JOHN CAREY & FRIENDS

CONTENTS
Introduction.............................. 4 Angel Heart..................................... 52

A Fork Inthe Road.............................. 5 Pass The Sandwich.......................... 54

Cellular Spirits................................... 6 Caan Caan....................................56

Look To The Future!........................... 8 Gary Plants............................ 57

On The Top Change........................ 10 I Know Why I Am Here..................... 58

One Handed Tabled False Cut......... 11 Team Work...................................... 61

Riffle Cross Cut Force...................... 13 Three Pile Trick................................ 64

Rubber Band Peek .......................... 14 Cheeky Pass...................................67

Scattered!........................................ 15 Jack Goldstein........................ 68

Slimmer Killer!................................. 16 Bife De Chorizo............................... 70

Thought Snatcher............................ 18 Heartbeat........................................ 77

Under Your Spell!............................ 20 Incardescent.................................... 81

You’ve Been Hacked!....................... 21 CTB...............................................86

Andy Smith............................. 24 John Guastaferro.................... 87

Colored Choice............................... 25 Crystal Clear................................... 88

Subtle Transpo................................. 28 Hybrid Triumph............................... 91

The Key To It All............................... 30 Self-Checkout.................................. 95

A Tribute To Hamman.....................32 Erdnase Meets Vernon....................98

Cameron Francis..................... 33 Justin Higham....................... 100

Takes Money Tomake Money............ 34 2 Shuffled Deck Revelations........... 101

The Unfolding................................. 40 Bottom Force As A Key Card.......... 105

Who’s Laughing Now?.................... 43 Finessed Blackstone Control.........107

Aces Up.........................................46 Jack Tighe............................ 108

George Mcbride...................... 47 If You Don’t Like Luck..................... 109

Ambitious Hofzinser......................... 49 Lemon Party.................................. 113

2
 CONTENTS

Wild Child...................................... 116 Game Of Checks........................... 199

Gabi, Max& Peter.........................120 Rick Holcombe...................... 206

Mike Breggar....................... 121 AFCA............................................. 207

Evolutionary Equivoque................... 122 Telekinition..................................... 210

Hummer Would’ve Loved This........134 Triple Travelers................................ 213

Myles Thornton..................... 136 Raj Madhok.......................... 217

Christmas Cracker Roulette ............ 137 Out Of Pocket Experience............... 218

The Gypsy Vanish .......................... 141 Tequila With a Twist........................ 222

Mind Reader’s Delight.................... 144 Your Own Personal Slant................. 226

Locked & Loaded..........................146 Scattered......................................229

Nikola Arcane...................... 148 Scott Baird............................ 231

Amazing And Incredible Magic Trick �����149 Flash Ribbon.................................. 232

My Little Red Dog........................... 154 One Way,All The Way..................... 234

Stellar Collision.............................. 158 Tap-A-Stack.................................... 240

McJohnnies Aces..........................164 Sean Devine......................... 245

Pigcake................................ 166 Fastest Reverse On Earth................. 246

Long Distance Cross Cut Force........ 167 French Dip..................................... 249

Lucky Number................................ 169 High Fidelity................................... 251

Predixtionvariation.......................... 171 Steve Reynolds..................... 254

One Behind,One Ahead................174 A Night In N’awlins........................ 255

Phill Smith............................ 175 Push-Pull Switch.............................. 259

Fastext........................................... 176 Tommy Tucker Pass........................263

Bullet Hell....................................... 183 Wayne Goodman................. 264

Equifinque...................................... 188 2 Decks Go To War........................ 265

Right Before Your Very Eyes...........190 Card The Bounty Hunter................. 270

Reddevil............................... 191 The Monkey Flip............................. 274

The Coozee Ambush...................... 192  Indicates John Carey video effect

3
JOHN CAREY & FRIENDS

INTRODUCTION
JOHN CAREY
Welcome to John Carey and Friends! Thank you so much for
your purchase. Magic is a collaborative art and I am very fortunate to
share ideas with some incredibly kind and talented people around the
world. This volume reflects that with a dozen items from me and 50 from
my friends! It’s a very eclectic mixture of material and not all cards either!
A massive thank you to my friends for their fantastic contributions. I will
now let you dive into the material. Have fun!!!

John Carey

4
 JOHN CAREY

A FORK IN
THE ROAD
I’ve always loved prediction effects. Here’s a very direct card
prediction I’ve had lots of fun with. You will need a marked deck and a
piece of paper and a pen. Have the deck shuffled and peek the bottom card
by its secret mark. I use the Penguin decks which means I can simply hand
to hand spread or ribbon spread the deck to get my secret information.
Pick up the piece of paper and write the name of the card you peeked sight
unseen and then fold the paper into quarters and table it.

Pick up the deck and hold it face down in left hand dealing grip. Suggest
a little game of elimination. Ask your participant to cut away a group
of cards from the top and discard them. As they do this casually run
your target card from the bottom of your packet to the top with a simple
overhand shuffle. Spread the remaining cards in your hands and ask
your helper to eliminate some cards from the middle by pulling a packet
out. These are discarded. Then spread what remains and ask them to
eliminate some cards from the bottom and to discard those too.

Table the cards you are left holding and request your spectator cuts that
packet into two halves. Take off the top card of each packet and place
them onto the table side by side. Discard the other cards. Now it’s just
a simple Equivoque or Magicians choice to force your target card. The
other card is discarded. Build up the conditions and show your written
prediction. Then the card they eliminated down to is turned over and you
have completed the mystery successfully.

Note: If you don’t have a marked deck simply peek the bottom card after
they shuffle.

5
JOHN CAREY & FRIENDS

CELLULAR
SPIRITS
Many years ago online I read a great idea where you handed a
copper old English penny to a spectator and took a photo of them holding
the coin. Later that coin transformed into a silver half dollar in the context
of a copper silver transposition. It was an ingenious use of a copper/silver
coin.

After recently remembering that effect it got my creative gears rolling and
I put the following card piece together, which is great for one on one or
for a very intimate group of say three or four people.

You will require two blank faced cards and the Queen of Diamonds. Set
that packet up in Queen, Blank, Blank order from the top and pop that
packet inside your wallet.

In addition you will require a duplicate Queen of Diamonds that sits in your
working deck. So whenever you want to get into this piece just casually but
secretly get that card to the bottom of the deck in readiness for forcing.

You want something quick and effective here like Max Holden’s cross cut
force or try this: In the hands riffle shuffle retaining the QD on the face.
Then execute a slip shuffle, again retaining it on the bottom. Say to a
participant that you will shuffle one more time and they are to call stop.
When they do, square up and raise the decks face to them after you look
away. Ask them to put the thought of that card into their mind. Set the
deck down.

Bring up the subject of spirits and ghosts and have some fun. Then take

6
 JOHN CAREY

out the three card packet from your pocket face down. Spread them
showing three cards and then square up.

“These cards will represent spirit plates from the spirit world.” Double
turnover showing a blank face and then a moment later turn the double
card back face down. Push the top card (QD) onto your right fingertips.
Use the left edge of this card to help flip over the next card, showing
another blank face. Place this card face up under the face down card in
your right hand. Finally flip over the remaining blank face card and place
it face up on top, thusly sandwiching your secret Queen of Diamonds.

Say to your spectator that you wish to give them a momento of this moment
in time. Ask them to open up the camera on their mobile/cell phone. As
they do this lift up the three card packet and spread it in a wide fan, the
Queen of Diamonds in the middle facing you. With your right hand take
their phone as you ask them to hold up their right hand, fingers and
thumbs pointing upwards. Get them to hold the fan at the inner short end
and then you take a photograph and then lock the screen. Take back the
the cards from them with your left hand as your other hand returns their
phone.

Square up the packet and put it away in your pocket.

Method wise the job is done. So now it’s all play and theatre. Ask your
participant to project their card to you. Make the moment and then divine
the card. “But what if we could take that thought now in my mind and
send it somewhere else?” Pause a beat and then look at their phone and
then look up at them and smile. Get them to open their phone to reveal
them holding their card in the photo!

7
JOHN CAREY & FRIENDS

LOOK TO THE
FUTURE!
I’ve always been a fan of the spectator as mindreader
presentational concept. It’s nice to make a participant the star. The following
triple which hand prediction couldn’t be simpler from a methodological
point of view, but give it a road test and I think you will be happy!

Props wise you will need an immediate peek wallet. I use Strivings Sight
unseen feature in Peter Pietro Nardi’s Stealth Assassin wallet. Ahead of
time write a 1,2,3 column on a business card and you’re ready to roll.

“Thomas, do you remember that old game as a child where someone

would hide a coin in their hands and you would have to guess which
hand? Yeh my grandad and I used to love this game. Well tonight you and
I will play this game but in a very mysterious way! We will play this game
three times, but you will attempt to go beyond this present moment in time
and peer into the future and intuit which of my hands the coin is in each
time before we even start! For later verification take this card where you
will see a column of numbers, 1,2 and 3.”

“I will turn away and I want you to look into the future and write left hand
or right hand against each number. Tell me when you’re done and turn
the card over before I face you again. For later verification or in case you
have as terrible memory as me let’s pop it back in my wallet.”

So let’s say they write:

8
 JOHN CAREY

1. Right
2. Left
3. Left

The card is put back into your wallet and you peek their thoughts. Bring
out a large coin and build the moment up. Put your hands behind your
back and swap the coin back and forth between the hands a few times,
ultimately putting the coin in our example in your right hand. Bring out
both hands in fists and ask your participant which hand did they see in the
future? They will say right and a moment later you open that hand and
reveal a success. Casually show the left hand empty.

It’s just a case of repeating for rounds 2 and 3, in our example bringing
our hands out in fists with the coin in our left hand each time. Congratulate
your participant and buy him a beer

9
JOHN CAREY & FRIENDS

ON THE TOP
CHANGE
If there’s one card move that a lot of magicians tell me they lack
confidence in, it’s the classic Top Change. If you don’t use this you are
really missing out. I put the following little control together for one of my
students that has great shade or cover built in and it’s really helped him
gain that confidence. I sincerely hope it helps you too.

Hand out a deck for shuffling and upon return hold the deck in left hand
dealers grip. Riffle down the outer left corner of the deck and ask a
participant to say stop. Take all the cards above where they stopped and
table them in front of your helper.

Take off the top card of the packet you’re holding and tilt the face of
this card towards them as you look away. A moment later turn back and
gesture gently with both hands towards the tabled packet in front of them.
Ask them to reach over and lift off about half that packet. As they begin
to approach that packet to cut, execute your top change. It doesn’t and
shouldn’t be quick, just smooth. Drop the card in your right hand on top
of their tabled packet and get them to drop their remaining cards on top.

Ask them to shuffle that packet and table it. To finish drop your packet on
top and square up. Mission accomplished and you can then if you wish
false shuffle or riffle shuffle, retaining their selection on top.

Try this out a few times and if you previously lacked Top Change confidence,
I genuinely believe this will help you.

10
 JOHN CAREY

ONE HANDED
TABLED FALSE
CUT
Ah false cuts! You simply can’t have enough tools in your bag.
False cuts are like a hobby to me. Yeh kind of sad, but I collect them! The
following one handed multiple packet tabled false cut is very deceptive,
casual and so much fun to do. I’m right handed so will describe the
technique from that perspective.

Hold the face down deck from above in right hand Biddle grip. Swing cut
about a quarter of the deck over to the left and bring the hand down to the
table and allow the broken off packet to slide off and land on the table.
Repeat the above actions, swing cutting another quarter of the cards and
allow the broken off packet to slide off to the table to the right of the first
packet, but leave a gap of around six to eight inches between the packets.

Swing cut off about half the remaining cards and allow that packet to
drop into the space between the first two packets. Finally drop the final
packet you are left holding furthest to the right of the row of packets on the
table. Be casual as you execute the above series of actions.

Now imagine the packets numbered from one to four from your left
to right. The right hand picks up packet one from above and drops it
casually onto packet three. A moment later pick up packet two and drop
it on top of packet four. Finally pick up the leftmost packet of the two that
remain and drop it on top of the other packet. Square up and your work

11
JOHN CAREY & FRIENDS

and false cut are complete.

As I mentioned earlier, be very casual and nonchalant as you execute this

false cut. Attitude is everything…

12
 JOHN CAREY

RIFFLE CROSS
CUT FORCE
I’ve always loved Max Holden’s classic cross cut force. As simple
as it is, it’s most deceptive for the public if performed correctly. This little
variation is bold, but strong.

Start out with your force card on the bottom of the deck. Slip shuffle
retaining it there. Slowly riffle down the outer corner with your thumb and
ask your helper to call stop. Table the packet at the area they stop you at.
Hand to hand spread the packet remaining a few inches above the tabled
packet as you ask them roughly how many cards they think you hold? A
moment later square up this packet and set it on top of the tabled packet
at an angle. Be casual as you do this.

Now we need to shift the focus from the cards for a few seconds, which
aids us in them forgetting the topology of the cards. “Peter, do you have
a good memory or a bad memory?” Get a response and then ask your
participant to lift off the upper tabled packet, take a peek at the face
(force) card and then assemble the whole deck and shuffle. Mission
accomplished…

13
JOHN CAREY & FRIENDS

RUBBER BAND
PEEK
No this is not a peek of a rubber band! It is a very deceptive full
billet peek where a rubber band that’s wrapped around a packet of billets
aids in the deception. All you need is a packet of billets with a rubber band
wrapped around them and a sharpie pen.

Bring out your Billets and take off the rubber band and drop it onto the
table. Ask your spectator to think of a simple drawing they could make
quickly. Take off two Billets and hand one to your participant and drop the
other onto the table. Give them a sharpie to make their drawing as you
look away.

Ask them to turn the card face down and drop it on top of your packet of
billets. Double undercut this card to the bottom under the guise of losing
it. Drop your left hand holding the billets to your side as your right hand
extends to the table to pick up the rubber band. As you do this the packet
of billets is turned partially over by the left fingers pushing gently upwards
on the packet. Next bring both hands up towards your body and wrap the
rubber band around the packet. You’ve got all the time to peek the full
face of the drawing. Put the billets away.

Pick up the other business card and after feigning concentration duplicate
their drawing with the card facing you. Build up the effect and then bring
it home to a successful conclusion, asking then what they drew and then
showing you hacked their mind and drew exactly what they did.

14
 JOHN CAREY

SCATTERED!
Some time ago I set myself a task to produce the Aces scattered
and reversed in different parts of the deck. My early attempts were a bit
sketchy to be honest. Then eventually I hit upon the following handling,
which is very practical and quite magical. Begin with the Aces on top of
the deck. False shuffle retaining them there.

Hand to hand spread the face down deck and upjog about a quarter of
the deck in the middle. The right hand comes over the deck to swivel this
packet out. As it does so the left thumb pushes the top card of the deck
over (an ace) slightly and secures a left pinky break beneath it. Flip the
swiveled out packet face up on top of the deck and immediately lift off all
the cards below the break, including the reversed Ace. Table this packet
and comment on the face card of this packet. Repeat exactly the above
actions with a second packet from the deck and table this packet on top of
the first, again commenting on the value in view. Talk about how random
everything is etc.

Repeat the exact same actions twice more until you are left with just a
small packet of cards and turn them face up and hold them in left hand
dealing grip. The right hand picks up the tabled cards and places them
onto the left hands cards. Turn the deck face down and table it. Make
your mysterious spells and then ribbon spread the deck widely to reveal
the magical appearance of the four aces scattered face up throughout the
face down deck! Then segue into a routine of your choosing with the Aces.

So there you have a very practical and strong production with minimum
of effort and a nice visual climax. Have fun!

15
JOHN CAREY & FRIENDS

SLIMMER KILLER!
Kenton Kneppers Kolossal Killer is a fabulous effect. However,
I’ve never performed it seeing as one has to carry 16 multiple outs in a
wallet, which makes the wallet bulky and dare I say suspicious?

Here’s a slimmed and trimmed down approach which only uses 2 outs.
Ahead of time take a Queen of Hearts and Queen of Diamonds and on
the back boldly write “OFF BY ONE!” Pop these cards inside two hidden
compartments in your wallet, noting which is where and you’re done!

Now the presentation and method:

“Peter, let’s try a little game of imagination. I think you will be perfect for
this. This is the first time I’ve tried this, so you could say it’s a one off!

I want you to imagine you are holding a deck of 52 playing cards. They
consist of number cards and pictures, but we don’t need them all. So do
you take out the numbers or the pictures? The picture cards it is then.
They consist of two colors, red and black. In your mind keep saying red
and black back and forth over and over until I say stop. Stop! If I was to
ask you to change position which colour would you arrive on? The red it
is then.

The red picture cards are the Jack, Queen and King of Hearts and
Diamonds. Jacks are 11, Queens 12 and Kings 13. Imagine all of those
cards fading away in front of you, except one. Which one remains?
The Queen of Diamonds is a lovely, colorful card and you have great
imagination Peter!”

“Before I came here today I had a bit of a premonition. It was about a

playing card. I keep it here in my wallet. Let me show you. (QD shown)

16
 JOHN CAREY

Isn’t that amazing?!!!”

The above is one way the effect can play out. But it doesn’t matter because
of Kenton’s inspired off by one gambit. So the first part of the method is
Equivoque. When you ask them do they take out the number cards or the
picture cards that is a beautiful ambiguity we exploit. The phrase take out
can be manipulated to mean to use or remove/discard. That takes care
of the first part.

The second part where they decide on red or black is my genius friend,
Michael Murray’s beautiful Tombola concept. If they land on red after you
ask them what color would they arrive on if they move just once more the
job is done. However, if they say black, you simply state: “But the reality is
you didn’t stop there and actually landed on red yes?” They naturally will
agree. It’s such a devilish concept and thank you Michael for permission
to share it in this book.

