a series of (to my way of
thinking, slightly long) milk-build shuffles, but I think it’s
easier to simply cull them or pre-set them. (Ed: Or, set the

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Aces [after you’ve removed the 14 cards] on top like this: A,

X, A, A, X, A rest of deck. Do two Straddle Faros [strip outs
to top etc] and then doublecut three cards from the bottom
to top. Set!)

So, back to the routine: Whatever cards the two spectators

pick from the 14-card pile will always spell with 12 letters.
So, have the first spectator take the (38-card) deck and spell
the name of his card. The (12-card) pile is left tabled as is. He
hands the remainder of the deck to the second spectator who
deals/spells forming a second pile. Have them turn over the
top card of their piles to reveal two Aces. They leave them
face up on their respective piles. That is surprise number
one!

Then have the spectators pick up their piles (still with face-
up Aces on top) and do the under/down deal until they have
two cards left; the face-up Ace and another card. For the
final climax, have the spectators turn over the face-down
cards at the same time to reveal the remaining two Aces.
Fini!

Notes: Sometimes, when I want to have a rationale for

taking off 14 cards off the deck, I do this: I only use only 12
cards and I have the Two of Diamonds (spells with 13
letters) at 13th position. So, I simply false shuffle the deck
and do a simple ‘entrée’ trick of finding and spelling, “Oh,
say the…yes, the Two of Diamonds!” So, once I’ve spelt it
and found it – I have a twelve-card packet on the table ready
for “my next miracle.”

To eliminate the set-up of 14 (or 12) cards, you could simply

force two 12-letter cards. Not as good, though! Joe’s
handling is, obviously, far superior.

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I recently tried this effect by getting four or five cards (that

spell with 12 letters) to the centre of the deck and then
forcing (one of) them using Roger Crosthwaite’s Think A
Card (Roger’s Thesaurus) concept. If both spectator’s think of
the same card, it doesn’t matter; just get them to silently
deal/spell their card. It worked well.

The Computerised Deck

Joe Rindfleisch

Here is an effect for our current times; a deck of cards that

processes information like a computer! Once again, this
effect shows off Joe’s great thinking in this area.

Effect: The cards are shuffled and cut. The magician

explains that a deck of cards is like a computer and that a
little demonstration will take place. The magician deals
down cards in pairs and the spectator is asked to call stop
any time he wants. Let's say he stops at the Six of Clubs and
the Two of Clubs. The magician explains that the two cards
need to be inputted into the deck. The first card is spelt and
the deck is placed on top and then the second card is
spelt. The audience is told that the deck needs to process the
information. The spectator is asked to perform the
under/down (‘elimination’) deal with the tabled packet of
cards. The last card remaining is the “processed
information” from both of these cards, which is therefore
revealed as the Eight of Clubs.

Preparation: For this excellent trick, you require quite a big

set-up, but it’s worth it. Before I describe the set-up, let me
explain ‘how’ it works. The first 16 cards are made up of 8
pairs; each pair of the same suit and each card in each pair

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‘spell’ with the same amount of letters. The cards after the 16
cards represent the combined values of each pair alternated
with an indifferent card. E.g., The first pair is the 6C and 2C.
The first card after the 16-card set up is an X card and then
there is the 8C. So, here is the full set-up (I’ve highlighted
the first 16 cards in bold and italicized the remaining pivotal
cards): From the top: 6C, 2C, 2H, 6H, 4C, 5C, 4H, 5H, 3H,
7H, 3S, 7S, 4D, 5D, 3D, 7D, X, 8C, X, 8H, X, 9C, X, 9H, X,
10H, X, 10S, X, 9D, X, 10D.

Method: So, take the deck and deal off pairs of cards onto
the table. I.e., two cards at a time. Whenever the spectator
says stop (and time your deal so he doesn’t go past 8 pairs),
turn over the next two cards and table them nearest your
spectator. Place the rest of the deck on top of the cards just
dealt. Have the spectator spell the first card and place the
rest of the deck on top. Then have them spell the second
card but don’t drop the deck onto this packet. Have the
spectator take this packet and perform the under/down deal.
(Say, “This is how we program cards!”) The final (remaining)
card will be the total sum of the two stopped-at cards. Add
your ‘spin’ (computer patter) to give a good rationale and
make this a very puzzling effect.

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Paul Gordon ‘Bonus’ Section

Of totally unrelated (to the 16th Card Principle) card tricks

None of these tricks bear any relation to the 16th Card Principle, so
consider them a bonus! If you don’t like them, consider them an
irritation. None of these tricks have been published before,
although some of them have been in my repertoire for many years.

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A Kick for Dr. Daley

I use Dr. Daley’s ‘last’ Ace trick all the time; possibly thirty
times a night. Now, on average – I do fifteen shows a month,
so that’s a lot of Daleying! The handling and presentation I
use is in my 2003 book, Card Magic Companion. Anyway,
here’s a different handling that affords a surprise kicker
ending! Actually, it’s like two different tricks, and I’ve never
seen anything in print like this before. It’s a stroller. So, read
on.

After an ambitious card effect (or any chosen-card trick), the

selection will most likely end up on top of the deck. If not,
be sure it does. What follows appears to be, and is, a
separate trick. Flip the deck face up, spread through it and
upjog the Aces. Strip them out and place them face up on
top of the face-down deck (the old selection is still on top) in
this order from the face: AS, AH, AD, AC.

Spread the Aces to display and as you take them off the
deck, steal the top face-down card of the deck (the selection)
as well. Hand the deck to a spectator (its not used again).
Spread over (don’t reverse their order) the top two face-up
Aces (AS & AH), flip them face down and place to the
bottom of the packet. Spread over (again, don’t reverse their
order) the AD and AC, and flip them over onto the packet.
Position check of the face-down packet from top: AC, AD,
Selection, AH, AS.

Use the usual ‘Daley Ace’ patter (I prefer my presentation in

Card Magic Companion) as you grip the face-down packet in
modified right-hand Biddle Grip, like this: The right thumb
grips the inner right corner of the packet and the second
finger grips the outer right corner. It’s a light grip. Photo. 1.

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You now do an easy no-get-ready double lift (attributed to

Bernard Bilis) as follows:

Your left thumb peels off, into the left hand dealing grip
(reversing their order) three cards. Photo. 2. The right
fingertips now hold a double card. The left fingertips touch
the back of the double (Photo. 3) and as the right hand
moves leftward, the double pivots face up onto the left hand
packet. The left thumb clamps the double, slightly right-
jogged, (AS showing) onto its packet. See Photo. 4

Photo. 1

Photo. 2

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Photo. 3

Photo. 4

The right hand flips the AS (a double) face down onto the
packet and deals it (actually the AH) onto the spectator’s
hand.