The rest of the effect takes care of itself. They imagine all but one of the
six red picture cards fading away. If the card they keep is the Queen of
Diamonds or Hearts take out your wallet and remove it face up from the
appropriate compartment. However, if it’s the Jack or King of one of the
two suits, remove the Queen of that suit and show it. They will tell you that
you was close but not close enough. You reply: “I was off by one!” This will
get a laugh/groan. Then slowly turn the card face down to reveal “Off by
one!” written and the mystery is complete.

17
JOHN CAREY & FRIENDS

THOUGHT
SNATCHER
Let’s face it. The majority of the worlds population has a mobile/
cell phone. Being able to use your phone or theirs for an anytime, any
place mystery is a good thing!

Thought snatcher was inspired by the work of my genius friend, Michael

Murray in his book Calculated Risk. In there Michael discussed some very
interesting quirks of the iPhone calculator and some great applications.

“Thomas, we all know that numbers play an important role in all our lives.
Door numbers, phone numbers, the list is endless. Let’s have some fun
with my phone and random numbers.

I’ve opened up the calculator and I’d like you to create a random four
digit passcode with it. Now staring at those numbers may influence you
subconsciously, so let’s try it under the fairest and most random way. I will
turn the screen face down towards the floor. Just extend your first finger,
go under the phone and randomly touch the numbers sight unseen four
times. If you tap one of the other buttons we can start again, so don’t
worry!

I will look away and show you what you randomly generated Thomas.
Can you see four digits? Ah perfect. Please lock them into your mind and
then press the clear button. Done? Great, I will turn back to face you and
come out of the calculator and go back to my main screen and lock the
phone.

People have many ways of setting passcodes on their phone. Some use

18
 JOHN CAREY

birthdays and others lucky numbers or some numbers of relevance to

them. Today under the fairest possible almost test conditions you created
a passcode that you and only you know. If I type in any four numbers you
will see my phone won’t open correct? Now I’d like you to slowly type
in the passcode you are thinking please Thomas. Oh my word. You just
hacked my phone. I’m off to change my passcode!!!”

Method wise, this is extremely simple, but the effect, as you can imagine
is so powerful. It also makes your participant the star. Ahead of time
type in your four digit passcode into your calculator app. Then press +
followed by 0. This clears the screen, but secretly retains the passcode in
the calculator system as you will see in a moment.

After your opening presentation bring out your phone, open it up, not
exposing your passcode. Then open up the calculator and display it,
showing 0. Tilt the phone screen out of view as you hold it between both
palm up hands and revolve the screen face down from left to right. As you
do this your right thumb will covertly press the = button on the screen. This
secretly calls up our passcode of 1836 in this example onto the screen:-)

Readjust your grip on the phone holding it at the very inner short end,
fingers on top and thumb beneath in your left hand. Apply a firm and
even upwards pressure with the phone. This secretly freezes the screen, so
that when your participant taps four times nothing happens. Tilt the screen
towards them after looking away and have them remember the passcode
‘they’ generated. Next have them clear the display and then you turn back
to face them. Come out of the calculator and swipe back to your main
screen. Finally lock the screen.

As per the script, build up the conditions and open your screen and type
in any four numbers, showing that the phone is locked. Then ask your
helper to reach over and slowly type in the numbers they are thinking of
and they will freak out.

I wish you many hours of pleasure with this extremely commercial piece
of Mentalism!

19
JOHN CAREY & FRIENDS

UNDER YOUR
SPELL!
Here’s a nice and very direct spelling revelation of a selection
that’s pretty strong and fun to do. Ahead of time you will remember the
card that’s ninth from the top of the deck as a key card.

False shuffle retaining your key cards position and turn the deck face
up into dealers grip. Start a face up hand to hand spread and ask a
participant to name a card they see. Secretly cull this card under the
spread and load it next to your key card so that it will be tenth from top.

We will now execute a lovely and very deceptive false cut by Gary Oullet
called the paradise false cut that he published many years ago in Genii
magazine. Hold the face up deck from above in Biddle grip. Swing cut
about a quarter of the deck into your left hand. Turn the left hand palm
down and allow its packet to drop face down onto the table. Repeat this
allowing the second packet to drop face down onto the first packet. Then
repeat exactly the above twice more and square the deck and hold it face
down.

“Steve, do you want to see a good trick, a great trick or something

impossible?!” Build up the moment and deal and spell the word impossible,
one card for each letter. Then ask for the name of their card and reveal
the last card dealt is theirs.

Have fun!

20
 JOHN CAREY

YOU’VE BEEN
HACKED!
Here’s a very direct approach to divining a pin or passcode that
I’ve had some fun with recently. Totally impromptu and almost self working!

Bring up the topic of numbers and comment on how they impact on all
of our lives. Ask a spectator who you see has an iPhone to open up the
calculator app on their phone and make sure it’s clear to zero. Ask to
borrow the phone from them for an interesting game of thought sending.

Mention that you will type in a single digit number and you will try and
send that thought to them. Ask them what number they received? If they
got it right congratulate them and display the number and then clear the
screen. However if they were wrong show them the number etc and clear
the screen. Play two more rounds of the above and have some fun as you
connect with your participant.

After clearing the screen the third time suggest something a bit more
mysterious. With the phone held between both hands roll the phone over
from left to right to turn it screen side down. As you do this, allow the
number 6 key to land on your right thumb tip and apply pressure and with
no hesitation complete the turning of the phone.

Readjust their iPhone so that you hold it at the inner short edge with the
left thumb below and the fingers above. Exert firm pressure with both
thumb and fingers. This will freeze the screen of their phone. Ask your
participant to extend their index finger and tap the phone screen from
below. Naturally nothing will register, but they won’t realise that. Look
away and raise the screen of their phone towards them. Ask them if they

21
JOHN CAREY & FRIENDS

see a number but don’t call it out if they do? They will confirm they do (6).

“Peter, you are going to create a passcode with that number you are
thinking of. Firstly, double that number in your mind and type in the total
next to the first digit. How many digits are now in front of you? Ok Three,
but it could have been two as everything you’ve done has been random.
Finally add up those 3 digits and whatever the total type that next to the
first 3 numbers you created. So now you’ve created a passcode that you
and only you know, correct?”

Naturally, our force number 6 when doubled equals 12 and when 6,1 and
two are added they will get and type in 9, creating a passcode of 6129.
The process is very loose and doesn’t go on forever. All that’s left to do is
to throw some smoke around the room and read their mind, however you
see fit. A nice alternative revelation is to set your passcode as 6129 and
then have them crack your passcode on your phone.

22
 

23
JOHN CAREY & FRIENDS ANDY SMITH

ANDY SMITH
BIO
Andy Smith has been interested in magic and sleight of hand
since a very young age especially in the area of close up. A student of
the of past masters, his broad experience of both modern and traditional
approaches is reflected in his performances. He is a member of the world
famous Magic Circle and manager of Alakazam magic in the UK.

24
 Andy Smith

COLORED CHOICE
ANDY SMITH
I recently made the decision to study more Mentalism both in
close up and stand up/stage performances. I have found the experience
extremely rewarding and surprised at how the principles most commonly
associated with displays of mind reading have permeated a lot of my
more common magic routines. As part of my study, the works of Banachek
have started to play a huge part especially his writings in the exceptional
and thought provoking Psychological Subtleties series of books. This next,
very short display of your mental capabilities is not designed to be an
effect in its own right, but makes for an interesting lead into a much more
methodologically sound effect where success is 100% guaranteed.

To prepare take three pieces of paper (color doesn’t matter) and on one
write in the following order running with blue first in list form 1/BLUE, 2/
RED, 3/YELLOW, the second piece has 1/RED, 2/BLUE, 3/YELLOW
and the third 1/RED, 2/YELLOW, 3/BLUE. The word BLUE in each case
has a ring around it. The three pieces of paper are then screwed up into
balls. When you are ready to perform the third piece of paper (RED,
YELLOW,BLUE) is placed in to your left trouser pocket, the second piece
of paper (RED,BLUE,YELLOW) is placed in to your left hand jacket pocket
and the first piece is out on your table ready to start.

To begin you state that you need someone with whom you feel you can form
a connection and you have in mind three people that may be suitable, and
that to test their suitability you are going to ask a basic question of each of
them. You pick up the piece of paper and toss this to a female spectator
in the audience (my opening effect which is a duel PIN revelation always
uses a female). You then request that they think of a color. Don’t give them
too long to dwell on this, a couple of beats is generally sufficient. Most of

25
JOHN CAREY & FRIENDS

the time this psychological ploy forces them to only consider a few colors
and most of the time they will settle on blue. If they do name blue, ask
them to come up and help you on stage for your first effect. Of course
you need to ensure that your scripting reflects this person as the ideal
candidate for the effect, but I’ll leave this to you to work out. If they don’t
name blue, then simply have them toss the ball to the next spectator and
repeat the procedure and so on till the third until blue is named. If this
doesn’t happen in all three, then use the last spectator for your opening
effect and pay no attention to the ball any further.

With a spectator up with you ready for your opening effect several things
can now happen. They are of course unaware that there is any writing on
the ball and that you have several balls with differing outs on them. This
of course mean that there are several options and I’ll briefly explain each
as succinctly as I can.

Spectator one is up helping with your first effect and at some point during
the presentation you have them open the ball of paper and look at what’s
written, pointing out that you had a feeling they would be ideal as you had
marked the color they had chosen.

Spectator two is up helping with your first effect. As they come up your left
hand retrieves the 2nd ball (1/RED, 2/ BLUE, 3/YELLOW) ready for a
switch. As the spectator comes up and hands you the ball, you switch it
for the second one and place this on the table. The switched out ball is
casually put in your right pocket (in my case to retrieve a pen for writing
during my opening effect). You then proceed as per option 1, showing the
color marked.

Spectator three is up helping with your first effect. As they come up your
left hand retrieves the 3rd ball (1/RED, 2/YELLOW, 3/BLUE) ready for
a switch. As the spectator comes up and hands you the ball, you switch
it for the second one and pace this on the table. The switched out ball is
casually put in your right hand pocket (in my case to retrieve a pen for
writing during my opening effect). You then proceed as per option 1,
showing the color marked.

26
 Andy Smith

The reason for having each of the list numbered is to subtly imply
(especially for numbers 2 and 3) that is was either the second or third
person selected that would chose blue. I still have number 1 circled for
consistency and because I have already mentioned that three people are
likely to be used, but this isn’t necessarily as apparent unless 2 and 3 are
the ones who may help you out. Of course you can have the ball thrown
after spectator 1 names their color even if it is blue and then come back to
them as if to say they are your ideal candidate, but I normally don’t bother.
The whole idea of the routine is that if blue is named, you have not only
correctly identified the color, but that you have also made a claim to which
of three audience members will select it.

When it comes to the switch, I prefer to use the Tamariz Crossing The
Gaze switch, but any form of false transfer will work. You have all the
added misdirection of the spectator coming up to help you so the heat is
off at this moment anyway. Of course as the ball that is switched is put on
the table and not in play again for a while, you have the benefit of some
time misdirection as well.

This effect allows you to safely miss. It is important to realize ( as Banachek

states in his book) that these types of effects can be used to safely lead
into a more solid routine that has a definite method that works. As the
writing is not known or seen until you want it to, if the color blue is not
named, the ball is only an instrument by which to make selections, and
so no further attention is drawn to it. Of course if everything above DOES
play out, then you have a minor (albeit I feel strong) piece of mind reading
by which to lead in nicely to your even stronger effects and routines. For
more information I wholeheartedly recommend the works of Banachek. I
hope you enjoy it!

27
JOHN CAREY & FRIENDS

SUBTLE TRANSPO
ANDY SMITH
Thanks to the use of a copper/silver coin this effect gives you an
implied transposition and a double vanish. It not only uses this gaffed coin
but employs the Pointing Transfer by Jay Sankey and lapping to surprising
effect. All you need is one copper/silver coin (I use a half dollar/old English
penny), but any type will do.

To start the copper/silver coin is in your left hand trouser or jacket pocket.
I reach in to remove the coin with the silver side facing out. Openly display
the silver coin and apparently transfer it into the right hand. As the coin in
silver side out in open finger palm display, a finger palm type vanish is all
you need to use. For reference I use the Al Schneider vanish which you can
find described on his videos, but essentially this leaves the coin in a finger
palm position in your left hand. The left hand after the vanish immediately
goes back to the left hand pocket to apparently take the next coin. Once
the hand enters the pocket, the coin in the finger palm is flipped over and
you again come out with the coin, this time showing the copper side in the
open finger palm display.

You are going to maneuver the coin towards your left hand fingertips
in preparation for a slight variation of the Sankey Pointing Transfer. As
you begin to close your left hand, the left hand third, fourth and pinky
fingers begin to curl inwards and lastly the index finger however rather
than going on to the face of the coin (copper) it goes just underneath as
the left hand turns paml down the right hand turns palm up depositing
the coin on to the open palm of the right hand (the left hand index finger
remains in contact with the silver side of the coin during the transfer and
as it lands on the open right hand). This is only a slight variation on the
move but means that the coin does not have the chance to revolve as can

28
 Andy Smith

happen in the original). This displays a copper coin apparently in the left
hand and also a silver coin in the right when in reality only one coin is in
play (the audience believing that there is a copper coin in the left hand
and a silver coin in the right).

The right hand is closed over the silver coin displayed and in this action
the copper/silver coin is turned over. You gesture with your closed left
hand and mention to the audience that the copper coin is within and
then motion back to the closed right hand and mention the silver coin is
inside. You can now affect an implied transposition by then opening your
right hand and showing a copper coin. Once this is displayed, close the
right hand back around the coin and re-direct your attention back to the
left hand (where it is thought a silver coin now lies). As this happens, your
right hand in a loose fist moves back slightly towards the back of the table
and allow the coin to fall out of the bottom of the fist in to your lap. This
should not be dwelled on and done whilst all attention is on the left hand.
Once the coin has fallen out, immediately move the right hand back to
the center of the table.

You will now reveal that the silver coin apparently in your left hand has
now vanished and once this has briefly set in, turn your attention back to
the left hand and take a slightly more relaxed time to show that the copper
coin previously shown in the right hand has also now vanished. The whole
sequence has a very fluid beat to it and should be done at a very brisk
pace. There is a lot of action and magic taking place in a short space of
time. When done with this beat, the effect is very fooling and magical. I
hope you enjoy it.

29
JOHN CAREY & FRIENDS

THE KEY
TO IT ALL
ANDY SMITH
I love effects that require a key card and there are tons contained
in the magic literature. Some basic, some more advanced but all ultimately
satisfying. The following idea can be applied to any effect where a key
card is required, in the course of this effect I will use it in conjunction with
a small packet version of Gene Finnel’s Free Cut Principle to give the
impression of an impossible card location.

To start, as the deck is removed from the case you leave one card behind
on the bottom of the case face down. You must know the identity of this
card. I generally perform a few choice card effects which require the deck
to be mixed a few times and return the cards to the case, subtly glimpsing
the bottom card of the deck as they are returned. I will then add a little
time delay before performing my next card miracle and as I remove the
cards to do so, leave the glimpsed card face down in the box. As the cards
are removed I also turn the card case towards me slightly to avoid the
card left behind being seen by the spectator prematurely.

Have the deck shuffled and once the spectator is happy they are mixed,
have them cut the deck anywhere and select one half. The half that is not
used is slid facedown back in to the card case as they are not needed.
Of course once the cards are added back in to the case, the key card is
automatically added to the bottom of this packet.

The cards that are still out in play can now be shuffled again if the
spectator choses, and once done you take the packet back and casually

30
 Andy Smith

thumb off three lots of five cards in to separate piles on the table. You are
now going to utilize a fabulous placement procedure using the Finell Free
Cut principle which I first saw the amazing John Carey use in a fabulous
effect called Impossible (he also has a version using the same approach
where a card apparently becomes invisible and it’s just as amazing!) The
procedure goes as follows and will leave the selection in the 10th position.

There are three piles of five cards facedown on the table. You ask the
spectator to select one of the packets and cut a chunk from it, memorize
the card at the face of the cut off chunk and then to place the talon on
to one of the other packets (that weren’t previously selected). Once this is
done, the remaining packets can then be picked up, shuffled first where
desired and dropped on to the packet containing the selected card, thus
burying the selection. Due to the Free Cut Principle the selection now lies
10th from the top of the pile of 15 cards.

Under the guise of apparently burying the selection further down amongst
more cards, you remove the balance of the deck from the case and add
them on top of the packet of 15 cards on the table. Of course the key card
is on the bottom of the packet that is added and is now 10 cards away
from the selection. The cards can be given a complete cut at this point and
it will not disturb the fact that it is 10 cards away. With this information
in mind, I normally casually ribbon spread the cards on the table and
quickly glimpse where the key card is and count in lots of three and sight
the selection (this has to be done quickly and without hesitation). You can
then have the cards shuffled and reveal the identity or if required control
the selection accordingly once you know what it is. I’ll leave the revelation
to you!

31
JOHN CAREY & FRIENDS

A TRIBUTE TO
HAMMAN
JOHN CAREY
My homage to a master… Use the link below to access the online
video instructions for this trick:

www.johncareymagic.co.uk/a-tribute-to-hamman

Password: &CHUMS

32
 bio

CAMERON
FRANCIS
BIO
Cameron Francis is an actor, filmmaker, and magician currently
living in Orlando, Florida. Over the past 18 years, Cameron has created
many original close up effects and has collaborated with some of the top
names in magic, including Richard Sanders, Dave Forrest, Liam Montier,
Aldo Colombini and Peter Duffie. His tricks have been published in Genii
Magazine, MUM, Magic Magazine, Magician Magazine, The Linking
Ring, The Magic Menu, as well as a monthly column in the British IBM
magazine The Budget.

33
JOHN CAREY & FRIENDS

TAKES MONEY TO
MAKE MONEY
CAMERON FRANCIS
This routine started off as a variation on the David Roth portable
hole plot and then kind of turned into something different. Credit should
also be given to Paul Cummins who had a Matrix that used bills instead
of cover cards.

EFFECT
The magician introduces a bill and then proceeds to produce
three half dollars from it. One by one the coins vanish from his hand and
reappear under the note. As a kicker, a Chinese coin appears under the
bill.

SET UP
For this routine you will need a bill of any denomination, three
half dollars, and a large contrasting coin (I use a dollar sized Chinese
coin). The contrasting coin is only required if you wish to do the optional
final load.

Put two half dollars in your right pocket and one in your left pocket. The
fold the bill in half and place it in your right pocket as well.

As for the larger contrasting coin, I slide half of it up under my belt on the
right side so that the other half sticks out below the belt. Makes it easy to

34
 Cameron Francis

steal later. Alternatively, you can just put it in your right back pocket.

Having said all of that, you can always skip the final load and the first
phase, the coin production. Just borrow three coins and a bill and do
phase two of the effect.

PERFORMANCE
Phase 1: Coin Production (Optional)

As you chat with your spectators, dip your hands into your pockets. In your
right pocket, finger palm one of the coins. Position the other coin so it’s
behind the folded bill. Meanwhile, finger palm the coin in your left pocket.

Remove your hands from your pockets. Keeping the two coins in finger
palm in each hand and the other coin behind the bill with your right
thumb, open the bill using your first fingers and thumbs. Snap the bill a
couple of times.

With your left thumb, slide the coin behind the bill to the middle of it. Left
fingers in front of the bill and thumb holding the coin on the back, lay the
bill and the coin under it in front of you on the table.

Say, “There’s a popular expression that goes, ‘It takes money to make
money.’ Some people don’t believe it but it’s quite true. In fact, I’m going
to prove it right now.”

As you say this, work the coin in your right hand into palm position.
Immediately turn your hand palm down and then let the coin fall, catching
it at your finger tips just above the bill. It looks as if you just snatched a
coin up through the bill.

Place the coin on the table, behind the bill, to your right.

Click your right fingers over the bill and then, using your right fingers lift
the front of the bill up into a vertical position revealing the second coin

35
JOHN CAREY & FRIENDS

under the bill.

Up till now, your left hand has been hanging at your side. Work the coin
in your left hand from finger palm to the tips of your second and third
fingers. Then lift your hand, the back of it to the spectators, so that it is
behind the vertical bill.

Revolve the left hand so that your finger tips are facing your spectators
and then lay the bill on top of them, covering the coin.

Slide the second coin to the left of the first coin on the table.

Keeping the last coin hidden under the bill, fold the bill in half, so that the
coin is between the fold. Then fold it in half again, so now it’s in thirds.

With your right hand, grip the coin through the bill. Click your left fingers
then open your hand and hold it palm up.

Tilting the folded bill down a bit, release the pressure of your right fingers
and allow the coin to slide out of the bill and into your left hand.

Place the last coin next to the other two. You have now produced three
coins.

Phase 2: The Translocation Effect

Unfold the bill and lay it on the table so that one of the short ends is facing
you and the other is facing the spectators.

Gather up all of the coins in your right hand, stacking them on the base
of your second and third fingers.

You will now apparently toss all of the coins into your left hand but you will
secretly hold one back using a friction pass. This is extremely easy to do.

Rotate your reposed right hand so that the back of it is toward the

36
 Cameron Francis

spectators. The stack of coins will now fall on your second and third finger
tips. Simply flick your right hand to the left. This will cause the top two
coins to slide off the bottom coin and fly into your left hand. Friction will
cause the coin on your fingers to stay where it is. The spectators, however,
will believe you have just tossed all three coins into your left hand.

Rattle the two coins in your left hand.

Reach down with your right hand and pick up the bill with your right
thumb and first finger and swivel it over your finger tips so that it covers
the coin. With your left index finger, point at the area of the table in front
of you and make a small circle as you say, “This will be our target area.”

Place the bill back on the table in the same position as before, but leave
the coin under it.

As this point, I perform a totally optional convincer: I toss the two coins
from my left hand back to my right and then perform a Jay Sankey
“Mexican Jumping Coins” two-as-three count into my left hand. If you
don’t know this false count or any other two-as-three coin count, don’t
sweat it. It’s not necessary.

Either way, the two coins (which the spectators believe to be three) are in
your left hand. Make a plucking motion with your right second finger and
thumb and then pretend to toss the invisible coin toward the bill..

Slowly open your left hand to reveal that you are only holding two coins.

Place one coin on the tips of your right second and third fingers and then
place the other coin in the center of your right hand so it can be easily
palmed. You are apparently displaying the two coins as fairy as possible.
What you are actually doing is setting up for another click pass.

It’s going to look as if you simply dump both coins back into your left hand
but here’s what actually happens:

37
JOHN CAREY & FRIENDS

With the back of your right hand to the spectators, allow the coin in right
hand classic palm to fall on top of the coin at your finger tips. There will
be an audible “click!” and the coin will then slide into your waiting left
hand. The coin at your finger tips will stay where it is but it sounds as if
both coins fell into your left hand.

With your right finger and thumb, pick up the bill, revealing the coin on
the table. Immediately cover the coin at your right finger tips by swiveling
the bill.

Set the bill back on the table, covering the first coin and, depositing the
second coin under it. You are once again way ahead of the game.

Now toss the coin in your right hand to display it to the people on your
right. Perform a retention vanish or false transfer, apparently transferring
it to your left hand but secretly keeping it in your right.

Say, “Now you know what happens when I give a snap?… Actually
nothing...”

Pick up the bill with your right hand in the same manner as the other two
times showing two coins under the bill.

Cover the two coins with the bill, depositing the coin that was in your right
hand under it.

With your left hand, do a bad false transfer of nothing into your right
hand, keeping you left hand cramped as if you’re hiding something in it.

“That’s because you need to pluck the coin out of the hand in order for
this to work.”

With your left fingers and thumb, make a plucking motion over your
closed right hand and then toss the invisible coin toward the bill. Open
your right hand to show it is empty. Slowly open your left hand to show it
is empty as well.

38
 Cameron Francis

Keeping the left side of your body toward the spectators, lift the bill with
your left hand to show all three coins under it.

As you do this, steal the Chinese coin from under your belt with your right
hand, and allow the Chinese coin to rest on the finger tips of your curled
right hand.

Place the bill in your right hand, covering the Chinese coin. Then use your
left index finger to slide the coins on the table in a horizontal row.

Place the bill on the table with the Chinese coin hidden under it.

Say, “Now some people think I use an extra coin to pull of this trick. And
it’s true. I do. In fact, it’s been under here the whole time.”

Lift the bill to reveal the Chinese coin.

ALTERNATE COIN STEAL

So if you don’t want to steal your contrasting coin from under
your belt, you can always have it in your back pocket.

When you get to the point where you vanish the third coin, say you’re
going to do something a bit more challenging.

False transfer nothing into your right hand and then reach back and
apparently ditch the coin in your back pocket. As you do this, steal out the
contrasting coin and hold it in finger palm.

Making the plucking motion from your pocket with your right hand,
keeping the coin hidden. Toss it at the bill. Pick up the bill with your right
fingers, covering the coin and proceed as before.

39
JOHN CAREY & FRIENDS

THE UNFOLDING
CAMERON FRANCIS
The core effect here is nothing new. However, the presentation,
I feel, is pretty novel. It’s definitely an effect that if you try it once, you’ll
want to do it all the time.

EFFECT
A spectator writes his initials on the back of a business card. The
card is folded up into quarters and placed on the spectator’s hand. The
magician draws a magic wand on the back of another business card and
claims he will use the wand to make the spectator’s card vanish. The
wand card is waved over the spectator’s hand. Nothing seems to happen.
When the spectator unfolds the business card, he discovers that he has the
drawing of the wand. The magician turns over his card. The spectator’s
initials are on the back!

PREPARATION
You need a stack of business cards and a marker.

Draw a magic wand on the back of a business card. This is a one time
prep as the trick instantly resets every time you perform it. Place this card,
drawing side down, on top of your stack of business cards and you are
ready to go.

PERFORMANCE
Remove the stack of business cards and your marker.

40
 Cameron Francis

Perform a double turnover and have the spectator sign or initial the back
of the card. Turn the double over and remove the top card (this is actually
the wand card). Fold the card into quarters and place it on the spectator’s
hand. Have her clench the card in her fist.

Do another double turnover. Draw a wand on the back of this card. Turn
the double over and remove the top card (this is actually the signed card).

Say, “I’m going to use this wand to make your card to disappear.”

Wave the wand card over the spectator’s fist. Ask her if she felt anything
happen. She should say no. Wave again. Then have her open her hand
and unfold the card to reveal she has the wand card.

Slowly turn your card over to reveal her initials on the other side.

ALTERNATE HANDLING
After step 2, take a business card from the bottom of the packet
and place it, back side up, on top of the packet. Position check: You have
a face down card (printing side down) on top of the packet followed by a
face up card with the spectator’s initials drawn on the back.

Draw a wand on the card. Keeping the wand face up, wave the card over
the spectator’s fist. Get a break under the top card of the packet as you
do this. As the spectator opens his fist and starts to unfold the card, place
the wand card on top of the packet and perform a Harry Lorayne Illogical
Double (similar to the Kadyro/Marlo Move) to switch out the face down
wand card for the face up card with the spectator’s initials on the back
(For those who don’t know it, the Illogical Double is explained at the end
of the Notes).

After the spectator opens his card, reveal the initials on the back of the
card in your hand.

41
JOHN CAREY & FRIENDS

NOTES
At the end of the effect, you have a magic wand drawn on the
back of the top card of your stack so you are instantly set to do the effect
again. Although this effect could be done with playing cards, it would
require a lot of duplicates for multiple performances. Therefore, it is a
much more practical business card effect.

Sometimes, after I fold up the card and place it in the spectator’s hand, I
pat down my pockets and say, “Now, I need my wand. I’m not sure where
it is... Well, maybe I can draw one instead...” I then proceed to draw the
wand on the card. This gives the trick a bit more of an impromptu feel.

42
 Cameron Francis

WHO’S
LAUGHING NOW?
CAMERON FRANCIS
This is a really fun effect where what appears to be a simple
gag turns out to be part of a prediction.

EFFECT
The magician reaches into his pocket and removes six envelopes,
six receipts and a coin purse. He places one envelope aside which has
PREDICTION written on it. “I am so confident that my prediction will be
correct, I’m willing to wager money on it!” He picks up the coin purse and
shakes it. Pocket change is heard jingling inside.

He hands the receipts to the spectator who verifies that they are all from
different stores. The five receipts a placed into the other five envelopes.
The spectator mixes the envelopes and then deals them into a row on
the table. She then chooses one. The magician asks her to open it and
remove the receipt. He asks which store it is from. She says CVS. He then
opens the PREDICTION envelope and slides out a plastic discount card
from CVS! There is nothing else inside the envelope.

“Let me ask you this, I paid cash at CVS, yes? How much change was I
given?”

The spectator says 62 cents. The magician opens up the coin purse and
dumps out the change. It is exactly 62 cents!

43
JOHN CAREY & FRIENDS

PREPARATION
You need to purchase something from a store for which you
have a discount card. In this case, we’ll stick with CVS (American drug
store). Make sure you pay in cash and that you receive some kind of
change. Let’s say the change you received was 62 cents.

You also need four other receipts from four other stores, six pay envelopes,
a coin purse and 62 cents in coins.

Put the change in the coin purse. With a permanent marker, write
PREDICTION on one of the envelopes. Slip the discount card into this
envelope. Mark one of the other envelopes with a light pencil dot.

PERFORMANCE
Remove the pay envelopes and receipts from your pockets
saying, “I’ve got a few receipts in here from various stores. I also have
a prediction in this envelope which I’m going to leave in there for now.”
Place the PREDICTION envelope on the table.

“In fact, I’m so confident that my prediction will be correct that I’m willing
to wager money on it.”

Remove the coin purse from your pocket, give it a shake and place it on
the table. “Okay, so maybe I’m not that confident.”

Tell the spectator to look at the receipts and to verify they are from different
stores for different amounts.

Once she has looked them over, take them from her and put one in each
envelope. Be sure to place the CVS receipt into the marked envelope.
Hand the envelopes to the spectator and ask her to mix them up. This
done, tell her to place them on the table in a row.

Say, “Now, we’re going to eliminate the receipts one by one until there is

44
 Cameron Francis

only one left and we’re going to do it in the fairest way possible.”

You will now perform Roy Baker’s brilliant PATEO force.

Point to any two envelopes except the CVS receipt and ask the spectator to
slide one of the two envelopes out of the way.

Now have the spectator point to any two envelopes and you slide one out
of the way. If one of the envelopes she points to contains the CVS receipt,
slide the other envelope out of the way.

There are three envelopes left. Point to the two non-CVS envelopes and
have the spectator slide one out of the way.

Two envelopes left. Slide the indifferent envelope out of the way leaving
the CVS envelope.

“Okay, so there’s one envelope left. Please remove the receipt from it.
Which store is it from?” Once the spectator has done this, slide the card
out of the envelope to reveal you predicted CVS.

After they’ve had a chance to react, ask, “I think I paid in cash at CVS.
What was my change?” She will say 62 cents. Draw attention back to the
coin purse.

Open it and dump the 62 cents onto the table.

45
JOHN CAREY & FRIENDS

ACES UP
JOHN CAREY
Use the link below to access the online video instructions for this
trick:

www.johncareymagic.co.uk/scattered

Password: &CHUMS

46
 bio

GEORGE MCBRIDE
BIO
In 1977, I walked into Roy Walton’s magic shop. That’s where it
all started for me.The first book I bought was Karl Fulves ‘Self Working
Card Tricks’ which I think was published the year before.

The man behind the counter recommended ‘The Royal Road to Card
Magic’ which I duly purchased. As time passed, I realised the man behind
the counter was none other than Roy Walton.

I couldn’t believe it, I had botched my way through so many routines in

front of this gentleman’s presence, and not once did he discourage me.
On the contrary, he was very supportive and complimentary.

Fast forward to the 1980s, I met Peter Duffie and Gordon Bruce at an
Edinburgh Magic Convention, it was a chance meeting. I vanished a coin,
after which Peter said, “what the hell happened there”, that was the first of

47
JOHN CAREY & FRIENDS

many pleasurable meetings, with both Peter and Gordon.

Around 1985, I became, semi-professional, working clubs, pubs,

restaurants and night clubs. As the years passed, I branched out into
weddings and private house parties.

We, in Scotland are so fortunate, Roy Walton started it, and Gordon and
Peter are continuing to prolong it. I simply consider myself very lucky to
have been in the right place at the right time.

When it comes to life, we spin our own yarn, and where we end up is
really, in fact, where we always intended to be.

48
 George McBride

AMBITIOUS
HOFZINSER
GEORGE MCBRIDE
The following routine combines the “Ambitious Card” plot with
that of the classic “Hofzinser Ace Problem.”

1. Begin by having a card chosen. The card is replaced in the pack and
controlled to the top. This should present no problem.

2. The pack is now turned face up and the four Aces are removed.To do
this, simply run through the pack and as you come to each Ace, upjog it
for half its length.

Also, when you are removing the Aces take this opportunity to glimpse the
top card of the pack (the selection).

Once all four Aces have been upjogged, strip them out using your right
hand, then turn them face down and place them under the pack.

3. The pack is now flipped over into your left hand. For this description
let’s say the face up Aces are in the following order from the top down - S,
H, C, D. And the suit of the selected card is Clubs. The Ace of Clubs has to
be manoeuvred into the 2nd Position from the top. In this case you would
just have to switch the Clubs with Hearts. The order of the Aces will now be
from the top down: S, C, H, D. The Aces are then casually displayed and a
break is secured under the first face down card (the selection).

Square the cards take them into a right hand Biddle Grip. The pack is

49
JOHN CAREY & FRIENDS

placed onto the table in front of you. Transfer the Ace packet into your
left hand.

4. Ask the spectator to merely think of the SUIT of his card, saying, “The
suit of your card could be a Spade.” As this is said the right hand removes
the Ace of Spades, revolves it face down and places it under the packet
(photos below). This procedure is carried out with the remaining three
Aces. All cards in your left hand are now face down.

5. Say, “Let me show you an interesting way for me to discover the suit of
your card.” As this is being said, execute a Double Turn-over to display
the Ace of Spades. Then, turn the double face down again. Take off the
top card and place it under the packet, saying, “If the Ace of Spades rises
up through the packet to the top, that tells me the suit of your card was
NOT a Spade.” Flip over the top card revealing the Ace of Spades on top,
then take it with your right hand and place it face up on top of the pack.

The same procedure is carried out again. Double Lift to display the Ace of
Hearts, then turn it face down and place the top card under the packet.
Flip over the top card revealing the Ace of Hearts, as you say, “This tells
me the suit of your card wasn’t a Heart.” Place this Ace face up on top of
the pack.

The handling changes a little here for the next Ace. A single turnover is
done to show the Ace of Diamonds. This Ace is taken in the right hand
and displayed.

50
 George McBride

As you do this casually rotate the

remaining double in your left
hand so that the audience catch
a glimpse of the Ace of Clubs
(fig.3). Rotate your left hand palm
up again and place the Ace of
Diamonds face down on top of the
left hand card(s). Immediately do
a two-card Push Off, placing the
double to the bottom. Flip over the top two cards as one to reveal the Ace
of Diamonds back on top.

Remove the double with your right hand and place it face up on top of the
pack, using similar patter as before. To conclude the routine, simply look
at the remaining card in your hand and say to the spectator, “You must
have chosen a Club.” Let them reply before revealing the card in your
hand as the actual selection!

51
JOHN CAREY & FRIENDS

ANGEL HEART
GEORGE MCBRIDE
This is a variation of Melvin LeHare’s “Vernon, My Angel, Your
Home” that appeared in Abacus. Melvin’s trick was based on a Horowitz
effect called “Look Homeward Angel.”

Before commencing, remove the four Aces and place one Ace face down
on top of the deck and the other three face up on the bottom. The order
of the other three Aces is not important.