Once again, grip the face-down packet in the modified right-

hand Biddle Grip. Do the Bilis double lift as follows: Your
left thumb peels off, into the left hand (reversing their order)
two cards. The right fingertips now hold a double card. The
left fingertips touch the back of the double and as the right
hand moves leftward, the double pivots face up onto the left

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hand packet. The left thumb clamps the double (AC

showing) onto its packet.

The right hand flips the AC (a double) face down onto the
packet and deals it (actually the AD) onto the spectator’s
hand.

Patter about the order of the black Aces (that she thinks she
holds) and ask the spectator to turn over her cards. She has
the red Aces! Climax one. At this time, your left hand (in
dealing grip) holds three (supposed two) face-down cards.
Your left thumb pushes over the top card (don’t split the
remaining double) and your left hand turns palm down to
show the two black Aces.

Say, “Let’s do it again with just the black Aces!” Here, take
the red Aces and hand them to the spectator who is minding
the deck.

For the last time, grip the face-down packet in the modified
right-hand Biddle Grip. Do the Bilis double lift as follows:
Your left thumb peels off, into the left hand one card. The
right fingertips now hold a double card. The left fingertips
touch the back of the double and as the right hand moves
leftward, the double pivots face up onto the left-hand card.
The left thumb clamps the double (AS showing) onto its
card.

The right hand flips the AS (a double) face down onto the
left-hand card and deals it (actually the selection) onto the
spectator’s hand. Casually turn the left hand over (careful,
it’s holding a double) to show the AC. Turn the hand palm
up again.

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As you patter about the position of the Aces, the right hand
palms (Adrian Plate Change) the AC from the bottom of the
double (left fingers push it into right palm) and casually
pockets it. Photo. 5 is an exposed view of this happening.
(Or, an easier way: Put the double, supposed single, in your
breast outer jacket pocket, push the AC into the pocket and
leave protruding – the back of the AS.)

Finally, show that you have the AS and they have, not the
AC – but their previous selection. The AC can be added to
the deck as you gather it, or simply produce it from the
pocket. The latter is, I think, anti-climactic! End.

More: You could, instead of using an extra card (their

previously-chosen selection) from the deck, use a duplicate
AC and keep this trick more standard; as a packet trick. Or,
use a blank-faced card with a funny design/logo on it. Use
your imagination.

Photo. 5

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A Lesson In Acting

The Broken Count concept (Harry Lorayne, I believe) is fine,

but what about the numbers in-between? For instance, a
performer may ask two spectators to think of number
between 1 and 8 and between 12 and 20. I’ve always thought
that a strange concept. Why not the numbers from 9 to 11?
Also, what’s the rationale? Well, I think I’ve conquered both
issues. (If you have no idea what I’m talking about, all will
make sense very soon!) Read on.

Take a shuffled deck and ask three spectators (using three

spectators ‘conquers’ one issue) to think of any number(s)
from 1 to 15. “But, to make sure you don’t think of the same
numbers, can you [Spec 1] think of a number from 1 to 5,
you [Spec 2] from 6 to 10 and you [Spec 3] from 11 to 15.”
This patter line gives you the rationale you need. It conquers
the second issue. Agree?

Anyway; continue, “I’m going to show you the cards and I

want you to remember the card that lies at your number
from the top of the pack. Then, remember the number and
the card. Okay?” So, spread the deck – tilted vertically –
faces towards the spectators and count the cards (don’t
reverse their order) from 1 to 15. “Seen your cards? Good!”

Jogshuffle the deck, retaining the top 15 cards, and add one
more to the top as you do. Say, “If, after all this shuffling,
your cards were still at the same position – would you be
impressed? Well, let’s see.” Let’s assume the numbers
thought of are 5, 10 and 15.

Deal five cards (1st number) from the top of the deck onto
the table into a pile. Turn over the top card of the tabled pile.
“Was that yours” addressing Spec. 1. When he says ‘no’,

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turn it back over to position. “Oh, that’s not a good start!”

Drop the deck onto the tabled (five) cards and pick up the
whole.

Starting on the next number (in this case, 6) count/deal (onto

the table) up to 10. Turn over the top card of the tabled pile.
“Was that yours” addressing Spec. 2. When he says ‘no’,
turn it back over to position. “Oh, that’s even worse!”

Drop the deck onto the tabled (five) cards and pick up the
whole. Starting on the next number (in this case, 11)
count/deal (onto the table) up to 15. Turn over the top card
of the tabled pile. “Was that yours” addressing Spec. 3.
When he says ‘no’, turn it back over to position. “I think I’ll
give up!” Leave the tabled pile where it as you read the
following.

Position check: One selection is on the bottom of the tabled

pile, and the other selections are the top and bottom cards of
the inhand deck.

As you pick up the tabled pile with your right hand, your
left forefinger pulls in on the outer right corner of the
bottom card (selection) so that you can catch a left pinky
break above it. The right-hand cards go ‘into’ the break (do
all of this as you feign disappointment) and now two
selections are on bottom – and one on top.

Say, “Well, I loused-up there, didn’t I!? Let’s try something

else – something fast!” As you say these words, get the deck
ready for Reinhard Mueller’s Three-Card Catch, and do it! I
do it in a three-beat way: Cards tossed from left hand to
right (beat one), deck dropped on table by right hand (beat
two) and right hand grabs three card ‘catch’ and drops them
in front of the spectators (beat three).

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The Three-Card Catch is where your fingers (below deck)

and thumb (on top) grasp the deck. The left fingers move the
bottom card to the left so that the left fingers rest on the
bottom and second from bottom card. In a ‘tossing’ motion,
the deck moves, but leaves the bottom two cards and top
card at the thumb and fingertips. Photo. 1 shows the start of
the move.

To end, I ask for the names of the selections (go from Spec 3
to 2 to 1) and turn over the tabled cards one by one! End! A
lot of acting required. And, if you do it well – this is a very
strong trick!

Photo. 1
(Left fingertips touch the bottom and the second-from-bottom card)

A Nice Four-Ace Trick

This’ll be a quick description of a trick that utilises the 10-20

force but without, to a certain extent, the limitation of
number chosen. Intrigued? Read on:

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Start with four Aces secretly atop the deck in any order.
During a shuffling procedure, add six cards onto them so
that the Aces end up in positions 7, 8, 9, 10. Now, casually
flip the deck face up and catch a pinky break under the
ninth-from-face card. I simply spread through the deck
saying, “Most magicians spread through the deck like this
for a selection to be made; I don’t! I do it face down! That’s a
joke, folks!”