1. Give the deck a False Shuffle or False Cut (or both!) then take it into
dealing grip. Invite a spectator to cut off about one third of the deck, turn
it face up and place it on top. Ask him to repeat this procedure, but on this
occasion to “cut deeper” so that he lifts off about twice as many cards as
previously (this is the Balducci procedure). This section is also turned over
before being replaced.

Spread the deck briefly between

your hands to allow everyone to
see what the cutting process has
achieved. Some cards face up -
some cards face down (photo),
then square the cards again.

NOTE: This spread/display is important. Lay people have no conception

of the condition of the cards following the cuts.

2. Announce that you will count the number of face up cards.

Deal cards onto the table counting aloud and stop once you have dealt

52
 George McBride

the first face down card. Assume you have dealt twenty cards - nineteen
face up and the twentieth card face down. Lift off the face down card from
the dealt pile and show the face to the spectators. This will be the Ace of
Hearts. Place the selection face down on the bottom of the undealt cards
- that is, the section you are still holding, saying, “I’ll place the card at the
lowest possible position…on the bottom.”

3. Pick up the cards from the table and place them face down on top of
the lower section, but maintain a break between the two groups. Execute
a half pass. This will bring the Ace of Hearts to a face up position directly
below the top nineteen cards.

Snap your fingers as a magical gesture, then ask the spectator how many
cards down his card originally was. He will reply, “Twenty.” Count off
twenty cards slowly and deliberately into a face down pile and everyone
will be surprised to see the Ace of Hearts back at the twentieth position.
But, this time it’s face up.

4. Reach forward with your right hand, pick up the face up Ace and hand
it to the spectator. As you do so, place your left thumb below the section in
your left hand and secretly flip it over.

Then immediately bring the right hand back and take hold of this section
and drop it square on top of the face down pile on the table.

This action leaves the other three Aces face up within the face down deck.
Ask the spectator to wave the Ace of Hearts over the deck, as if it was a
magic wand.

Conclude by spreading the cards

across the table revealing the other
three Aces have magically reversed
themselves in sympathy with the
selected card (photo).

53
JOHN CAREY & FRIENDS

PASS THE
SANDWICH
GEORGE MCBRIDE
This trick was worked out after reading Jim Swain’s “Passing
Along the Vanishing Aces.”

As the title suggests a single sandwich effect is what takes place here.

1. Run through the deck and pick out the two black Aces and place them
face up on top of the deck. Now do a little Braue Addition to switch out
one of the Ace for an indifferent card. This is, briefly, as follows:

Lift off the top three cards (apparently only two) then peel off the uppermost
Ace onto the deck, the flip it face down. Immediately drop the remaining
double on top and then flip the second ace face down. Finally deal the top
two cards onto the table reversing their order.

POSITION CHECK
On the table you have one black Ace and on top of that you have one odd
card, unknown to the spectators the other black Ace is on top of the deck.

2. Spread the deck and have a card chosen, then have the selection
replaced and controlled to the top with a black Ace below it.

3. Drop the deck onto the assumed Aces, then pick the deck up and hold
it in right hand Biddle grip. Casually show the bottom card - an Ace - then

54
 George McBride

bring the deck down on to the left thumb and swivel out the Ace so it
comes round the left side of the deck and lands on top face up (see photos
below).

Obtain a break below the third card from the top. Now execute a Pass at
the break. The first Ace vanishes.

4. Again hold the deck in the right hand Biddle grip and show the bottom
card of the deck, the other Ace. Swivel it out and around so it ends face
up on top of the deck. Obtain a break anywhere near the middle of the
deck and execute a Pass. The second Ace vanishes.

Finally, spread the deck and show the sandwich in the middle. Ask the
spectator to name his selection, then turn over the trapped card to finish.

55
JOHN CAREY & FRIENDS

CAAN CAAN
JOHN CAREY
Ready to CAAN CAAN? Here’s a super clean and fooling
approach to a classic effect, using a Henry Christ concept that’s deadly!
Use the link below to access the online video instructions for this trick:

www.johncareymagic.co.uk/caan-caan

Password: &CHUMS

56
 bio

GARY PLANTS
BIO
Gary Plants has been performing close-up magic for more than
fifty years. He lectures and performs for other magicians, and worked
with Michael Ammar on very successful “Easy to Master Card Miracles”
Volumes 1,2,and 3.

57
JOHN CAREY & FRIENDS

I KNOW WHY
I AM HERE
GARY PLANTS
Here is a nice easy little trick that can be done anytime, with
anyone’s deck of cards. This is my variation of a trick called “Why Am I
Here” that can be found in the Vernon Chronicles “More Lost Inner Secrets
Volume 2” on page 122.

What I have basically changed is getting into the trick, but the effect is
exactly the same.

Have a deck shuffled by someone. Take the deck back and turn it face
up and look through the cards for any of the fours...the Four of Spades,
Hearts, Clubs, or Diamonds. You want to use the four that has cards on
either side of it that add up to a value of around fifteen to twenty. Split the
deck so that the four is on the face of the left-hand packet, use the left
hand only to place the four face down on the table. Place the remaining
cards in the left hand face down off to the side. Now place the cards in
your right hand face down on top of the tabled packet. At this point, you
should have a face-down four on the table and beside of it is the rest of
the deck.

You have just placed a four on the table and cut the two cards on either
side of the four to the top and the bottom of the deck. You are now
finished with the setup.

You explain that the problem with most cards tricks is that they use too
many cards (Thank you Derek Dingle).

58
 Gary Plants

Let’s say that the top and bottom cards add up to twenty. You will now
spread through the face- down deck and remove twenty cards at random.
I outjog cards two at a time until twenty cards have been outjogged. Strip
those twenty cards out and place the remainder of the deck on the table.
The top and bottom cards of the section on the table should add up to
twenty.

Let the spectator shuffle the twenty cards that you just stripped out of the
deck. You never call attention to the number of cards! Have any card
selected, peeked, etc, and control the card to the bottom of the packet.

Now you have two options. For laymen, I just place the packet beside
the packet already on the table and I Zarrow Shuffle the twenty cards
under the top card of the packet that has the two known cards on top and
bottom.

For magicians, I pick up the packet on the table and I do a false faro
shuffle under the top card only. Place the two packets into faro position.
It is CRUCIAL that the backs of both packets face the spectators. I use
my right first finger to bring over the top card of the left-hand packet
about half the width of the border. My right hand now slightly lifts up its
packet so that it can be slid in under the top card in a faro action. This is
completely deceptive when done correctly. It looks just like a faro shuffle.
This idea was first shown to me by my dear friend David Williamson many
years ago. I am not sure if this is his original idea or not.

Another option would be to use a Bluff Pass for the return of the packet.
You choose.

You are now finished with everything except the reveal.

Place the deck to the left of the table (magician’s viewpoint). Turn over the
face-down four on the table and explain that you are going to have the
deck cut into EXACTLY four packets.

Have the spectator cut off about 2/3 of the deck and place it to the right

59
JOHN CAREY & FRIENDS

of the packet left on the table.

The leftmost packet is turned over. Let’s say there is a seven on the face of
this packet. This is packet one.

The deck is picked up and exactly seven cards are dealt down into a pile
to the right of the first pile. This is packet two.

This pile is now turned face up and let’s say there is a ten on the face of
this packet.

Ten cards would now be dealt to the right of the other two packets. This
is packet three.

This pile is now turned over and let’s say there is a four on the face. Four
cards would now be dealt to the right of the third pile. This is PILE FOUR!!!

Ask for the name of the selection and let the spectator turn pile four face
up. The selection will be on the face of pile number four, as you predicted
at the start.

60
 Gary Plants

TEAM WORK
GARY PLANTS

EFFECT
A card is freely selected and lost in the deck. Various spectators
attempt to find the selected card with no success (99% of the time). By
using “team work”, the selected card is finally located.

METHOD
Control the selected card to a known position using your favorite
method. For this, I control the card using the Marlo Incomplete Faro
control. This brings the chosen card to the 26th position from the top of
the deck. Once the card is there, you can obviously cut a few cards from
the top or bottom if you want to change the location of the card.

Sometimes I will have a key card at the 26th position in the deck, have a
card freely selected and then returned under the key card. You can now
ribbon spread the deck face up to show the card is “truly lost” and at the
same time learn the name of the selected card. It will be the card directly
below your key card.

For the sake of explanation, let’s assume it is located 26th from the top
of the deck and ONLY the person who selected the card knows what it is.

Do a wide ribbon spread of the deck and ask someone to slide any card
about halfway out of the spread of cards. The spectator is asked to turn
the card face up and put it back where it came from. It should stay in its
original position, although, as long as the cards in the top half of the deck
stay in the top half, and cards in the bottom half of the deck stay in the

61
JOHN CAREY & FRIENDS

bottom half, you don’t really need to worry if they replace it one or two
cards off.

Remember the value of this card, which is easy since it is face up.

Repeat with spectators 2, 3, 4, etc until you get a sum that is equal to
(ideally) or very close to 26. I try to get within 2 or 3 away, so a value of
23 to 29. If you hit on 26 exactly, BINGO. You don’t do anything.

Otherwise, you will need to move cards from either the top of the deck
to the bottom or from the bottom to the top. Find out what works for you.
Since the spectators have no idea what is happening at this point, you
will find it very easy to just scoop up the cards “accidentally” leaving 2-3
cards on the table and then putting them on the bottom or top depending
on what you need.

If you are capable, a pass of some sort can be used to add or take away
cards. I sometimes use the Bruce Cervon Free-Turn Pass for moving cards
from the bottom to the top secretly. Cards can also be palmed off of the
top to correct the value. See what works for you!

This is somewhat like Dai Vernon’s “The Trick That Can’t Be Explained”.
You have an ending that you are heading towards, but it will be slightly
different each time you perform it.

If you try this a few times you will see that it is fairly easy to get to the
correct final position.

IMPORTANT
Be sure to stress to the spectator who selected the card to not
give any help or to say anything should the card be turned face up. If it is
“accidentally” turned face up, it doesn’t matter. You still find the card the
same way.

Once the card is positioned correctly (it is positioned to the sum of the

62
 Gary Plants

value of face-up cards), tell the spectators that since we haven’t found the
card individually, maybe we can work together....team work....to find the
selected card.

If no one suggests the correct solution, nudge them in the right direction.

The cards are widely ribbon spread across the table.

Add the values of all of the face-up cards together and let a spectator
slowly count down from the top of the spread and push out the card at the
position equal to the total.

Congratulate them on their “Team Work”!

ANOTHER TIP
For those who perform memorized deck work, you can do this
effect by just having a card named. Cut the deck so that you know the
exact location of the card and continue as above.

Have fun.

63
JOHN CAREY & FRIENDS

THREE PILE TRICK

GARY PLANTS

Have the deck thoroughly shuffled and on taking the cards

back, glimpse the bottom card and remember it. You may want to do any
nice false cut at this point.

What is going to be explained now is from the view of the magician.

Place the deck at the center of the table. Ask your spectator to cut off a
small packet of cards, about 4 to 6 cards. These cards are placed to the
left of the original pack. This is again repeated, only these 4 to 6 cards will
go to the right of the original packet.

This is repeated several times until the three packets are approximately the
same size. Sizes of the packets do not matter at all! What is important is
that you have a known key card at the bottom of the center pile.

Have the spectator pick up the left pile and deal down cards to the table
and stop at anytime.

When he stops, tell him to drop the remaining cards on top of the pile of
cards that he just dealt to the table. Stress that the top card of that pile
cannot be known to anyone. If he chooses, he can repeat the procedure to
get a different card. This makes no difference. The spectator now looks at
the top card and remembers it as his selection. He should probably show
it around as well in case he forgets the card later.

Let’s say the top card is the Two of Spades.

64
 Gary Plants

Explain that the center pile will represent the VALUE of his selected card.
Explain that you are going to look away and he is to take the center pile
and deal cards onto the left pile, equal to the value of the selection. Then
he is to drop all remaining cards on top. Look away as this is done.

He will repeat the same thing with the rightmost pile, only this pile will
represent the SUIT. It makes no difference whether the suit is spelled with
an S or not. If the spectator asks, tell him to make that decision. So he
will spell out the suit with this pile. The cards are once again dealt down
onto the combined pile of cards still on the table. After he deals the suit,
he once again drops all remaining cards onto the pile. The deck should
now be back together.

He may now cut the cards as much as he wishes.

To locate the selection:

With the cards face up, find the key card.

THIS IS VERY IMPORTANT: SKIP the next card to the RIGHT.

THEN count starting one, two, three, four...to thirteen. Any card that
“matches” the count COULD be the selected card. If you get lucky, only
one card will match. Now end with any of the 1001 revelations that you
know.

I will give a suggested scenario if two cards happen to match, as it does

sometimes.

Remove three cards from the deck, the two possible selections and any
Two, let’s say the Two of Diamonds. The spectator does not see what these
cards are.

Fiddle around with the three cards, act like you’re not sure what the
selection is, which should be easy to do, since you don’t! Place the Two of
Diamonds face down on the table and then lose the other two cards into

65
JOHN CAREY & FRIENDS

the center of the deck, but in reality, catch a break above those two cards
and in a series of cuts, bring them back to the top of the deck. When you
put the two cards into the center of the deck, make sure you know what the
uppermost of the two cards is. Let’s say it is the King of Spades.

Position at this point is:

You have a face-down Two of Diamonds on the table.

You have the two possible selections on top of the deck, and you know the
uppermost one of those is a King, the King of Spades.

You now say that you are really not sure what the selected card is, but that
the card on the table will find the card for you.

Turn the Two of Diamonds face up and use the Vernon Depth Illusion, aka
TILT, to place the Two between the two possible selections.

Cut off a small number of cards from the top, about 15 cards or so and
faro them into the deck so that the top three cards of that packet will end
up somewhat centralized.

Ribbon spread the deck across the table and the face-up Two will be seen.

For the first time, ask for the name of the selected card. The two possible
selections will be two cards away from the Two of Diamonds. The King of
Spades will be two cards to the right and the other possible selection will
be two cards to the left. Tell him to count in the proper direction to reveal
his selection.

Let the spectator remove the card and show it around.

I’ll let you have fun coming up with a solution if by a rare chance there are
three or more possible selections. Have fun working them out.

Done

66
 JOHN CAREY

CHEEKY PASS
JOHN CAREY
Exactly what is says… Use the link below to access the online
video instructions for this trick:

www.johncareymagic.co.uk/cheeky-pass

Password: &CHUMS

67
JOHN CAREY & FRIENDS

JACK GOLDSTEIN
BIO
Jack Goldstein is an author and traveller with experience in all
things ‘magical’ including magic, mentalism and hypnosis. He travels and
performs alone, creating meaningful connections on a one to one basis.

He has travelled to and performed in Thailand, Vietnam, China,

Argentina, Equador, Bolivia, Columbia, Chile, Brazil, Peru, Costa Rica,
all of Europe, the USA, Canada, Australia, New Zealand, the Galapagos,
Finland, Iceland, Kenya, South Africa…and more. The journeys are
always independent, with no schedule and carrying only a backpack, a
wallet and a passport.

Travelling allows him to fulfil the entertainer’s requirement; constantly

seeking a new audience for his material. He can normally be found in
the corner of the hostel, chatting to other travellers and ‘engineering the
impossible’. He offers no disclaimers and seeks the strongest personal

68
 bio

connection possible. His ‘performances’ are over a meal, or during a

journey, or having a few drinks with other travellers.

Jack’s publications include the ‘Deceptions From a Daypack’ series, which

cover his journeys and magic through various continents; real people,
real performances, as it happened. He has contributed to ‘Psycrecy’,
the magazine for Psycrets British Society of Mystery Entertainers. His
latest limited edition release is “Panthera - Improve and Develop Your
Mentalism”. Jack donates 100% of his profits to various social and
environmental charities around the world.

• www.facebook.com/JackGoldstein.mentalist

• Jackgoldstein@talktalk.net

69
JOHN CAREY & FRIENDS

BIFE DE CHORIZO
JACK GOLDSTEIN
Manuel shares a meal with me and takes part in a three phase
‘spectator as mind reader’ effect.

PERFORMANCE
There I was, sat in a smoky Parrilla in La Quiaca, Argentina. I
had just polished off a huge bife de chorizo, and a second bottle of cheap
local beer. When I checked in and dropped my rucksack off at the hostel
only a few hours before, the handyman (Manuel) said he would show
me a local diner; we ended up sat at a small wooden table with nothing
but old cutlery and a small dish of chimichurri. I was cleverly toying with
a deck of cards, not to play a game of pinochle, but more to generate
discussion, as a good performance may lead to a free meal. Manuel lit
a small cheroot and as the smoke drifted lazily towards the dark wooden
ceiling, he looked me in the eye without saying a word, for long enough
for it to be uncomfortable. Then he spoke.

“¿Eres un jugador?” he asked.

“No” I replied, “I’m not a gambler”.

Manuel nodded slowly and turned to look out of the window at the quiet
street outside. I could feel the free meal slipping away, and I realised that
I would only get one chance. “But I can do something that most gamblers
would love to be able to do. Would you like to see”?

“Si” he replied laconically.

70
 Jack Goldstein

I asked him to just think of one of the cards and looking him in the eye,
I slowly placed a card face down on the table. I asked him to name the
card he was thinking of and he paused, staring at me without blinking,
before stating the 6 of Clubs. I asked him to turn the card over. It was the
6 of Clubs!

Manuel slowly nodded and without speaking a word, turned to look out
of the window at the passers-by in the street. Seconds passed by and the
cheroot was half finished, when he turned to me with no emotion in his
face.

“¿Cualquier persona puede hacerlo?” he asked.

“Yes” I replied, “Anyone can do it”.

He thought of another card, and I then asked him to point to anyone in

the café to help. He pointed to the waiter, who wandered over slowly. I
handed the waiter the deck and asked him to take his time, to run through
the cards and place one face down on the table. After the waiter placed
one down on the table, I asked Manuel to name the card he was thinking
of. He named the Queen of Spades, and then slowly turned over the
tabled card, to find the Queen of Spades.