Say, “But, there are 52 cards in the deck, so – if I asked you

to name any number it’d be pretty random. So go on, name a
number! Don’t go too high or we’ll be here all night.” They
do. Now, if they name a number lower that ten, say, “Make
it harder…a bit higher. Good!” If they do name a number
higher than 30 say, “Yeah…go a little lower. I have to be
home by midnight!” Want you want is a number from 11 to
29, and most people aim in that direction.

If they name a number from 10 to 19, drop/lose the pinky

break and continue. If they name a number from 20 to 29,
casually doublecut the nine cards from bottom to top, and
then continue. So, assume they say 16. Flip the deck face
down and deal sixteen cards from the top of the deck
forming a pile. Place the deck aside; it’s not needed again.
“If I asked you to look at the top card [point to tabled pile],
that’d be random. But wait. Add the digits of your number
and we get seven. Watch!” Here you pick up the tabled pile
and deal seven cards from the top forming a new tabled pile.

With the inhand cards (they’ll be nine cards or nineteen

cards depending on the size of the number named at the
start) do a Reverse Faro and strip out the outjogged packet
and table it beside the seven-card pile. With the remaining
cards, deal them – rotationally – beneath the two tabled piles
thereby forming a ‘square’ of four piles. Patter about the

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fairness of procedure and quickly turn over the top cards of

the top two piles. Two Aces! Then turn over, in their
entirety, the bottom two piles; the other two Aces! End.

Aces For Connor Sewers

Who can ever forget Connor Sewers? Connor was the dim-
witted half-brother of dear Connie Sewers. It was Connie
(friend of Rod Ethtie) that inspired Brian Glover’s trick from
Al Smith’s late-lamented, but soon to be semi-revived (in the
form of Abacus Unbound) Abacus. See Volume 3, issue 12.
Brian’s trick, however, was inspired by Cy Endfield’s Aces
For Connossieurs from Entertaining Card Magic.

So, what have we here? Well, it’s another way of ending the
Endfield masterpiece. My handling was/is directly inspired
by Brian Glover’s. Here goes: From a shuffled deck, remove
the Queens. Table the four Queens in a left to right face-up
row in CHaSeD order; QC leftmost. Appear to place three
face-down cards on each Queen, but actually place four
cards. (I have to say this, but use your favourite method.)

Pick up the QC pile and flip the QC face down on top. Using
the standard ‘Endfield Vanish’ (using the glide etc), vanish
the QC. (If you don’t know it, or want to try something
‘new’ – see the next item. It is, I truly believe, very good
indeed!) Position check: There are five face-up cards on the
table with the QC face up at centre.

Pick up the QH pile and repeat as in the last paragraph.

These cards are dealt onto the just-dealt QH pile. Repeat with
the QS pile and finally the QD pile. In other words, you are
forming one tabled face-up pile.

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Pick up the 20-card pile and drop it face down onto the
deck. Position check: The Queens are 3rd, 8th, 13th and 18th
from top of the deck. Jogshuffle keeping them there.

Say, “Now that we’ve lost the Queens, how about locating
them in a suitably mysterious and entertaining fashion?
Let’s spell to the QD.” Here you deal 18 cards into a pile on
the table, reversing their order, as you spell T-h-e-Q-u-e-e-n-
O-f-D-i-a-m-o-n-d-s. One card per letter. Turn the 18th card –
the last ‘s’ card – face up to reveal the QD. Place it aside.

Pick up the tabled 17-card pile, drop it on the deck and

jogshuffle retaining the top 17 cards in order.

Spell to the QC (as above) and reveal it. Place it with the QD.
Pick up the tabled 14-card packet and hold it in readiness for
a Reverse Faro. Position check: The QH is 5 th from top and
the QS is 10th from top. Now, and this is nice (thanks to
Peter Duffie who ‘discovered’ it): If you do a Reverse Faro
(second from top card being the first one outjogged –
standard stuff) and then strip out the outjogged cards to the
top of the inhand cards, the two Queens only change positions.
So, do as many Reverse Faro’s (call them Vegas Shuffles) as
you wish – but let the spectator tell you how many. This nice bit
of business will fool most cardmen. Either way, one Queen
will now be 5th from top and the other 10th from top. But,
you won’t know which one is which, unless you’ve been
tracking the number of Reverse Faro’s. Unlikely and
unnecessary.

Still holding the 14-card packet say, “Look, if I spell Q-u-e-e-

n, I get a Queen!” Here you spell Queen (five cards) and
show a Queen. Place it with the other two. Leave the 4-card
packet on the table. The spell of the last Queen is easy
because both Heart and Spade (singular) spell with five

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letters. So, starting on the 6th card (top card of inhand

packet), spell, onto the tabled 4-card packet, either H-e-a-r-t
or S-p-a-d-e to get to the last Queen. End!

Illogical & Discrepant “Endfield” Vanish

I recently (Blackpool Magic Convention, February 2007)

showed this ‘new’ move to Peter Duffie, Aldo Colombini,
Kevin Fox and Roger Curzon. They all liked it. Later I
showed it to Matt Field & Michael Vincent; they liked it (a
lot), too. Michael, I know, is going to use it. (I’m hoping that
Richard Kaufman will publish this move in Genii. We’ll see!)

It is, I believe, - however illogical and discrepant – both

unique and usable. If you too are fed-up with the ‘glide’
vanish used in Cy Endfield’s “Aces For Connoisseurs”
(Entertaining Card Magic), then you might like this. This
write up ‘assumes’ you have just placed four cards (assumed
to be three) face down onto a tabled face-down Ace.

Pick the packet up and hold the five cards (presumed to be

four) in dealing grip so that all are face down with an Ace on
bottom. Openly take (from the bottom) the Ace and place it
face down on top of the packet.

Perform an Elmsley Count (which presumably brings the

Ace to bottom) so that the Ace comes back to top. If you
wish, say, “Counting the cards like this brings the Ace to the
bottom. But watch!”

Appear to flip the top card face up onto the packet, but
actually flip all four cards (above the bottom card) face-up
using a block-push-off action, it’s quite easy.

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Block Push Off: The left thumb at the outer left corner
pushes off all the cards above the bottom card to the right.
The right thumb & fingers grasp the outer right corner and
drag the pushed-off block to the right long edge of the single
card. This block is flipped over – face up – onto the single
card. Photos 1 & 2. No get-ready is needed making it easy.

Position check from face to rear: Three face-up X cards, face-

up Ace, face-down X card.

What follows is truly illogical, but believe me – it ‘works’. I

have fooled well-versed cardmen (see above) with it. Try it.

To continue: Deal, with the left thumb, the first face-up X

card into the right hand. Repeat with the second card but
deal it (place it) to under the first card; slightly
spread/fanned to the left. Now, the left pinky buckles the
face-down bottom X card so that the right hand can take a
double. This, too, goes under the two right-hand cards. See
Photo. 3 – right hand omitted for clarity.

Photo. 1

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Photo. 2

Photo. 3
(Ace hidden behind, in this example, the 8D.)

Finally, slowly turn the face-down inhand (assumed to be

the Ace) card face up to reveal ‘the vanish’ of the Ace. Place
the X-card with (under) the three-card (actually four-card)
spread. You are displaying four X cards! The Ace is hidden. I
think this is a move you are going to use – a lot.

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Costa Aces

For this fun effect, you need the four Aces (secretly) on top
of the pack with the AS fourth from top. Have two cards
selected from the deck and returned so that they end up on
top; above the Aces.

Jogshuffle the deck and then cut off about ten/fifteen cards
(must be at least six) and Straddle Faro them into the larger
portion. Strip out the interlaced cards and ‘waterfall-
cascade’ them to the top. Standard procedure! Say, “Your
cards are lost. But, to find them I will use the Aces. But first,
I need to find the Aces! Let’s spell one…the Ace of Spades!”
Here, you spell, from the top of the pack, Ace of Spades (a-c-
e-o-f-s-p-a-d-e-s); one card per letter into a tabled pile. Turn
the last card (last s of spades) face up to reveal the AS. Place
the deck aside (it’s not needed again) and pick up the tabled
ten-card pile.

Perform a Reverse Faro and strip out and lose (back to the
top of the deck) the injogged portion. Say, “Hmm…let’s
whittle these down a bit to get the second Ace!” Do a
diminishing deal and duck procedure and reveal the last
card as the second Ace. Repeat the diminishing deal and
duck for the third Ace.

You are left with a three-card packet. Outjog the centre card
and hold the packet forceps style; thumb on top at rear end
and fingers below at rear end. Photo. 1. Flip/jerk/snap the
packet (old standard procedure) to reveal the last Ace. The
Ace flips out from between the two ‘pincer cards’ and as you
jerk the packet; it flips face up.

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Photo. 1

Finally, perform a flourish gesture and flip the two inhand

cards face up. The selections! End with flair, style and
panache!

The Session Stunner

This trick is Jon Racherbaumer’s. It’s a technical variation

(plus a few nuances here and there) of “Humma-Humma-
Hummer” from his website. Jon duly credits Lewis Jones as
his inspiration. This will really fool the boys; as it did in
Blackpool, Feb 2007. But, most credit due to Jon
Racherbaumer, Lewis Jones and, of course, Bob Hummer.

From a shuffled deck, casually spread it face up and cut any

two cards of the same suit to the face of the deck. Or, cut
them to the top and run-shuffle them to the bottom.
Anyway, assume they are the 6C and KC. (Using same-suit
cards – my idea – eliminates possible memory problems.)
Shuffle the deck keeping them there.

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Flip the deck face down into dealing grip and catch a pinky
break above the bottom two cards. Transfer the deck into
right-hand Biddle Grip (i.e., hold deck from above – thumb
at rear end, fingers at outer end) re-catching break with the
right thumb-tip. Photo. 1.

Photo. 1

Say, “As I peel through the cards, stop me wherever you

want.” As you say these words, your left thumb peels the
cards, from the top of the deck, into the left-hand dealing
grip. When he says ‘stop’ – your right hand hovers over the
left-hand cards and secretly deposits the two ‘broken’ cards
onto them. This is done as the left thumb peels the ‘stopped-
at’ card onto them. See Photo. 2. (Right hand omitted for
clarity.)

It’s easy to do; just practice the timing. So, on top of the left-
hand packet you have an X-card followed by the two Club
cards. Say, “So, you stopped me here. We’ll use these, then!”
Your left thumb deals the top three cards to the table in a
right to left fashion; X-card at your right and the two Club
cards are in any order at middle and left positions. (Jon used
an awkward, to my way of thinking, shuffle ‘force.’) All
three choices should/must look like a random selection.

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Photo. 2

Return the right-hand cards onto the left-hand cards and

hold the whole in dealing grip. Say, “As I turn my back, I’d
like you to peek at any one of the tabled cards. Then, I want
you to leave it where it is but to confuse me, I’d like you to
switch the positions of the other two. Okay?” Once this is done,
turn back to face your spectator. Say, “There is no way I can
know which card is yours…and there is no way I could
know what any of them are. True?”

Photo. 3

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Pick up the card at the left of the row and insert it face down
into the outer end of the deck somewhere near the top. Pick
up the card next to it (original middle card) and insert it face
down into the outer end of the deck somewhere near the
centre. Finally, pick up the last card (original far-right card)
and insert it face down into the outer end of the deck
somewhere near the bottom. Make sure it’s obvious that you
can’t see their faces. Stress this to the magi. Photo. 3.

Push the three cards flush, but as you do – angle them

through the deck so that you can catch a pinky break under
the lowermost ‘inserted’ card. Photo. 4.

Photo. 4

Casually doublecut the deck at the break, thereby bringing

the lowermost card to the bottom. Reiterate the fairness of
procedure and casually hand-to-hand spread the deck. Say,
“Your card is lost here somewhere. I have no idea as to what
it is. True? True!”

As you close the spread and square it and glimpse the

bottom card using an all-around square-up (Vernon)
procedure. (Or, use any [good] glimpse.) Now, if the bottom
card is neither one of your Club cards – it’s his selection. If

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it’s the 6C, then his card is the KC. If you glimpse the KC,
his selection is the 6C. Immediately cut the deck and hand it
to the spectator to shuffle. How clean is that?

Do your best Derren Brown impression and tell him what

his card is!

Notes: Jon used a crimp to control the cards and finished

with a card-to-pocket revelation. Although clever, I felt it
put the effect into ‘puzzle’ mode as opposed to mind-
reading miracle mode! As also noted above, I use a different
and better (I think) ‘force’.

Multi-Tasking

This is more like multi-ending as opposed to multi-tasking,

but I simply liked the title! Anyway, the basic procedure is
Gene Finnell’s Free Cut Principle (see my book Explorations)
and the endings are multi!