Once again Manuel nodded, and then he finished his cheroot and turned
to look out of the window. Dusk was drawing in and the only disturbance
was the dogs that seem to roam every street corner in South America.
After a while Manuel turned and stared at me without blinking.

“¿Puedo yo hacerlo?”

“Yes” I replied, “even you can do it”.

Manuel took the cards from me. He asked me to think of a card, and then
he concentrated before placing one face down on the table. He covered it
with his hand, which was gnarled and leathery from over 60 years of hard
work in the baking heat. Then he sat staring at me.

71
JOHN CAREY & FRIENDS

“Qué cartas estás pensando?”

I’m thinking of the 4 of Hearts” I replied, looking back at him. Manuel

continued staring at me; only the slightest shaking of his head indicating
what he was thinking. But his hand stayed covering the card. At which
point the waiter reached across, slid the card out and turned it over to
reveal the 4 of Hearts.

I relaxed and put the cards away, leaning back in the uncomfortable
wooden chair, as the streetlights came on and the rain started to fall. It
was another success, which was only marred by the waiter putting the bill
in front of me. Manuel stared at me and raised both eyebrows a fraction.

“¿Está usted pagando?” he asked.

“Yes” I replied with a sigh “I’m paying”.

GENERAL COMMENTS
The above description is exactly what happened over an evening
meal in a local diner during my recent travels through South America. My
travel journal describes not only the hostel that I was staying at, but also
just how laconic Manuel was. It’s possibly the most laid-back reaction
to an effect that I’ve ever seen, yet there was evidence of inner turmoil.
Fortunately, the meal didn’t cost that much; my journal shows that the
meal with drinks for Manual and me came to ARS300, about £20.

The presentation is designed to be simple, direct, easy to follow and can

involve everyone. It can be repeated at group to group if that is your
performing style, or simply once in a standalone performance. When
designing it, various key elements were required.

· No set up or preshow, and the cards are not forced

· Each phase can be performed as a standalone effect

72
 Jack Goldstein

· The cards are named after each one is tabled

· Anyone can be the spectator or the mind reader.

Although each phase appears identical, the methods used are completely
different, preventing backtracking.

PHASE 1: you read a spectator’s mind. Uses a simple peek.

PHASE 2: a volunteer reads the spectator’s mind. Uses an instant stooge,

but without needing any instructions.

PHASE 3: the spectator reads your mind. Uses a marked deck.

THE METHOD - IN DETAIL

PHASE 1 – I’M THE MIND READER.
Set the scene and explain what you do. Try to get a discussion
going within the group, even the non-believers are welcome! This
presentational aspect is important but is completely dependent on
your style, so it can’t be defined here. However, don’t miss out on this
opportunity to do the groundwork. Once you are ready to begin, have the
deck of cards shuffled (if you must, I don’t) then have a spectator peek at
a card…“I want you to just think of a card rather than take one out, so just
say ‘stop’ as I run through these…”

Hold the deck vertically, with the face towards the spectator, and run down
the side of the deck with the forefinger of the free hand. Ask the spectator
to call stop, allowing him to change his mind if he wishes. At that point
open the deck slightly and request the spectator to think of this card (you
can turn your head at this stage if you want). After a short pause, allow the
remaining cards to run off the finger, holding a break below the selected
card with the little finger of the hand holding the deck. Hold the cards

73
JOHN CAREY & FRIENDS

casually in a dealing position, but do not peek at the card yet. This is the
apparent point that you read the spectator’s mind, so make sure that
there is a process. Ask the questions that fit your style. You may ask them
to concentrate on the colour of the card, or you may ask them not to react
when you name the suits, etc. I often make a guess, “…..it’s a black card”
and simply respond depending upon what their answer is. But you should
make several references to the card that the spectator is thinking of.

When ready, nod and say “got it” and only then should you turn the deck
face up, glimpsing the card above the break. I use the ‘Book Break’ peek,
which is simply holding the deck in the left hand, with the little finger
holding the break. The right-hand thumb and second finger grasp the
deck at the inner and outer corners on the left-hand side and pivots the
deck face up; the right-hand side of the deck stays in contact with the left
hand. This action opens the break and allows you to glimpse the card.
N.B. I’m left-handed; if you are right-handed, simply reverse the handling.

Run through the deck with the faces towards yourself, remove the card
and place it face down on the table or someone’s hand. The way I do it is
to place it face down in front of me, pause, then very slowly push it across
the table to in front of the spectator. There is something very theatrical
about that placement.

Recap what happened, mentioning that the spectator has been thinking
of a card. Stress to them that no one could have known what card they
were thinking of. Ask them to name their card and then get them to turn
it over. A MATCH!

PHASE 2 – THE STRANGER AS MIND READER.

Ask the spectator to think of a card again by running through
them and holding a break above the chosen card as before, then ask him
to nominate someone to help. I usually stress that this should be one of
his friends that he does not think is capable, who has never demonstrated
any psychic ability at all, who may even struggle to pick up the thoughts!
The reason I say this is that this person is going to become an instant

74
 Jack Goldstein

stooge, and I’ve found that if his talents have been doubted, he keeps
the secret to himself. I have never had the stooge reveal how this part
is done. While the above is going on, reverse the selected card in the
centre of the deck. I usually double undercut to the top/bottom and do a
Braue reversal. Alternatively, you can side steal the card and reverse it, but
whichever method you use there is ample time due to the misdirection of
selecting the spectator.

Hand the deck to the chosen assistant, and ask them to run through the
cards slowly, try to pick up the thoughts, and if one card stands out, to
place it face down on the table. Caution the assistant to take their time
and to go through all the cards. At this stage, the volunteer will have no
idea what is going to happen or how they are going to do it. They will
most likely have a slightly puzzled expression, so advise them that to help
them concentrate, they should turn their back, stand to one side etc. This
is done ostensibly to help them focus, but in reality, is necessary to prevent
others from seeing the reversed card.

While this is being done, ask the spectator to concentrate on the card that
he is thinking of. Get him to form a strong picture in his mind etc. Once
again, there needs to be a process. At some point the assistant will turn
around and place a card face down on the table. Ask the spectator to
name the card he’s thinking of and stress the impossibility of the assistant
picking up his thoughts. Ask for the card to be turned over. A MATCH!

PHASE 3 – THE SPECTATOR AS MIND READER.

This stage should be self-explanatory. You get the spectator to
take the cards and shuffle them. Ask him to show you the cards to let you
think of one. Then ask him to try and pick up your thoughts. I try and talk
him through picking up the thoughts; let’s face it, if this was genuine, he
would need guidance. But more importantly, you want him to feel that
he actually received the card, rather than just guessed it. Dress this up as
much as possible before getting him to place a card face down on the
table.

75
JOHN CAREY & FRIENDS

Glimpse the marking, to find out what card has been put down, then
turn to the other spectators and point out the impossibility of what’s been
happening. Stress that three cards have been thought of, and identified,
and point out that getting one is good, two is impressive, but getting all
three is almost unheard of. I make sure that I never look at the card again
after glimpsing the marking. Take a deep breath and state that the card
you are thinking of is the “ ---- of -----“, naming the card on the table.
Allow it to be turned over to reveal the correct card. A MATCH!

FINAL NOTES
So, there you have it. A 3 phase ‘spectator as mind reader’
routine that is easy to do, direct and very powerful. I’ve performed this
hundreds of times and it always gets great reactions, partly because it
is so direct and partly because I sell it as the real thing. I make sure that
there is a definite process, where the mind reader picks up something,
somehow. I don’t spend any time trying to explain how I do the things
we do; there’s no discussion of reading body language, or actual mind
reading, or any specific method. I simply do it as it would happen and
I act in character at all times. If I could do the things for real, I wouldn’t
spend the first 5 minutes explaining how and why. I spend most of my time
travelling, and this routine has served me well wherever I’ve been. I hope
you have as much fun performing it as I have.

76
 Jack Goldstein

HEARTBEAT
JACK GOLDSTEIN
Amanda and Steve were travelling with their son Oliver on a 12
month motorhome ‘adventure’. Completely different ages and
expectations, but still connected and drawn together as a family unit.

PERFORMANCE
I was sat taking photographs of the waterfalls (Saltos del
Petrohue) with Osorno Volcano behind it. I had parked my little VW camper
a short walk away, when I saw a large motorhome turn up. Eventually the
family emerged and walked up to join me, taking in the views.

We quickly got chatting and introduced ourselves. They were Amanda and
Steve and were travelling with their young son Oliver. They had sold up,
taken Oliver out of school and were living the dream.

There are no refreshments at the waterfalls, but we all made something

to drink back at the vans, then soon started swapping tales about life and
travelling on the road. About being together and sharing memories. I invited
them to take part in something unusual, then removed three pieces of card.

“As you can see, the photo on

these small cards represents the
bond that holds you together.
Permanently. The picture shows
the family unit that is visible to
everyone else, but the other side
remains sight unseen, as it is your
family, your bond”.

77
JOHN CAREY & FRIENDS

I wrote a short message on the back of each one, then invited Steve
to mix them up thoroughly and place them face down on the small
melamine table he had produced from the large garage at the back of
his motorhome.

I looked away as he mixed them up and placed them down, then still
without looking I spoke directly to Steve...

“You don’t know what’s written on the cards, but you may know what’s
written in the stars. Please take any one of the cards without reading it and
place it into your shirt breast pocket. Now take any other and pass it to
your partner. Finally pass the last one to your son”.

After he confirmed this was complete, I turned around and opened my

eyes, blinking slightly in the bright sun and the deep blue sky. All three
were looking at me expectantly.

I took a sip of my cortado, then turned to Amanda and asked her to read
her card aloud.

Amanda read it to herself first and then spoke quietly...”To my wife, my

soul mate, my life partner, I loved you the moment I saw you. This is my
expression of that eternal love, keep it forever”.

I turned to Oliver and asked him to read his card.

He read it out. “To our precious son, you are our future and we will love
you always. This is our expression of our eternal support for you, keep it
forever”.

I then turned to Steve and asked where he put his card.

“Here” he said, as he tapped his shirt breast pocket.

I asked him to tap it twice. Then repeat. Repeat. Repeat. Then I invited him
to remove it and read it out.

78
 Jack Goldstein

“This card” he said, “this is placed close to my heart, where all our love,
hopes and dreams reside. This is my expression of our family being the
heart of everything, I’ll keep it forever ”.

I still had a long way to drive, so a short while later I finished my coffee,
thanked them for their company and took my leave. The cards stayed with
them; I hope they have them still.

COMMENTS
It is a brave move for anyone to sell up, leave their families and
travel long term, especially with a child with them. It’s made easier by
the technology available today, but its only possible with a strong family
bond, as otherwise the stress can be too much. By using this natural bond,
this simple routine has the power to affect people and connect with them.

THE METHOD – IN DETAIL

The basic effect and method are obviously not mine and have
been around for over 3 decades to my certain knowledge, probably much
longer. My input is in the interpretation of the effect, moving it away from
a simple ‘which pocket’ or ‘which hand’ routine.

THE CARDS - these are basic business cards which can be purchased
almost anywhere. Simply select a stock photo (or create one of your own)
for one side. Anything that represents the family. The other side is blank.

THE MESSAGE - I always write these during the effect, tailoring them
to the participants. Not only is this the most effective way, a handwritten
message is much more personal and organic than one already printed.

THE SELECTIONS – this is very simple. You know which card is which and
when one is selected, you simply ask them to give it to the relevant person.
The secret is in making it appear that 1) you have no idea which card is
selected and 2) making it sound as if the instruction who to give it to was
always going to be made at that point.

79
JOHN CAREY & FRIENDS

• I use one of three ways for the selection. I occasionally mark the cards
subtly on the faces and note which they take by looking at the cards
freely. This is my least preferred method as I always leave the cards
with them. Or, without marking the cards, I mix them up face down
but recalling which is which, then use a ‘Gypsy Peek’ or similar to note
which they take. Or, again with no marking, I arrange the cards face
down in a peek wallet that allows me to feel which card is selected.
Whichever method you use, you know which card is selected.

• As soon as you know which card is selected, you immediately follow

on with the instruction of who to pass it to. So the timing would be
“Please take any one of the cards without reading it and”... (assuming
it’s the Father)…”place it into your shirt breast pocket”. The order will
be different every time, depending on the order they select the cards,
but with practice you can give the instructions as if they never differ.
It’s a very relaxed conversation.

THE REVEALS I reveal the first two cards in the order dictated by the
circumstances, the seating, those present etc. But I always reveal the
‘heartbeat’ card last and I always try and get the card into the left breast
shirt pocket. This allows me to get the participant to tap the pocket, in time
with a heartbeat. The main thing is to be as flexible as possible and react
to the circumstances. This allows you to react if it’s the woman/mother etc.
who has a suitable pocket, etc. The situation dictates the specific routine
and method.

FINAL NOTES
Please don’t let the simplicity of this method prevent you from
trying this. In the right circumstances this is extremely powerful. You can
tailor the messages to make this as feel good, or as deep, as you wish.
The idea is that the presentation helps you to really connect with the
participants. Which is why for all my effects I only do them when the time
is right. Done at the right time, with the right messages, you’ll be surprised
by the reactions.

80
 Jack Goldstein

INCARDESCENT
JACK GOLDSTEIN
Phil and Fiona are newly engaged, who believe that love
conquers all. It soon becomes clear they are more emotionally connected
than they could dare to believe.

PERFORMANCE
I had driven 1200 kilometres through Chile in a small basic
camper van with no facilities, over gruelling roads and deserted overnight
stops, so I was ready for some comfort! I decided to backpack to Argentina,
to stay in San Carlos de Bariloche. The journey crossed 3 lakes, with a
small border control into Argentina after the second.

I stayed at a hostal called Penthouse 1004, with a room to myself (solo

travelling can so often end with dorms full of the great unwashed).
Everyone shared one kitchen and each morning there were about 20
loaves of bread rising in tins, prior to being baked; these were free and
enjoyed with each evening meal. The communal lounge had a balcony
looking out over the lake, with an amazing sunset.

It was on the balcony that I met Phil and Fiona, a young couple who were
travelling together. They had become engaged during their trip, so they
still believed that love conquers all (perhaps it does). They spent many
evenings on the balcony, sharing chocolates that Bariloche is so rightly
famous for.

Over the next few days we swapped stories and I suggested a short travel
itinerary that they could try. I also did a few effects at opportune times.
They suggested we had a meal together one evening at the local parrilla,

81
JOHN CAREY & FRIENDS

Alto El Fuego. We each had a very large steak, rare, washed down with
litre bottles of beer.

At the end of the meal I turned to Phil and asked him to select a card by
making a deliberate choice by thinking of it first, before taking it from the
deck. He was not to show it to anyone, but to sign it with both their names
while Fiona and I looked away, then return it to the deck.

I then gave Fiona a small piece of paper and asked her to draw a symbol
or simple drawing, while Phil and I looked away. During this Phil was to
concentrate on his card. Fiona folded the paper up so that nothing was
showing and held it in her closed fist.

While Phil held the deck between his palms, I gently held Fiona’s hand
across the table.

I looked into her eyes and said “Fiona, some people are genuine soul
mates, they were always destined to be together. Though they will always
remain strong individuals, they are inextricably linked, in a way so powerful
that the connection is very real. While Phil was thinking of his card, you
drew a simple drawing…”.

I asked Fiona to focus on her drawing, which no one had seen, then bit by
bit I described the drawing that she had done. She confirmed that I was
correct, opening the piece of paper to show it.

I turned to Phil and said “the drawing that Fiona made was not as random
as she thought. The strong lines here suggest a diamond. The circles
suggest a ‘round’ number like a six or 9. So subconsciously, Fiona was
representing your thoughts….I think it’s….the 8 diamonds”.

Phil confirmed this was correct, and both looked at each other and
laughed.

“However” I said “that is not all. If I take the paper, and burn it, it
transforms the thoughts into something solid. In this case it’s a card,

82
 Jack Goldstein

folded into quarters…the 8 of diamonds. The very one you were holding
a short while ago, signed with both your names”.

“Keep this” I said “and if things get tough during your travels, or life feels
a little too ‘normal’ when you get back, then look at this together and
remind yourselves of the connection”.

GENERAL COMMENTS
Phil and Fion were a young ‘sporty’ couple who were travelling
around South America. They only had a short while left of their year out
and were clearly a little down at going back to ‘normal’ life. It was nice to
spend a little time with them. You very rarely get a chance to meet fellow
travellers again after moving on, although it does happen. When they
left, I never saw them again; but 12 months later they sent me a single
photo, taken at their wedding, of them holding the card. Never ever
underestimate the power of giving the participant a physical memento.

THE METHOD – IN DETAIL

The simplicity of the method belies the strength of the effect.

Selecting the card: you invite the first participant to mentally choose one
card, rather than select one at random. You want their choice to be an
active one. Once they have signed the card with both names, you allow
them to return the card, controlling it to the top of the face down deck.
Turning the deck face up you mention that different cards have different
meaning for different people. This allows you to glimpse the selection.

Stealing the card: You then turn to the second spectator and ask her to
start thinking of shapes, or symbols, or a simple drawing. As this is done
you fold the signed card into quarters, with the face inside the folds. I
personally use the Mercury Card Fold. Retain the secretly folded card in
finger palm as you table the deck, or give it to the first participant to hold.

Drawing the symbol: give the 2nd participant a small piece of flash paper

83
JOHN CAREY & FRIENDS

(for many years I cut flash sheets into cigarette paper sized pieces and
carried them around in a cigarette paper holder). Ask them to draw the
symbol as you look away; I use the gypsy peek to allow me to see what
they draw (using the hand that is not palming the card). Once glimpsed,
ask them to fold it into quarters, with the drawing inside.

Noye: You now know the identity of the card, which is folded in quarters
and hidden in finger palm position. You also know the symbol, shape or
simple drawing on the paper, which is held by the participant.