From a shuffled deck have the spectator deal three hands of

Poker. In other words, three hands of five cards each. The
balance of the deck is tabled. Whilst your back is turned he
is to chose a packet, shuffle it and cut it at any point. He is to
look at the cut-to card (the card at the face of the cut-off
cards), remember it and place this cut-off packet on any
other of the five-card piles. The remaining five-card pile is to
go on top of these and finally, the remaining inhand cards
go on top of the whole. The ‘whole’ is then dropped on top
of the balance of the deck. Due to the Free Cut Principle,
their card is 10th from top.

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Turn back to face the spectator and as you reiterate the

fairness of procedure, pick up the deck and false cut and/or
false shuffle it retaining at least the top 10 cards in order.
Say, “I have no idea what or where your card is, but you can
help me! I’d like you to spell the name of your card using
the cards…like this.” Here you spell one card per letter, A-c-
e-O-f-C-l-u-b-s. The cards are dealt/spelt off the top of the
deck onto the table, thereby reversing their order. The AC
spells with ten letters which therefore brings their selection
to the top of the tabled cards.

Pick up the tabled cards, drop them onto the deck and do
one more false shuffle retaining the top card in position.
Now, here are the various endings:

 As you hand the deck to the spectator to spell to his

card, palm his selection off the top of the deck. Now,
using his dealing/spelling as misdirection; pocket it. Act
surprised when the spelt-to card isn’t his and say, “Well,
it couldn’t have been. It’s been in my pocket all the
time!”

 He spells/deals the cards into your hand which brings

his card to the bottom of the packet. I.e., the card nearest
your palm. Here you can ‘cop’ it and pocket it. The rest
is up to you!

 Using a Jerry Sadowitz ploy (see Jack Hodes in Cards

On The Table), table the deck (his card being on top) and
as you pick off the cards, one by one, from the top of the
deck (using right forefinger and thumb in pinch-grip
action at the inner end of the cards), you automatically
glimpse the first card; his card! (The action of lifting the
cards from table level to palm level makes the glimpse
easy and automatic.) As you place it in your left palm,

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you start to spell the name of his card. So, if you instantly
glimpse the 2H, you’d start spelling T-w-o-O-f-H-e-a-r-t-
s – one card per letter; which brings his card to the
bottom of the packet. I.e., the card nearest your palm.
The fact that you start spelling his card is funny because
he will only realise you know his card part way through
your spell/deal action. Anyway, once it’s nearest your
pal you can ‘cop’ it to pocket or bottom deal it to reveal
it. Your call!

There are many ways to handle this concept and as I’ve said
before, you are only limited by your imagination.

Mind-Reading Bluffer

I can see it now. The non-performer amateur magicians (no,

not you…the whiners out there) will think this effect is
meaningless. No new sleights, no new moves etc., etc. How
wrong they’ll be. To laymen – this is stunning. I know. I do it
at every show; always! As I go, I’ll explain ‘why’ it works so
well. It’s all bluff, baloney and acting.

Every now and then a layman will say, “Can you read
minds?” My answer is, “Well, kind of. Let me show you!”
From a shuffled deck I peek the bottom card (assume JD),
cut it to centre and Riffle Force it. (See Roberto Giobbi’s Card
College for the best description.) Say, “So you’ve got a card in
mind. You are just thinking of a card!” Here, they will think
that they are just thinking of it. Newcomers to the group will
be convinced. To them I say, “Charlie here is just thinking of
a card. He didn’t take one out the deck…he’s just thinking of
one!” Even if Charlie smells a rat (unlikely), the ‘watchers’
will be convinced that it’s just a thought-of card.

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Continuing, to Charlie, “Concentrate on it. Now, assume the

red cards are hovering by your right eye and the blacks
hovering by your left eye. Concentrate on the colour of your
card…concentrate! Ah, ha! You twitched to the right. It’s
red! Correct? Correct! Now, place the imaginary hearts to
the left and diamonds to the right. Concentrate.
Hmm…right side. Yes, diamonds? Good! I’m doing well.
Talented and handsome! Now, for the value. Deal out to an
imaginary table, calling the cards verbally, like this: Ace, two,
three, four, five, six, seven, eight, nine, ten, jack, queen, king.
Go on. Out loud. But, keep your voice rhythmic. Don’t
stall…don’t stutter. My job is to catch you out! See where
you stall. Or, you might do it on purpose…we’ll see!”

So, the spectator does as you ask. As he does, cock an ear to

him as if listening very intently. Nod knowingly here and
there, as if picking up vibes. When he gets to king, say, “Yes,
I thought so! You hesitated on the four, seven, jack and king.
Look at me. Now, if I get this right – will you all go wild
with applause? Yes! The Jack of Diamonds!”

Now, if you don’t get screams – you need acting lessons!

Kings, Aces and Flushes!

I really don’t like story patter, so although you can adapt

this trick to a ‘magician vs gambler’ theme, I perform this as
a tongue-in-cheek demonstration of my skill; disguised as the
skill of an above-average card cheat. My inspiration for this
trick was a Randy Wakeman effect I saw. My method is
different, and from what I recall, cleaner. Other credits are
due Harry Lorayne for the Magician vs Gambler effect from
Personal Secrets.

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There is a set up. From top: A, K, A, K, A, K, AS, 10S, JS, QS,

KS, rest of deck. Jogshuffle the deck, retaining the set up, as
you say, “Can I show you how the card cheats cut to four of a
kind. Let’s try for a King.” Here, do an in-the-hands
double/triple undercut. This cut retains the order of the
deck.

Perform a double lift to show a King. Flip it over onto the

deck and deal the supposed King (an Ace) face down onto
the table as you say, “Not bad. Let’s try again!” Now,
double/triple undercut the top card (the just-shown King) to
the bottom of the deck.

Perform a second double lift to show another King. Flip it

over onto the deck and deal the supposed King (an Ace) face
down onto the table (onto the first ‘King’). “We’re doing
well!” Double/triple undercut the top card (the just-shown
King) to the bottom of the deck, as before.

Perform a third double lift to show a third King. Flip it over

onto the deck and deal the supposed King (an Ace) face
down onto the table onto the first two ‘Kings’. “Three Kings.
This is good!” As before, double/triple undercut the top card
(the just-shown King) to the bottom of the deck, also as
before.

Say, “Let’s try for a four of a kind!” Here, after you perform a
double/triple undercut, turn over a single card – the AS. Deal
the AS face up to one side as you say, “Maybe I got it wrong,
but – to make a four of a kind – all I do is use magic. Watch!”
Whilst pattering, catch a pinky break under the top four
cards of the deck. The right hand flips over the three tabled
‘Kings’ to reveal three Aces! What with the AS, you have
four of a kind. Applause!

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During the applause, place the three Aces face up onto the
face-up AS and place all four face up onto the deck. Pick up
the block of eight cards in right-hand Biddle Grip and whilst
showing the four Aces (call them in order, the AS is last)
switch the AC, AD and AH for the four Flush cards using J.
K. Hartman’s Secret Subtraction.

Photo. 1

Briefly: Whilst the packet is held in Biddle Grip by the right

hand, the left thumb revolves the cards – one-by-one –
around the left edge of the packet (turning them over in the
process) to the bottom of the packet. The right thumb,
however, catches a break between them and the remainder
of the packet. Photos. 1 – 3.The switch occurs when the three
non-Flush Aces are secretly dropped onto the top of the
deck.

Say, “Four Kings was good, four Aces better…but, how about a
Royal Flush?” Here you ‘run’ the five-card packet through
the edge of the deck (a flourish/gesture) and finally flip the
packet face up to reveal the Ace to King of Spades! End!

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Photo. 2

Photo. 3

Phone A Friend

There is a very clever marketed trick (from France) utilising

the very best marked deck I’ve seen and a clever use of a
crib sheet. Well, I wanted to do a similar effect with a
regular deck, no crib sheet and little memory callisthenics!
I’ve been using this idea for a few months now, and I have
to tell you – it is very strong!

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Please don’t be put off by the following table. With practice

you won’t need it, but if you do – it doesn’t matter; it’s well
hidden. You need an impromptu accomplice for this trick (it
can be anyone; I do this mostly at trade shows and I use the
technical assistants, stand fixers, clients – anyone); but he
doesn’t need a crib sheet.

Now, I realise you probably don’t know what I’m talking

about (unless you know the original), but all will soon be
come clear. First, the table:

Clubs Hearts Spades Diamonds

1 Col Hal Sam Dan
2 Chas Hugh Stan Dave
3 Colin Harry Steve Danny
4 Calvin Howard Samuel Damian
5 Charles Herbert Solomon Desmond
6 Chas Gray Hugh Gray Stan Gray Dave Gray
7 Colin Gray Harry Gray Steve Gray Danny Gray
8 Calvin Gray Howard Gray Samuel Gray Damian Gray
9 Charles Gray Herbert Gray Solomon Gray Desmond Gray
10 Chas Greenway Hugh Greenway Stan Greenway Dave Greenway
J Colin Greenway Harry Greenway Steve Greenway Danny Greenway
Q Calvin Greenway Howard Greenway Samuel Greenway Damian Greenway
K Charles Greenway Herbert Greenway Solomon Greenway Desmond Greenway

The effect is this: A card is chosen from the deck (free choice;
regular deck) and the spectator is told to ring the performers
friend (name then given). He rings the friend who then tells
the spectator the name of the freely-chosen card.

In the early stages of performing this trick (until you get

used to the table/formula), place a copy of this table
somewhere where you can easily glimpse it. For stage,
cabaret, platform work – place it on the rear of a jumbo card
and attach to the rear of your props table. Close-up workers
can place it on one side of a bus-pass type ticket wallet. My
rationale for opening the wallet is to locate the phone
number for my so-called friend. (This, I have on a piece of
paper opposite the crib.)

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You need to know that each Christian name starts with the
letter of each suit. (All the Christian names in the first ‘clubs’
column start with C.) And, each name spells with two letters
less than the value of the card. So, value ‘5’ relates to Charles
(in the Clubs column) which spells with 7 letters; two less
than five. Values 6 to 13 (King) use Christian and Surnames.
So, assume a card is freely chosen and once returned it’s
glimpsed; assume Four of Spades. The deck is then shuffled
and pocketed by the spectator.

Your patter may go like this, “I can’t do this trick, but my

friend Samuel can. Ring him on (accomplice’s mobile/cell
phone) _________. Just ask for Samuel!” Now, your
accomplice (who is in on everything) will get a call, “Hello,
is that Samuel?” Your accomplice says, “Yes” and instantly
know that S stands for Spades and two less than the amount
of letters in Samuel (6 letters) is 4. So, the card chosen was
the Four of Spades. He can then announce it in any theatrical
way you’ve rehearsed. I suggest you don’t make it too
easy…ham it up a bit!

If you get a value above 10, to ensure your spectator asks for
the full name, say (assuming the Jack of Diamonds is
chosen), “I can’t do this trick, but my friend Danny can. Ring
him on _________. He’s at work, so ask for Danny
Greenway!” Your accomplice will simply say, “Oh yes, it’s
Danny speaking.”

Once again, peruse the table and see that most of the
Christian and Surnames are repeated, so after a while – you
won’t need a crib. And, as for your helper – he doesn’t need
one anyway. All he does is make an easy calculation.

If you don’t like the names I use, figure your own out. Now
you know the formula – easy!

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Notes: I tried to use names that don’t change (amount of

letters) if spelt differently. E.g., Damien & Damian. Also, to
make the patter (for 10 to 13) look more casual, you could
say (for, say, JD) “I can’t do this trick, but my mate Dan can.
Ring him on _________. He’s at work, so ask for Danny
Greenway!” Your accomplice will simply say, “Oh yes, it’s
Danny [or ‘Dan’] speaking.” So, your accomplice knows that
Danny Greenway spells with 13 letters and Danny starts
with D. So, 13 less 2 is 11 (Jack) so the card is Jack of
Diamonds.

It goes without saying that mentalists will have a field day

with this. As I don’t do Mentalism – and know very little
about it, I apologise if I have reinvented the wheel, here.

More on The Gordon Diary Trick

(With thanks to Jack Avis)

When The Gordon Diary Trick was first published (The

Card Magic of Paul Gordon, 1995), it received generous
reviews and comments worldwide. Since then, it has grown
a great deal and is now available (since 1999) as a great-
looking pocket diary with notations already entered. (Jack
gave a great review of Nocturnal Creations [which also
contained The Gordon Diary Trick], circa 1997, in The Magic
Circular.)