First reveal: hold the participants hand, and use a process to slowly
divine what’s on the paper. Depending on the circumstances a small cold
reading goes well, and many travellers forget that you’ve spent several
days together; a small but interesting story can be told, linking in to what
has been drawn. She confirms this is correct and opens the drawing to
show it.

Second reveal: use whatever shape, lines, words, symbol or drawing

are on the paper, to explain how it links to a card. Point out that although
she didn’t know the card when drawing on the paper, her partner was
thinking of it. This part is simpler than you think. There is always something
that you can ‘interpret’ to divine a card. Lines that cross, various circles,
numbers, the size of drawing, the position etc. I use a ‘silent script’ here
and I ‘believe’ that I am genuinely seeing and interpreting the shapes. You
finally name the card and the participant reveals it is correct.

Flash reveal: hold the piece of paper at the fingertips, with the hand that
conceals the finger palmed card. Light it, and use the thumb to push the
card into the glare of the flash. This is a very strong moment, so pause,
then slowly open it, showing the signed card. In a restaurant there may be
a candle. Or people smoking. Or simply use a cigarette lighter.

FINAL NOTES
This is a fully balanced routine, with three very definite
‘moments’. Each one is designed to show the couple that are participating

84
 Jack Goldstein

that they connect with each other in ways they probably didn’t expect. It’s
obviously very strong with an engaged couple, or newlyweds; Phil and
Fiona were the perfect couple to help, but it can also be done with 2 very
close friends. Ideally you want 2 participants who already know that they
are close; this routine is emphasising something that they already know,
but in a real and powerful way. The final flash reveal is very strong and
giving them a personal memento to take away is always very powerful.
This routine is unashamedly a ‘magic trick’ but leaves them with a really
strong connection and they will remember the moment.

85
JOHN CAREY & FRIENDS

CTB
JOHN CAREY
A super streamlined vanish and translocation of a selection to
the card box. A worker! Use the link below to access the online video
instructions for this trick:

www.johncareymagic.co.uk/ctb

Password: &CHUMS

86
 bio

JOHN
GUASTAFERRO
BIO
John Guastaferro is a magician, TEDx speaker, lecturer, and
author of numerous books on magic. His book One Degree is published
in four languages and shares how small “one degree” micro-shifts can
lead to extraordinary impact in your magic. John has amazed audiences
across 12 countries and is a frequent headliner at the Magic Castle in
Hollywood.

Learn more at MagicJohnG.com

87
JOHN CAREY & FRIENDS

CRYSTAL CLEAR
JOHN GUASTAFERRO

EFFECT
After a transposition with Aces, the deck changes into a solid
clear block.

During the pandemic as I shared more magic virtually, I focused on effects

that were short, surprising, and highly visual. In playing with my Omni
Deck gimmick (a solid clear acrylic block that’s the same size as a deck
of cards), I explored the idea of using it as a kicker to an Ace-cutting and
transposition. This routine works great either as a 30-second moment of
eye candy on Instagram or as more elaborate routine with a live audience.

Setup: If you have an Omni Deck gimmick in you magic drawer, now is the
time to dig it out. You’ll also need four Aces. Arrange the Aces alternating
in RBRB order (or BRBR) on top of the clear block. Place everything it the
card box.

METHOD AND PRESENTATION

Open the card box and remove what appears to be a normal
deck. Hold the deck in the right hand in preparation for an overhand
shuffle. Your left thumb peels off three cards singly, as your right hand
places what’s left on top of them. In a similar overhand shuffle action,
your left thumb peels of the entire block that’s above the lower three
cards, then reverse counts the three cards back onto the top. You are back
where you started. I should point out that angles are important here. Be
sure to hold the “deck” perpendicular to the ground so that the audience
(or camera) is looking squarely at the back design.

88
 John Guastaferro

Hold “deck” in dealer’s grip. Feel free to mimic cutting the deck a few
times by cutting one card to the bottom then back to the top.

Say, “I will attempt to cut to the four Aces in this shuffled deck. First the
black Aces.”

Execute a double lift to show a black Ace, repeat the double, and
apparently deal black Ace face down to the table.

Hold the “deck” in Biddle grip with a right thumb break below the top
three cards (easy to attain since everything below it is a solid block). In
a slip cut action, your left thumb peels the top card directly into the clear
block (hiding it in the process), as your right hand places its two cards on
top.

Do double lift to show the other black Ace, repeat the double, and deal
the top card onto the tabled card.

Say, “Two down, two to go. I will now find the red Aces in an ever more
surprising way.”

Snap your fingers and say, “It’s done!” Shift your focus from your hands to
the table. Turn over the tabled cards to show that they are now red!

Continue, “And the black Aces are back in the deck.” Turn the entire block
face up to show black Ace at the face. With the deck held in Biddle grip,
your left hand glides the lowermost card to the left to expose the other
black Ace. This display also conceals the Omni Deck.

Now for the kicker. Hold everything pinched between the left thumb and
fingers. You will now make the clear block appear in a surprising and
visual fashion using the Hofzinser Toss. To do this, your left hand backs
a tossing action toward the right as it retains the top and bottom cards,
causing the clear block to fly into the waiting right hand.

89
JOHN CAREY & FRIENDS

NOTES
Instead of using the Hofzinser Toss for the appearance, you can
have your participant sandwich the face-down “deck” between their
hands. After showing the tabled cards have changed, reach in between
your participant’s hands and remove the top and bottom cards to show
the other Aces. This process keeps the Omni Deck concealed until the very
last moment. Ask your helper to separate their hands to discover a solid
clear block!

The Original Omni Deck was created by Palmer Magic and Shawn
Farquhar.

90
 John Guastaferro

HYBRID TRIUMPH
JOHN GUASTAFERRO

EFFECT
After a card is selected and lost in the deck, several audience
members help you shuffle the cards face up and face down. Without any
sleight-of-hand, the deck straightens itself out…except of the selected
card.

In my book One Degree, I offered a routine called “Behind the Back

Triumph,” where the participant mixed the cards face up and face down
behind their back. I’ve since explored related variations where the cards
are mixed in the open by audience members. I’m using what we know as
the Balducci Cut Deeper Force, but repurposing it as a tactical procedure
to openly flip cards face up and face down. I think you’ll also enjoy the
devious approach of having your audience do a Half Pass for you!

I’ve played around with completely hands-off versions, as well as very

hands-on versions. “Hybrid Triumph” uses just the right amount of each,
really putting most of the fun directly in your audience’s hands. What’s
more, I’ve made it so the routine can be done without a table, making it
perfectly for strolling situations.

SETUP
There is a slight setup, but it is done during performance as
described below.

91
JOHN CAREY & FRIENDS

METHOD AND PRESENTATION

From a shuffled deck in use, spread the deck face down and
have a card selected. As it’s shown around, use a Half Pass to reverse
little more than half the deck. Then, cut the top card to the bottom. This
only takes a few seconds, and you have the built-in cover your participant
showing the selection to the audience.

With the deck held face down in dealer’s grip, your right hand feels for
the natural face-to-face break in the center and secures a left pinky break
at this point

Your right hand takes the selection and places it face down into the break
from the rear. It resembled a Tilt move, but you are genuinely placing it
on the middle, albeit at a predetermined location. I like to pause with the
card inserted about halfway. From this point, your right hand can pinch
the deck and slowly flash the underside of the deck so the card can clearly
be seen going in the middle. This also give your audience one last look
at the selection. Reposition the deck face down in dealer’s grip. Your right
thumb begins pushing the selection flush with the deck, but in so doing,
pushed down on the card so your left pinky can secure a break about it.

Say, “There are many ways to shuffle cards, but rarely like what you are
about to see.” Ask your participant to cup their hands together to form a
makeshift table. Continue, “I’m going to place about half the cards face
up in your hands.” Spread off few cards and flop them face up into your
participant’s hands. Spread off a few more cards again place them face
up into your participant’s hands. Repeat these actions a few times until
you reach your break.

You are left with what appears to be a face-down half; in reality, they are
all face up except for the selection on top and an indifferent card on the
bottom.

Say, “We’re going to take your face-up cards and shuffle them into my
face-down cards. The technical name for this is—a mess!” Suiting actions

92
 John Guastaferro

to words, pick up the face-up cards with your right hand and begin
weaving them into the “face-down” packet in your left hand. This is done
in a “straddle Faro” action so your top and bottom cards retain their
position.

Slowly square the deck in what appears to be face-up and face-down cards.
This fair display is made possible by the covert setup you did earlier. Once
the cards are squared, turn the entire deck over so the face-up card shows.

TAKING “TURNS”
Say, “Let’s make an even bigger mess of these cards. I’d like
several of you to help turn even more cards face up and face down.”
You will now execute the mechanics of the Balducci Cut Deeper Force
to involve your audience in physically turning cards over. It’s a perfect
application within a Triumph routine.

Extend your left hand and invite a participant to cut off “a FEW cards,”
turn them over and replace them back on top of the deck;

Invite a second participant to follow similar actions, this time cutting off
“about HALF the deck,” turning it over and placing it back on top;

Finally, invite a third participant to “cut off a LOT of cards, but not all of
them,” turn them over and place them back on top.

During this process, ensure that each subsequent cut is deeper. Highlight
how they are mixing the cards upside down and every which way. Despite
the numerous times they turn cards over, you will always end with about
half the cards face up, half the cards face down, and the selection face
up underneath.

All that remains to be done is to reverse all the cards below the center
natural break. However, since this is a very audience-centric trick, you will
not engage in sleight-of-hand to do this. Instead, you will use a deviously
simple approach that I call the “Spectator Half Pass.”

93
JOHN CAREY & FRIENDS

SPECTATOR HALF PASS

Begin with right hand Biddle grip. Position your left hand under
the deck a few inches below. Your right hand will give the deck a slight
downward motion as it lessens its grip. This will cause all the cards below
the natural back-to-back break to fall into the waiting left hand. Reposition
your right hand so it holds its half with the hand palm up. Each hand now
holds half the deck—the left hand with a face-down card showing; and
the right hand with a face-up card showing. Invite a participant to turn
over either half. In so doing, they have essentially done the Half Pass for
you, but done in the open, it appears as just more topsy-turvy mixing.

Take whatever half was NOT turned over and place it onto the other half.
The deck will either be face up or face down depending on which half the
participant chose to turn over. Believe it or not, even though you have had
very minimal involvement in the turning of the cards, the entire deck is
straightened out except for the selection in the middle.

A TURN OF EVENTS
Fairly spread through the deck to show that all the cards are
now facing in the same direction except for the selection. Better yet, invite
a participant to spread through the deck to discover the impossible “turn”
of events. Your audience will freak out, in big part because THEY did most
everything.

NOTES
The cut deeper procedure in this effect is used to control the
condition of the deck, not force a card as in the Cut Deeper Force in
Hugard’s Magic Monthly, Vol. 14, No. 6 (1956) under the effect “The
All Fair Coincidence” by Ed Balducci and Ken Krenzel. There are many
related procedures, beginning with Christ’s 203rd force and similar forces
by Lynn Searles, Sam Mayer and others. Steve Reynolds applied related
actions in “Spectator Triumphs” (S.R.O. notes, 2007).

94
 John Guastaferro

SELF-CHECKOUT
JOHN GUASTAFERRO

EFFECT
The participant cuts the deck into four piles and finds the four
Aces—all without the performer ever touching the cards.

SETUP
Four Aces on top

METHOD
Give the deck any amount of shuffles you’d like that retains the
four Aces on top. Doing this with the cards face up allows the audience
to see the cards being mixed, while providing you the opportunity to keep
the Aces intact underneath.

Turn the deck face down. Use a double undercut to bring two Aces to the
bottom. There are now two Aces on top and two on bottom.

Say, “If you walk into any grocery store these days, they actually have it set
up so YOU have to scan the groceries yourself. They call it self-checkout.
Somehow, I feel they should be paying us. Can you imagine if Las Vegas
did the same thing and made YOU cut and deal the cards. That would
never happen, but just imagine. I’m going to hands the deck to you and
let you do all the work.”

Hand the deck to your participant. From this point on, you will not touch

95
JOHN CAREY & FRIENDS

the cards.

Continue, “There are many ways to cut the deck. I’m going to guide you a
few of them. I won’t touch the cards at all. This is all about you.”

You will now guide the participant to cut the deck into four packets.

FIRST CUT
Say, “If you’ve ever played Blackjack in Vegas, you know that
they actually let the player cut the deck. They do this by having the player
insert a ‘cut card’ into the deck. Let’s try that now. Use the top card as a
cut card and insert it face down somewhere in the middle of the deck…
and leave it sticking out. Great, take all the cards above the cut card
and place those onto the table.” This move, based on a Dani Da Ortiz
idea, secretly positions an Ace on the tabled packet AND on the packet
remaining in the participant’s hands!

SECOND CUT
Say, “The most common way to cut cards is to simply pick up a
portion of cards, so let’s try that now. Pick up any portion of cards from
the deck and place those onto the table next to the other packet you cut.”
There are now two tabled packets with an Ace on each. The other two
Aces are still on the bottom of the packet hold by the participant.

THIRD AND FOURTH CUTS

Continue, “Still, another way to split the deck is to deal two
packets. With the cards you have remaining, please deal two piles of
cards going back and forth. As you do this, you are not only splitting
the deck, you are mixing them at the same time.” Once all the cards are
dealt, the two packets formed will have an Ace on each (originally on the
bottom of the deck).

96
 John Guastaferro

BIG MOMENT
Say, “You have mixed and cut the deck into these four piles, and
I never touched the cards. If we were playing virtually any game, an Ace
would be very powerful. Let’s see if you were lucky to have cut to an
Ace. Please turn over the top card of each packet.” To your participants
surprise, there will be FOUR Aces!

NOTES
This effect is based on a previous version I released called, “All
in Your Hands” (En Route, 2017). In that version, two people did the
shuffling and cutting. “Aces for One” uses some of these elements to
present it using the help of just one participant.

At the beginning, I sometimes invite the participant to help me shuffle the

deck. To do this, simply hand them about half the deck, while you retain
the other half with the four Aces on top. As you each shuffle your respective
halves, simply bring two Aces to the bottom using a double undercut or
overhand shuffle. Say, “To really mix these up, I’d like you to place your
cards in the middle of mine.” With the cards face down, lift off a packet
of cards and invite your participant to place their shuffled half onto your
lower packet. Replace the cards you had cut back on top. This sequence
retains two Aces on top and two Aces on the bottom of the complete deck.
You can now proceed with the routine as described.

97
JOHN CAREY & FRIENDS

ERDNASE MEETS
VERNON
JOHN CAREY
This synergy of ideas creates a beautiful slow motion
transformation of a card. A worker! Use the link below to access the
online video instructions for this trick:

www.johncareymagic.co.uk/erdnase-meets-vernon

Password: &CHUMS

98
 

99
JOHN CAREY & FRIENDS bio

JUSTIN HIGHAM
BIO
Justin was hooked on magic at the age of 9 when a school
friend showed him the French Drop. A family friend also showed him an
amazing effect where six or seven half crowns passed from one hand to
the other. Seeing Slydini perform coins through table on the Dick Cavett
show on TV was also a big influence. It was when he saw a German card
magician at Martin Breese’s magic shop perform a card trick, when Justin
was 12, that he took up card magic and sleight of hand. Justin asked the
demonstrator at the shop (Ron Dowse) if they sold that trick. He smiled and
said ‘It’s done by sleight of hand’. Purchases of Buckley’s Card Control,
Mentzer’s Counts, Cuts, Moves and Subtlety, Don England’s Technical
Knockouts, and a subscription to Stephen Tucker’s Spell-Binder magazine
followed, with Justin contributing his first original tricks to the October
1982 issue. He was soon contributing to Abracadabra and Apocalypse,
and in 1985 Justin published his first card book, All Hands on Deck!
Nearly 40 years later Justin is still writing, teaching and performing magic.

100
 Justin Higham

2 SHUFFLED DECK
REVELATIONS
JUSTIN HIGHAM
One of the strongest concepts is taking a shuffled deck and
producing four of a kind or a poker hand. When a deck has been used
for a number of effects and shuffled several times by spectators, there is
no need for it to be shuffled again before a multiple card revelation; the
mixed condition is taken as given. This allows one to casually set tricks up
without drawing attention to it.

The following are two simple effects based on Larry Jennings’ ‘Prefiguration’.

1. ROYAL PROPHECY
Christian Gambin suggested the basic effect. He used a simple
form of cull to gather the royal flush to the face and back, getting the
cards in position for the Bill Simon Prophecy Move. I use a form of what
Ackerman called the ‘Probability Cull’, which goes back to Marlo’s
Unexpected Card Book (1974). My approach is to wait until a relevant
pattern or sequence shows up before doing the effect, rather than looking
through the deck in hope of finding a suitable sequence. In that respect
you could call it a 100% probability cull, in that you only use it when it
appears.

In the course of another effect with a shuffled deck, spot any two royal
flush cards (i.e. any two of like suit) together and cut them to the rear of
the face-up deck. When the current effect is over, use a form of Open

101
JOHN CAREY & FRIENDS

Cull as follows. Let’s say the two rear royal flush cards are the AS and KS.
Dovetail Shuffle a couple of times retaining these two on top then proceed
as follows.

Run through with faces towards you and up-jog the first remaining Spade
royal flush card (i.e. 10S, JS, or QS). Run through and when you reach the
next royal flush card, mark it off with the tip of right forefinger (i.e. press
the forefinger tip against the next card’s right long edge to keep a step
at the flush card). Then continue looking through for the third royal flush
card, which you up-jog. Close deck into left hand, taking a pinky break
behind the middle, marked-off flush card. Pull the two up-jogged cards
out with the right hand and table them face down. The patter during these
actions is as per Jennings: ‘I’m going to make a prediction... but I never
know... should I go with my first impression [up-jog first flush card]... or
my second impression [up-jog second]?’