In 1999 or so, Jack Avis spoke to me of an idea he had for the

diary. Jack’s idea used the diary, but not the method I had
formulated. For seven years I have used Jack’s idea together
with my own ideas. Well, recently (2005) – Jack’s initial idea
(which doesn’t mention The Gordon Diary Trick) was
published in Anthony Brahams’ Rara Avis. Now that the ‘cat

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is out of the bag’, I offer you my full routine. This trick is

ideal for stand-up/strolling close-up work

You require a double-backed card (both sides the same

colour; Jack used a red/blue double-backer) with the phrase
“Happy Birthday” sharpied (inked) on one side. The deck in
use must match the double-backer. You also require a
miniature bottle of scotch. You need the marketed Gordon
Diary Trick, or use any diary with the names of playing
cards written, randomly, on each date in the year. Place the
double-backer on the top of the deck, writing side not visible,
and the bottle of scotch down the right sleeve (of your
jacket) so it rests where the elbow is. (I palm the card from
my trouser pocket onto the deck when ready to do the
routine; and also add the bottle from my inner right jacket
pocket via the top of my sleeve where my armpit is. Nice
and impromptu!) You now need to perform with both
forearms level to the floor; less the bottle falls, prematurely,
to the floor!

As the spectator peruses the diary, quietly jogshuffle the

deck, which subliminally shows normal backs; thereby
retaining the double-backer on top. Ask the spectator to look
at the entry on his birthday. Assume it says King of
Diamonds. Flip the deck face up and spread to the KD.
Remove it with the right hand (don’t flash its back) and flip
the deck face down (one handed) into dealing grip. Drop the
face-up KD on top of the deck and ask the spectator to check
the dates near his birthday to ascertain that there are no
more King of Diamonds’ mentioned near his birthday. As he
does this, get a pinky break under the top two cards. (If, by
the way, your required card is near the top/rear of the deck
when you spread, necktie the deck a tad so as not to flash the
double-backer.)

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Flip the double face down onto the deck to reveal the words
Happy Birthday. As they applaud/laugh, flip the double
face up and hand him the single KD. Say, “It’s only an
illusion! [he might want to look at the back, which is great –
no writing]…but this isn’t!” As you say these words (and
whilst they are still laughing), the right hand falls to your
thigh so that the bottle falls into your palm. Raise the right
hand to the top of the deck (don’t try to fully hide the bottle,
you don’t have to) and appear to pull the bottle from the
deck; as if you were pulling the cork from a bottle. Say,
“…Have a drink on me!” Produce the bottle and it them to
keep, or if you are skint* – retain it for your next
performance! During the applause, palm off the double-
backer, pocket it back to the trouser pocket and hand the
deck to the spectator who will want to inspect it. There is
nothing to hide. If you take the bottle back, replace it in your
inner right jacket pocket and you are re-set.

(*Poor, mean, broke, thrifty etc.)

Phil’s No Fake

In my out-of-print three-book series Pack Up Your Cards,

there are two ideas based on the ‘Fred’ trick and utilising the
thin ‘Phil’ deck concept marketed by Trevor Duffy. Both
ideas were devised to take the heat off the fakery. I think I
succeeded, especially if Mark Leveridge’s review in
MagicSeen is to be believed. More recently, I wanted to
devise away of doing the same effect (as my ideas in Pack
Up Your Cards), but eliminate the fake ‘thin’ deck. I think
I’ve succeeded again, but time will tell. Here’s my idea:

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Preparation: You require two decks of cards: One regular

red-backed deck and one blue-backed blank-faced deck. On
the blank-faced deck, write the names (52 in total) of either
your favourite movie stars, or – for corporate workers – 52
world-famous companies. In fact, once you understand my
routine, you can write anything.

Take the red-backed normal deck and separate the 28 odd-

valued cards from the 24 even-valued cards. On the backs of
the odd valued-cards, write the numeral 7. (Note: I use the
number 7, but you can use another ‘force’ number.) On the
backs of the 24 even-valued cards, write random (i.e., 3, 23,
47, 31, 8 etc) different numbers from 1 to 52, but not including
7. Set this deck like this, from the top down: 12 shuffled
even-valued cards, 28 shuffled odd-valued cards and then
12 shuffled even-valued cards. Case both decks.

Performance: Remove the ‘blank’ deck and show the faces to

the audience. Patter about the different names etc. Ask a
spectator to shuffle the pack. You need to know the 7 th from
top card. Now, it’s up to you as to how you achieve it. You
can spread the deck, glimpse it and then do a quick false
shuffle. Or, note the bottom card and shuffle it to position.
Or, note the 4th from top card and do a Straddle Faro. Up to
you. Either way, assume the 7th from top card says, “Micky
Rourke”. Make a prediction with Micky Rourke on it. Ask
the spectator to pocket the deck. (If you wanted to add a fun
comedic angle, you could wear, say, a T-shirt with Micky
Rourke on the back and then force the Micky Rourke card by
controlling it to 7th position. You are only limited by your
imagination.)

Anyway, remove the regular deck and say its marked…on

the backs! Say you numbered all (liar) 52 cards from 1 to 52,
then shuffled them. Show the top cards (no more than 12) to

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have random numbers from 1 to 52. Flip the deck face up

and show the backs of the cards at the face (no more than 12)
likewise. Now, shuffle the deck whilst face-up. (That’ll
confuse any watching magicians, as will the regular
thickness of the deck.) Spread the deck face-up on the table.
Remark that a deck is made up of four suits and thirteen
cards of each suit. State that Jack is 11, Queen is 12 and King
is 13. Ask the spectator to name a number from 1 to 13.
Now, if he names an odd-valued card (ideal scenario),
simply ask him to think of any suit and remove the
corresponding card. If he names an even-valued number,
say, “Now that I know that number, I want you to think of one of
the surrounding numbers. In other words, the one above it or the
one below it. [This forces an odd-value.] That ensures a random
number! Then, think of any suit and remove the corresponding
card!”

To end, reveal the back of the selection as a number 7, or as

per instructions, let him do it. Show the backs of a few even-
valued cards as you say, “You could have chosen any of these!”
Gather the deck and put it away. (There goes the evidence!)
Ask the spectator to count to the 7th card in the ‘blank deck.
It’s Micky Rourke. Show, with style, your prediction. And,
what’s nice, the heat is on the ‘blank’ deck…and it can be
examined!

S**t Hot & Bu**er It!

(Inspired by magic from E. G. Brown & L. Jennings)

A February 2007 discussion on the Genii Magazine Web

Forum about Larry Jennings’ “Impossible” (see Mike
Maxwell’s The Classic Magic of Larry Jennings or see “Can’t Be
Done” in Harry Lorayne’s Apocalypse) reminded me of an

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old handling of mine and it made me worry the trick. Firstly,

the effect and method is actually Edward. G. Brown’s and
predates Jennings by about 40 years. See the “Three Pile
Trick” in Trevor Hall’s The Card Magic Of Edward G. Brown.
In fact, see my book (if you like Brown’s thinking); Edward
G. Brown; A Magical Life. Anyway, Jennings had the
spectator think of a number from one to ten with no
rationale for doing so. Back in 1986, I used the numbers from
one to six so that if an imaginary (or real) dice were to be
rolled, bingo; a random “rationalled” number. Reducing the
number span also meant reducing the reverse-deal/milk
shuffle to 7 cards. Now, I think the basic effect is good, but
the procedure could be boring. So, back in 1986 I used the
risqué phrase “S**t-Hot” (7 letters) that could be done with
any old deck in working men’s pubs and clubs. As the trick
uses a crimp, an old deck is better – it hides the work. My
opening patter was, “Wanna see a trick that really is s**t
hot?” Then, I did the trick. It’s described below, but the
effect, “Bu**er It”, has a sneaky way of doing the reverse-
deal/milk action.

Firstly, the effects must be performed in a hands-off manner;

that is their strength. You never look at the faces of the cards.
Now, if you don’t use crimps – use your own deck with a
corner short.

“S**t Hot”: Get a crimp in any card in the deck. Have the
spectator shuffle the deck and table it. Ask them to cut and
complete a few times. You do it one more time and then cut
the crimped card to the bottom. Say, “Wanna see a trick that
really is s**t hot? Yes? Okay!” Here, you turn your back. Say,
“Roll an imaginary dice and get to a random number. Don’t
use one, it’s too easy. Then, if the number is, say, 5, pick up
the deck and deal three piles of five cards. Done that? Good!
Drop the deck on any pile. Pick up one of the other two piles

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and shuffle it. Peek the top card of this pile and drop this
pile on the deck. Finally, to bury your pile, pick up the
remaining tabled pile and drop it onto the deck. Done?
Good!”

You now turn around, take the deck and, using an overhand
shuffle, run 7 cards and drop the deck on top. (Or, deal 7
cards to the table [as a demonstration of what’s happened,
but – don’t look as if you are counting] as you casually say,
“So you dealt three piles etc., etc.” Drop the deck onto the 7-
card pile.) Anyway, let the spectator cut and complete cut
the deck a few times. Finally, give one more cut bringing the
crimped card back to the bottom. Say, “Tell you what…as
it’s a s**t-hot trick…you spell it!” Here, they spell “s**t-hot”
(7 letters/7 cards) – the 7th card is theirs! Bingo! If you don’t
like my slang English pub-phrase – use another like Damn
Hot, Real Hot etc., etc.

Paul Gordon’s favourite – “Bu**er It”: This is different to the

above. I think it’s better. Get a crimp in any card in the deck. (I
use Harry Lorayne’s spread ‘corner’ crimp from Quantum
Leaps.) Have the spectator shuffle the deck and table it. Ask
them to cut and complete a few times. You do it one more
time and then cut the crimped card to the bottom. Say, “Do
you want to see a brilliant trick? Yes? Okay!” Here, you turn
your back. Say, “Roll an imaginary dice and get to a random
number. Don’t use one, it’s too easy. Then, if the number is,
say, 5, pick up the deck and deal three piles of five cards.
Done that? Good! Drop the deck on any pile. Pick up one of
the other two piles and shuffle it. Peek the top card of this
pile and drop this pile on the deck. Finally, to bury your
pile, pick up the remaining tabled pile and drop it onto the
deck. Done? Good!” You now turn around and take the deck
and give it a few non-flourishy false cuts. Here comes the
diversion from the standard handling: Slowly deal cards

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onto the table one by one as if you are trying to ‘feel’ for
their card. Stop at 8 cards, but don’t ‘show’ your counting.
Proudly – as if you know success is around the corner –
show the 8th card and say, “That it?” When they say ‘no’,
exclaim, “Bu**er it!” Look disappointed and frustrated. Place
the ‘wrong card’ back onto the tabled cards. Drop the deck
on top of the 8-card pile. Let the spectator cut and complete
cut the deck a few times. Finally, give one more cut bringing
the crimped card to the bottom. Say, “Tell you what…let’s
spell ‘Bu**er It!” Here, they spell “Bu**er It” (8 letters/8
cards) – the 8th card is theirs! Bingo!

Remember this: The maximum amount of cards they can

deal in each pile is one less than the amount of cards in the
reverse-deal/milk and spelling. So, if you want to be really
rude and use the f-word (as in f**k-it), the maximum
amount of cards they can deal in each pile is 5; one less than
the 6-letter phrase “f**k-it.” I don’t use a phrase/word with
more than 7 letters; reason being is that I can use the dice
ploy – maximum of 6. So, there we have it. Dear old E. G
will be spinning in his grave by now…what with my
marketed “Dog’s Bo****ks” trick!

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Last Word

Before I close, I’d like to say something about the first

section of this book and of Volume 1 of the series. Within the
magic fraternity there is, sadly, a certain amount of disdain
(from certain cardmen) towards so-called mathematical card
magic. The complaints are often about the dealing and ‘duck
& dealing’ aspects of it. Well, that’s myth! Not all maths-
based card magic is like that. If the ‘problem’ is that of
boredom – well, I’ve seen a lot of sleight-of-hand card magic
performed very laboriously! So, maybe the ‘problem’ lies with
the performance (or performer) and not the mechanics.
Think on that. (This is the third time, in this book, I’ve sung
the praises for maths-based card magic!)

As a creator, it is far harder to create maths-based card

magic than it is to create sleight-of-hand card magic. (I can
now visualise the back-stabbers sharpening their knives at
that statement.) But, it’s true. It’s easy to understand (as a
creator/thinker) sleight-of-hand work, but maths stuff needs
deep thought and understanding. See Peter Duffie’s opening
comments in my book, Explorations; another maths-based
(but hugely enjoyable, if the critics are to be believed) card
book.

The bottom line, however, is this: I perform most of this kind

of material for laymen all the time. Force of personality and
pace retains interest (during the building procedure) until
the often-exciting denouement. If you still doubt me – watch
Harry Lorayne at work. Most of Harry’s material is not too
technically demanding, but as an entertainer/performer – he’s
the very best! (Second best?)

By the way, if you are looking for technical card magic of the
impromptu nature – see my other books. List on next page.

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So, thanks for buying this book. Please try all the effects at
least once. I think that they are all gems, but then I would,
wouldn’t I?

Paul Gordon – Spring 2007

Talented and Handsome! What a winning combination!

(Just kidding!)

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