Continue, ‘Are you any good at making decisions?’ As you ask this, transfer
deck to Overhand Shuffle position in the right hand, taking over the break
with the right thumb. Overhand Shuffle, running off the top two cards first
and shuffling off to the break; throw the rest on top. There are now one
royal flush card on top, two on bottom and two on the table. Say, ‘You
decide for me: do you want my first impression or second impression?’
Let them choose one of the two tabled cards, then replace the other atop
the deck and false cut. There are now two flush cards on top and two on
bottom. (Having spectator choose one of the two cards was shown to me
by Kevin Baker.)

Have the spectator insert their chosen card face down ‘in the middle of the
deck’. Execute Simon’s Prophecy Move (i.e. with selection out-jogged in
middle, run through up to it, splitting spread just above out-jogged card;
turn right hand palm down and pin selection under right-hand half with
right thumb, then turn right hand palm up; replace left hand half on top
to complete).

All that remains is to Ribbon Spread deck face down and remove the four
cards which are sandwiching the out-jogged, face-up selection. Reveal

102
 Justin Higham

the royal flush.

Note: Should you find three royal flush cards together at the
start then spread-cut between them to bring two to the face and one to the
rear. Run through, up-jog the two remaining flush cards and table them
face down; no need for the Overhand Shuffle. If you find four or five royal
flush cards then just table one as a prediction and proceed straight to the
Prophecy Move.

2. IMPROMPTU REVOLVING ACES

This is based on Herb Zarrow’s effect of that name in Lorayne’s
Close-Up Card Magic (1962), although I since found that Nick Trost
published the same effect prior in The New Tops. The following replaces
the Christ Force with a form of Lin Searles’ ‘So Simple Force’.

Upon finding any pair of matching value – say, two Tens – spread-cut
them to the rear. Immediately run through again, necktied, and up-jog
the other two (in this case) Tens. Close the deck into left hand, table the
two up-jogged cards face down, and have spectator select one. (Patter is
the same as in ‘Royal Prophecy’ concerning first and second impressions.)
Place the selection onto the card case to isolate it and return the other,
discard, onto the deck. There are now three of a kind on top with the
fourth mate on the box.

Table the deck face down and ask spectator to cut off ‘about three-quarters
of the deck.’ Take this packet from them, turn it face up, and replace atop
the remaining quarter-deck. Pick up the deck, turn it over, and replace in
dealing position.

Spread through the face-up cards commenting on how random or mixed

they are. You can remove them in clumps and drop them into a single
pile on the table, or just spread off these face-up cards all in one go.
Either way, the face-up cards are now on the table in front of you. Cleanly
deal off the first face-down card onto the face-up pile, placing the card
crosswise as per Zarrow.

103
JOHN CAREY & FRIENDS

Repeat the above two paragraphs’ actions again: table deck, spectator
cuts off two-thirds or so, you take these and turn face up, and replace on
remaining third. Turn deck completely over and spread off the face-up
cards onto the table. Deal the first face-down card on top of them.

Casually Overhand Shuffle, starting with one card, and ask spectator to
call out stop. When stopped, throw remaining right-hand cards on top to
finish the shuffle. Transfer to dealing position (face down) and spread off
a few cards into the right hand. Table these face up and again comment
on their randomness. Spread off a few more, tabling face up atop the
previously-tabled cards; and repeat once more, spreading all but the
bottom card into the right hand and tabling face up on the face-up pile.
Place the remaining, bottom, card on top of this pile face down.

Reveal your prediction is a Ten, then turn the three Tens face up to conclude.

104
 Justin Higham

BOTTOM FORCE
AS A KEY CARD
JUSTIN HIGHAM
This was improvised for a layman who knew the old Bottom
Force from Royal Road. I reciprocated by using the same actions to position
a key card, thus allowing for a free choice of selection. The following uses
a crimp for extra deception.

1. Crimp the bottom card of the deck. I use an inner-left corner down-
crimp.

2. Slide the deck forward by 2 inches with the right hand (Biddle Grip)
minus the bottom card which remains in Mechanic’s Grip. Then give the
deck a large bevel back towards you to completely cover (and align at the
inner end) the bottom card. Refer to Fig. 106 of Royal Road, or Fig. 116
of the so-called Revised Edition. (I say so-called, as the book was simply
re-typset with dummy illustrations added.) The 2-inch in-jog may seem
severe, and you can only in-jog by about 1cm if you prefer; the left fingers
then moving inward to cover the in-jog. However, the 2-inch in-jog allows
the jogged card to gently bend up and become part of the top bevel, thus
concealing itself along the right side of the deck.

3. Ask spectator to pinch some cards at the front of the deck and pull
them out. (You will have to demonstrate, sliding some cards forward and
then back again, as most lay people won’t know what you mean. Your left
forefinger blocks them under the deck from feeling/grasping the jogged
card.) Have them hold these removed cards in their hands, or table them
if it’s easier, and ask them to take a peek at their top card (a free choice).

105
JOHN CAREY & FRIENDS

4. Meanwhile, relax your left hand and let its cards sink down flat onto the
in-jogged card. After spectator has noted and replaced their top card, take
your cards in Biddle Grip, squaring them, and drop onto the spectator’s
half, burying their selection.

5. Have spectator give the deck complete cuts. Take the deck back and
casually Charlier Cut bringing the crimp back to the bottom. Dovetail
Shuffle, glimpsing/retaining the top card in the process.

6. Hand deck to spectator. Slowly reveal the colour, suit and value of their
card, then ask them to turn over the top card to reveal.

It could be argued that the in-jogged card is redundant: dispense with

it and just crimp the new bottom card of left-hand half after the cards
are removed. In practice, however, the force action allows for no moves
or suspicious handling after the removal. As mentioned, a key card
placement instead of a crimp is good for a standard pick-a-card trick
where you look through (e.g. spelling trick, etc). Other possibilities include
in-jogging a face-up Five-spot plus four face-down Aces (as a block) for
Al Leech’s ‘A Dishonest Mistake’ (Cardmanship, 1959).

106
 JOHN CAREY

FINESSED
BLACKSTONE
CONTROL
JOHN CAREY
A very old but beautiful control with some added finesse. Use
the link below to access the online video instructions for this trick:

www.johncareymagic.co.uk/scattered

Password: &CHUMS

107
JOHN CAREY & FRIENDS

JACK TIGHE
BIO
Jack Tighe is a Casino Surveillance Manager from London. When
he’s not doing that, he does card tricks. He is slowly making a name for
himself as being the only magician working in London who is not “award
winning”. If you’d like to see more card stuff that he thought of when he
should have been working, check www.bigblindmedia.com

108
 Jack Tighe

IF YOU DON’T LIKE

LUCK…YOU’RE
RATHER STUCK*
JACK TIGHE

EFFECT
The magician proposes to demonstrate the concept of luck via
the medium of cardboard. A deck is shuffled and divided in two. Two
spectators name lucky numbers and the magician deals to each number
in turn to see if the cards at the numbers match – they don’t. Then they do.
Then there’s Aces. If nothing else, it was better than conversation.

SET UP
Take a moment to yourself, and arrange matters so that from
the top down, the deck is set up thusly: A, 7, A, A, 7, A, rest of deck. For
maximum aesthetic value, I always make sure the 7’s are the red ones. But
you do you – I’m not here to judge.

DISCUSSION
My friend Brad Hodgins showed me a trick a while back that he
credited to UF Grant, in which you dealt twice to named numbers, then
there were aces atop each pile. I wanted a match to happen first, followed
by an ace kicker, so I re-worked it. Unfortunately, his tiny little brain was

109
JOHN CAREY & FRIENDS

unable to retain the original source, and I’m still hunting for it. If you
know, get in touch. If you see Brad out and about on his travels…kick him.

HANDLING AND RAMBLING

To start, find two people who want to see a card trick.

“We’re going to try a little test to see how lucky you are. I’ll give these a
mix – a fortune teller once told me that this puts your soul into the cards.
That said, she also told me that if I ate a frog, it would cure rabies, so I
don’t know. We need two roughly equal piles for this…”

You need to get the top three cards into the middle, so that in a moment
when you split the deck in half there will be A, 7, A on top of each half.
There’s a bunch of ways to skin that particular cat, but my preference is
this: start a shuffle by undercutting about half, in-jogging the first card
and shuffling off. Undercut to the in-jog, run three and throw the balance
on top.

You should now have A, 7, A on top, then A, 7, A somewhere around the

middle. Spread through the deck, faces toward yourself, and split the deck
so that you have A, 7, A on top of each half. Table these halves face down
in front of you.

“Liam, we’ll start with your luck. Give me a small number – up to around
ten…”

This is phrased so that the number will be in the higher part of the range.
This first number cannot be less than three, so if one or two is named say
something commanding like “no, make it more difficult”, Hopefully they’ll
change to three or more. Let’s assume Liam says four.

“Four? Delightful. The idea is this: we deal down four cards in each pile
and see if the next cards match. If they do, you’re lucky and you should
probably gamble more frequently…”

110
 Jack Tighe

Once the number is named, reach forward with both hands simultaneously
and pick off cards from the top of each half, dealing them slightly forward
of their respective packets. Every time we deal a number in this trick, we
deal the number named, then look at the following pair. So, in this case,
you deal off four cards from each pile, and turn the fifth ones face up.
Got it? Got it.

“Ahh no match. Sucks to be you…”

Show them the pair immediately after the dealt number. The cards will
probably not match. If they do, take credit somehow. Turn these cards face
down and place them on top of the dealt piles. Do not place them onto
the main piles, or the trick won’t work.

“Sarah, maybe you’ll do better. Give me another small number. Five?

Marvellous…”

Without replacing the piles you’ve already dealt, repeat your actions –
picking off five cards one at a time from the main halves and dealing
them onto the previously dealt cards. As before, you show them the pair
immediately following their named number.

“Ahh, no joy for you either. Hmm. I think I see the problem. We need to do
something to change your luck…”

After showing them the (hopefully) non – matching pair, turn these cards
face down onto the dealt piles. Pick up the dealt piles and place them on
top of the main piles. Square up each pile then swap the piles around,
moving the left one to the right and vice versa. This is to apparently
“change their luck”.

“Liam your number was four, right? And yours was five, Sarah. We’ll
combine your luck…”

Add their two numbers together, then repeat the dealing process with the
total. In this case, each hand picks off nine cards one at a time from the

111
JOHN CAREY & FRIENDS

tabled halves, and deals them slightly forward of each half. Again, turn
the pair following the dealt number face up. This time, you’ll turn up the
red sevens.

“Yes! The red sevens! The luckiest cards in the deck, if you’re superstitious…”

Table the red sevens face up to one side.

“If you’re a card player though, you’ll probably prefer these…”

You will find that an ace has been conveniently deposited on top of each
of the four tabled piles. Show these with as much dramatic flair as you
can manage.

ADDITIONAL STUFF
If you happen to get a match in the first and second phase, act
like that is what you wanted all along. The red sevens in the third phase
can then be framed as being for your own luck or something. If you get
one match and one miss, say that they’re cancelling each other out. Then
rattle off some vague comment about the third round being a tie breaker.
I don’t know. I’m tired.

CREDITS
UF Grant. Possibly. From somewhere.

*This title is me taking a line from Fawlty Towers and cleverly replacing
“duck” with “luck”. This effect was nameless in my notebook until I started
writing this out for you, so it’s the best I could do at short notice.

112
 Jack Tighe

LEMON PARTY
JACK TIGHE

EFFECT
The magician lays three aces out in a row on the table, keeping
one for himself. The whole deck is cascaded onto the tabled aces, but they
instantly reappear in the magician’s hand along with his “leader” ace.
Because magic.

DISCUSSION
This is an instant ace assembly inspired by Jack Carpenter’s
delightful “Blind Lemon Aces”. It also owes a great deal to John
Bannon’s beautiful “Bullet Train” family of assemblies, all of which occur
a beat sooner than expected. In terms of method, it uses the Marlo Bold
Substitution Switch. I have an ongoing love affair with this move, and have
six or seven routines that use it. If you sit still long enough, one day I’ll
show you them all.

BTW … totally true story, this whole trick was haphazardly thrown together
one day purely because I didn’t have anything new to show to John Carey.
I ended up being really happy with it so, I guess, thanks to John.

SET UP
None.

Openly remove the aces or otherwise have them already lying around in
some sort of easily accessible location.

113
JOHN CAREY & FRIENDS

HANDLING AND RAMBLING

“You know that old phrase ‘the hand is quicker than the eye?’.
Yeah, it’s nonsense. Only idiots believe that. But, let me show you the
quickest trick I do while I’m still in peak physical condition. Once I hit
thirty, this will start getting slower every year until I’m forced to retire. We’ll
use the four aces.... “

The deck is face down in the left hand. Display the four aces in a face up
fan in the right hand then flip them face down onto the top of the deck,
keeping a pinky break beneath all four. If you are emotionally invested in
the leader ace being the spade, contrive to have that one on top.

“The ace of spades is going to stay with me. Magicians call it a leader
ace, which is a bit sad, but tradition is tradition. The other aces go on the
table over here...”

Flip the top ace, the spade, face up on top of the deck, maintaining the
pinky break below all four.

You are now going to do Marlo’s Bold Substitution Switch. With the right
hand, lift up all four cards above the break in right hand biddle grip.
Outwardly, it should seem like you are just lifting up the face up ace. In
reality, you’re hiding three face down aces beneath it. Just be casual with
it and don’t turn it into a move.

As soon as the right hand lifts up, reach forward with the left hand and
thumb off the top three cards of the deck into a row on the table. They
are all indifferent cards, but will be assumed to be the three other aces.
Once this is done, replace the block in the right hand on top of the deck,
keeping a pinky break beneath it again.

I like to use my right hand to subtly adjust the tabled cards at this point, as
this provides justification for the right hand to replace its apparent single
card on the deck. I also usually pick up the face up ace and gesture with
it to casually display its singularity before replacing it on the deck again.

114
 Jack Tighe

“Here comes the fast part, so be ready. If I just scatter the deck on the
aces...”

Flip the ace of spades face down and immediately pick up all four cards
above the break in right hand biddle grip, just like before. The left hand
moves forward to above the tabled cards. Swing it from right to left
allowing the cards to spill out of the hand into a messy ribbon spread on
the tabled cards, losing them. This is far more fun than counting out three
piles of three like you do in the classy ace assemblies.

“Boom! All the aces jump into my hand. I told you that I was quick. I think
I need to sit down; I’m getting too old for this...”

As soon as the left hand has dropped all its cards onto the table, fan
all four cards in your right hand toward the spectators, revealing the
assembly. This will have a very skipped beat feel to it - the trick is over
before they realised what would happen. Have a sit down if you need to.

CREDITS
Jack Carpenter’s “Blind Lemon Aces” was published in his booklet
“Pasteboard Palette”

John Bannon’s Bullet Train Assemblies were published in his book “Dear
Mr Fantasy”

Marlo’s Bold Substitution Switch is from “Marlo’s Magazine” Volume Two.

A WARNING
I strongly suggest not Googling “Lemon Party”. This title was an
immature, and obscure, joke on my part.

115
JOHN CAREY & FRIENDS

WILD CHILD
JACK TIGHE

EFFECT
The magician offers to show one of the ways he practices sleight
of hand. One at a time, he removes three silver coins from his pocket and
places them into his left fist. He then removes a copper coin from his
pocket and openly swaps it for one of the silver coins in the fist, pocketing
the exchanged silver coin. The magician claims that the point of sleight
of hand is to be able to make that same switch, but invisibly. He opens
his fist showing that all three coins are now copper – not a silver in sight.

DISCUSSION
The bare bones of this trick are essentially Jay Sankey’s brilliant
“Slow Motion Coins Across”. The Sankey routine is exceptional, and I think
it’s probably the best piece of magic you could show someone with only
three un-gaffed coins. Somewhere along the line I realised that if I could
pre - palm three copper coins, then do Sankey’s slow-motion sequence,
I’d end up with a transformation of three coins rather than a vanish. Pretty
cool. After playing around with that for a while, I hit on the idea of doing
an open switch with the last coin instead of stealing it. This meant one less
sleight to do and one less coin to palm. Happy days.

SET UP
Palm two copper coins in left hand finger palm. There are ways
to do this on the fly but I like to take the Ramsay approach of palming
them well in advance and living with the guilt of it. In your right pocket,

116
 Jack Tighe

have two identical silver coins and a third copper coin. Ensure that the
copper coin is separate or that you can distinguish it by touch alone.

HANDLING AND RAMBLING

“I’ll show you one of the ways I practice sleight of hand – in this
case, secretly switching objects. We’ll use some coins for this, to be specific
three of them. To be more specific, silver ones. The silver ones go into
the fist one at a time. I’ll leave this last one on top where we can see it…”

Close the left hand into a loose fist with the opening of the fist upwards.
Please don’t allow the palmed coins to get all clinky. With the right hand,
reach into the right pocket and remove one of the silver coins and place it
on top of the left fist. Prepare this coin for a pop-up move. In other words,
allow the coin to apparently fall into the left fist, but actually catch it in left
hand thumb-palm as the fist turns slightly inwards.

Reach into the right pocket again and bring out the second silver coin,
allowing it to be seen in the right hand. Apparently place it on top of the
left fist, but in reality, execute the pop-up move. Briefly: bring the right
hand over the left fist. As the right-hand fingers shield the view of the top
of the left fist, finger palm the right-hand coin as the left hand opens its
thumb, allowing the thumb-palmed coin to come into view on top of the
left fist. The right-hand retreats with its palmed coin, having apparently
deposited a second coin on the left fist. Allow this “second” coin to fall
back into the left thumb-palm in preparation for another popup move.

With the right hand, go back to the pocket and leave the palmed coin
there. You pretend to come out with a third silver coin, but you actually
have nothing. Don’t worry about this, they’ve seen this action twice now
and are conditioned to believe that you are holding a coin. Mime placing
the coin on top of the left fist as the left hand does the pop-up move,
bringing its thumb-palmed silver coin into view. This is apparently a third
silver coin, but is actually still the first. Leave this silver coin balanced on
top of the fist.

117
JOHN CAREY & FRIENDS

“I’ll show you a switch in slow motion. All I do is swap one of the silver
coins in my hand for a copper coin from my pocket”

Matching words to actions, reach into your pocket and remove the copper
coin. Openly and cleanly exchange it for the silver coin that is on top of
the left fist. Pocket the silver coin, leaving the copper coin on top of the
left fist.

“That’s how it looks slowly, but if I do it correctly, you won’t see it. I’ll try to
switch the rest of the coins invisibly…”

Allow the copper coin to fall into the fist. Pause a beat, then open the
left hand showing that all the coins are now copper. Everything can be
examined. What’s interesting here is that even though only two coins
actually transform it feels like a triple change. What fun.

NOTES
I realise that you could do away with the second silver coin by
just miming the right-hand coin twice when doing the pop-up move. I
also realise that you can avoid miming the third coin by not ditching the
palmed coin after the first pop up move. I dunno. I prefer the original
Sankey sequence, which is how I’ve described it here. Psychologically, it’s
sound as they’ve seen two coins clearly, so by the third, they’re conditioned
little monkeys.

This means that the mime aspect isn’t an issue and it gets me cleaner,
sooner. Also, you could increase the conviction of the pop-up move by
using the Geoff Latta pop up move. I don’t do this, but only because the
move is pure eye sex, and I’d struggle to not giggle “hee-hee that looks
so good” every time I did it. While true, it’s a bad thing to say when
apparently placing coins into your fist. If you have the requisite strength of
character, the Latta move can be found in “The Long Goodbye – Latta on
Coins” by Stephen Minch.

118
 Jack Tighe

CREDITS
Jay Sankey’s “Slow Motion Coins” across can be found on his
DVD “Front Row Sankey”. The Pop-Up move with coins is the creation of
Larry Jennings. You can find it described in the trick “Clink-A-Clink Coins
Across”, from “The Classic Magic of Larry Jennings” page 221.

119
JOHN CAREY & FRIENDS

GABI, MAX
& PETER
JOHN CAREY
A synergy of 3 beautiful pieces (with permission) by Gabi
Pareras, Max Maven and Peter Duffie. A joy to perform. Use the link below
to access the online video instructions for this trick:

www.johncareymagic.co.uk/gabi-max-peter

Password: &CHUMS

120
 bio

MIKE BREGGAR
BIO
Michael Breggar is a semi-intelligent, semi-talented, semi-pro
magician from New Jersey, USA. While not as prolific as the extraordinary
Mr Carey, Michael has published 6 books on sleight-lite magic (including
the best-selling The Five Roads to Vegas, Influence-Enza and the upcoming
Raiders of the Lost Card) as well as a bundle of highly successful stand-
alone effects (like Art Attack!, Bad Bikes and Flat Dice). Michael is honoured
to be an F.O.C. (‘Friend-of-Carey’) and to be asked to fill a few pages in
another super Carey collection.

121
JOHN CAREY & FRIENDS

EVOLUTIONARY
EQUIVOQUE
MICHAEL BREGGAR

PSYCHOLOGICAL DISTANCING, LAYERING,

DIRECTED CHOICE AND CONNECTING
NON-EXISTENT DOTS
Equivoque tends to be most successful when it is used sparingly
and in a manner where it is psychologically distanced from the effect itself.
That is, while its use appears to convey to the audience that their choices
are free and pertinent to the workings of the effect, the effect itself hasn’t
necessarily been fully introduced yet. In a sense, they know they are being
asked to make a choice, but not really sure as to why or what effect their
choice may actually have.

The vagueness typically promulgated by equivoque’d instructions can be

obvious to some immediately and others after they have a few moments
to ponder the proceedings. Disguising the equivoque in any fashion,
therefore, is essential. Layering, or furthering the direction of presentation in
another direction to somewhat obfuscate the previous directed choice is an
effective option. For example, utilizing a wonderful idea from our resident
magical renaissance man and prolific host, John Carey, in the course of
using equivoque in the selection of a red picture playing card, you can
immediately equivoque the elimination of forty-six cards through a simple
bit of scripting followed by the connecting of the dots that the audience
hasn’t realized they never really gave you to connect in the first place!

122
 Michael Breggar

We begin: “There are two colors in a typical shuffled deck of playing

cards, red cards and black cards. We will only need to work with one
color. Marilyn, please call out RED or BLACK.”

(Notice the mention of a “shuffled deck of cards.” This subtly reminds

the audience that there is randomness in play even though you are not
headed in that direction.)

Now, if Marilyn answers RED, you move on saying something

complimentary along the lines of “Good choice! It should be no surprise
that half the time folks select red and half select black. We will work with
the RED cards.”

If she selects BLACK, that’s OK too, because at this point, you haven’t
mentioned what will be done to the selection (psychological distancing
in action!). Again, in a very positive manner, state that her selection is a
good choice and that half of the time people select black and half select
red. Only after the (wrong) selection do you mention the next step: “In
your mind take this shuffled deck and separate the black cards from the
red, take them and place them temporarily inside an imaginary card box
for safe keeping.”

(The use of “temporarily” implies these “selected” cards have “meaning”

and will be used later. Of course, they were neither nor have meaning and
this bit of word play will be quickly forgotten.)

You continue, “There is another dual feature of a standard deck of playing

cards, Marilyn. Cards are either number cards or _________ cards.” You
gesture to her to fill in the blank while pausing a beat at the “____” point.
99.9% of the time your subject will answer with “picture cards,” or “face
cards,” or the like.

(In that infinitesimal case when they do not, prompt them in a friendly
manner.)

Do you see what has happened here? With terse, directed scripting, you

123
JOHN CAREY & FRIENDS

have winnowed the deck of 52 cards down to only 6 -- the red picture
cards.

MEET MY NOT-SO-DISTANT COUSIN

In many ways, equivoque technique and Roy Baker’s clever
PATEO methodology are from the same gene pool. Layered, directed
choices are made for unknown ultimate reasons. Essentially, it is the
Russian Nesting Dolls equivalent of equivoque. PATEO is one of those
great principles that loves to be toyed with.

Use it on any collection of objects, be they coins, cards, numbers, small

plaques with foreign phrases, ink blots, billiard balls, crayons, Fruit Loops,
Monopoly tokens … you name it.

ONE PATEO….
PATEO is an acronym for “Pick Any Two, Eliminate One”. Roy
Baker is widely credited for giving it life in an effect called “Name Your
Card” published in Baker’s Bonanza in 1968.

It plays as a kind of give-and-take game between the spectator(s) and

the performer. In its most basic form, the spectators place, say, seven
different objects on a table: a pencil, a pen, a watch, a ring, a credit card,
a key and a spool of dental floss (OK, maybe you’re performing before
dentists). One of the spectators is told to point to any two objects. The
magician holds a hand briefly over each of these two. “I’m not getting a
good vibe with this one,” referring to a pen. So, the magician removes
the pen from the field of play (giving it back to the spectator who lent it
to the effect perhaps offering a snarky comment about the pen). “Now, I
will point to two items,” which you do, singling out the floss and the key.
You ask your spectator, “Which of these two gives your hands tingles?”
You encourage your helper to hold their hand over each. And like before,
one is eliminated.

After a couple more turns, only two items remain, the floss and the pencil.

124
 Michael Breggar

You ask your assistant to “place a hand over any one of the two remaining
objects”. You calmly slide the remaining object, the pencil, over to the side
with the other discards.

“From all these random objects that were tossed on the table,” you state,
“your final selection was this lovely spool of dental floss. And you must
admit it was a fair and free choice, right?” Your assistant nods affirmatively
as you pick up a small manila envelope that has been in plain view on the
table from the start of the trick and hand it to another spectator. “Please
open this envelope and read out loud the note inside.”

The spec reads, “A lovely lady in a red dress will have a choice of many
items, but will choose the dental floss.”

You take your bow and surreptitiously check for food stuck between your
teeth.

… TWO PATEO….
You’ll need a target object. This is what you will force. I typically
use a watch or a pen. When I ask the spectators to “place a few items
on the table.” If no one reaches for their watch (or a pen), I quickly add
“such as a watch,” and I place mine on the table. The prediction is written
with the target object in mind and sealed in the manila envelope. I leave
space on the top of the prediction card so I can quickly add an attribute
about a prospective assistant. For example, if you know a table you will
be approaching has a bald man with glasses, write that down on the
prediction card. When you get to that table and this trick, just be certain
to select the right person as your helper! (For table hopping at a function,
you could actually prepare several cards ahead of time. Use Post-It notes
on the front of the sealed envelopes to indicate who is named on the
prediction card.)

…THREE PATEO….
PATEO when melded with “standard” equivoque can be a

125
JOHN CAREY & FRIENDS

powerful thing. With the blended PATEO/EQUIVOQUE force, when there

is an odd number of items to choose from, the spectator “goes first” (that
is, selects the two items and you eliminate one). An even number, you
select two and the spec eliminates one. “Spectators are always odd” is
how I remember this. When it is your choice to eliminate an item, just be
sure not to eliminate the target item. And when you have to select the two
items from which the assistant eliminates one, be certain that neither of
these two is the target.

Eventually, you’ll get down to the final two items. Here, you use simple
equivoque to end up with the target item selected. The wording I used
above hides the fogginess of this “Magician’s Choice.” I ask the spectator
to “place a hand on a remaining item…” Use an “upward” infection at
the end of this sentence, as if you will finish the sentence in a second. If
it is the target, just place the uncovered item into the “reject” pile. If it is
not the target, ask them to “…and now slide that item to the reject pile.”

(NOTE: in what is perceived as the “traditional” approach to PATEO, the

magician is odd. That is, when there are an odd number of items, the
magician goes first. In this manner, it will be the spectator offering the
magician the final choice of two items. This forces, in my mind, a rather
contrived conclusion. The small bit of equivoque in the blended version
enhances the process exponentially.)

… FORCE!
The PATEO is extraordinarily versatile. I have even seen it used
to select a person out of a grouping of nine people (the effect was a
murder mystery with a psychic detective. What a cool concept), a bottle of
wine from a seven-bottle wine rack, a card from a small packet and more.

How about this: place a target card on top of a deck of cards. Give the
deck to a spectator and say you need about seven cards. Deal the top
one to the table. Now place the bottom one on the table. Next reach into
the middle and pull out a card. Shuffle the deck and pull out four more
random cards. The seven-tabled cards are all face down. Ask the spec

126
 Michael Breggar

to mix up these cards and proceed with the PATEO force until one card
remains, your target card. How do you keep track of this card if they are
all face down? A small pencil dot in the corner or any other unobtrusive
marking is all you need for this miracle!

“HERE COMES MR. PATEO HEAD!”

In the trick that follows (first published by Michael Breggar in
The Linking Ring, June 2021), the “traditional” approach of PATEO is
used, but in that “Russian Nesting Doll” fashion. As you’ll read, notice the
uses of psychological distancing and layering in play. They do a nice job
in disguising the mechanics of the force.

“Every day seems to bring more controversy out of Washington. Recently,

this little guy has gotten his share.” At this point, you bring out a box with
the famous toy. As you open the box and dump the plastic spud and 13
body pieces to the table, you continue, “Yes… good old Mr. Potato Head.
He and his wife Mrs. Head, have been around since the early 1950’s. Fun
fact: it was the first toy advertised on TV. Lately, though, there has been
a kerfuffle about proclaiming Potato Head’s gender. Never mattered to
me, or to the zillions of kids playing with it. I just found it fun. And a bit
magical!”

You now push two of PH’s body parts towards your volunteer Seth and
hand the spuddy main body to him. “Seth, pick up any one of the two
pieces I just moved towards you: eyes and shoes. Attach that one to our
starchy little friend.” Seth picks the eyes and presses them to the tuber’s
torso. “Now hand me the body and push any two body parts my way. I’ll
do the same as you. This way we can have a decidedly adult collaboration
conference!” You select an arm, stick it on the body and hand the PH back
to Seth along with two additional body bits.

This continues until there is a single piece remaining – the curly moustache.
With the newly configured toy front and center on the table, you say, “I
know it only takes a couple of minutes to put this together, but kids have
great imaginations and play with the toy for hours. And they will mix

127
JOHN CAREY & FRIENDS

and match and combine these pieces in a million different ways; always
leaving a single piece behind … but that piece obviously is different each
time. I guess that’s why a toy like this has been around for 70 years. Your
decisions today left us with the curly moustache …” You pick up the PH
toy to easily point to the moustache still on the table. You hear something
rattling inside. “Hmm … what’s that? Did I leave the instructions inside
the body piece? And why are there instructions for this thing in the first
place?!”

You flip open the little door in the back of the toy and notice a piece of
folded paper inside. You ask your helper to remove it, open it and read
it out loud.

“Dear Seth, I hope you had lots of fun playing with me today. I thought
I’d quit while I was a head, but you made lots of decisions and picked out
some fine body parts for me wear. However today, you did not select the
curly moustache! See ya later, tater!”

“I told you there was something magical about that toy!”

I YAM WHAT I YAM.

My old Mr. Potato Head set has 13 pieces. There are many
varieties of the spuddish toy on the market, use one that amuses you or
you think you can use to enhance to performance’s theme. I prefer the
plain ol’ toy because I can frame the performance in any way.

Not only are the equivoque and PATEO forces blended, they blend rather
nicely to the theme of the effect. As such, its method is completely hidden
and psychologically distanced. All this leads to great and entertaining
magic.

Your prediction is written in crayon, preferably, beforehand. If you know

who you will use as your helper and can write their name in the prediction
letter, so much the better. Select any body part to name in the letter. Fold
it and insert the prediction letter into the toy’s little parts storage hatch in

128
 Michael Breggar

its back. And you’re all set for some fun.

Following the presentation noted above, you’ll dump the body parts on the
table. If there are an ODD NUMBER of parts (as in the description above),
you go first. The volunteer goes first if there are an EVEN number of
parts on the table (as I said earlier, different PH’s are boxed with different
numbers of pieces). Just remember, “the magician is odd,” and you’ll be
fine.

Now the PATEO swings into action. Assume an odd number of parts.
You push any two pieces except the force piece towards Seth. Ask him
to pick one, toss the unselected piece back to the parts pile, then attach
the selection to the tater-torso. He then passes the potato and two
random body parts to you. You select one of the two, drop the unselected
appendage back onto the pile and stick your selection onto the toy. Of
course, if one of the two pieces passed to you is the force piece (the
moustache in our example), that is the one not used and placed back on
the pile. Remember, when you push two body parts to Seth, you move any
two except the force piece. Eventually, only two pieces will remain and
they will be passed to you. You select the piece that is not the force piece,
leaving it on the table.

You will always have the final choice with the PATEO force providing you
go first when there are an odd number of pieces to start (or the assistant
goes first when you begin with an even number).

The PATEO force is particularly effective when its workings are disguised
in some manner. Using it to configure the Potato Head is a great and
(pardon the pun) organic way to do this. Notice in the above, the flow is
to pick a piece, place the unselected piece back in play, then attach the
selection to the toy. Those few moments away from the selection process
(“psychological distancing”) make all the difference in the world in hiding
the method.

129
JOHN CAREY & FRIENDS

“EVERYONE’S A CRITIC”
The concepts of leveraging the Blended Equivoque/PATEO
Approach (“BEPA”?) can be found in this trick. This effect (first published
by Michael Breggar in The Linking Ring, September 2018) makes the
“selections” themselves part of the overall framing of the effect. It is like
actors building their working sets during the course of the performance.
In the end, equivoque informs the PATEO process which has a disarming
and totally deceptive outcome!

MASTERPIECE EFFECT
“The local art gallery has been searching for one painting to
distinguish its new festival of abstract art. The curators have narrowed it
down to these ten paintings, but they are looking for help in making the
final selection.” You show in your hands ten cards, each one has a rather
wild looking piece of artwork. Nearby sits a small easel. Perched on it
what is obviously a framed object, but it is covered with a handkerchief.

You ask for an audience member to assist you in helping the museum
make their final selection. In showing the 10 cards with the artwork you
comment that “some of the paintings have been done by the abstract
masters like Miro, Kandinsky, Pollack. A couple have been painted by a
monkey. Who or what has done what is mentioned on the backs of these
prints.” You flash the backs of the cards which has a bit of detail of the
paintings such as Artist name, painting title, date and so on.

Marilyn, a self-taught aficionado, volunteers. As she approaches, you

spread the cards out so all 10 can been seen at a glance. “Finding the one
‘best’ painting for this exhibition can be a daunting task,” you explain,
“so put on your critical thinking cap as we work together to eliminate the
ridiculous art from the precious art.” You look at the audience … frankly,
it all looks ridiculous to you!

You select two paintings at random and slide them towards Marilyn. “Take
these two, for example, comparing these two only, which one do you

130
 Michael Breggar

think is better?” You comment drolly about the artwork, maybe describing
what the bizarre figures mean to you. Marilyn points to one of them. You
take that one and put it back into the overall “collection.” The other one
is tossed aside (maybe you’ll want to read the back of it first and make a
wise-crack or two). “Now, Marilyn, you select any two for me to critique.”
She hands you two paintings and you discard one and toss the other back
into the mix. This continues until there is only a single painting remaining.
“Like it or not, this is the painting the gallery will be showing.” Again, read
a bit about the painting and artist if it fits the mood.

“Here’s the thing. The folks at the gallery had a hunch you would select a
certain painting… and it’s been hanging there all along.” You refer to the
easel covered by the cloth, which you now whisk away. There is a painting
in a frame. It is the exact same painting that Marilyn had selected. There
is also a little folded note card next to the easel which reads, “May 1968
by Joan Miro. Personally selected by Marilyn”!

ARTISTIC METHOD.
Prepare by printing 10 cards with really abstract art. A simple
Google search should reveal lots of examples. Print them in color and
on thick card if possible. You want these paintings to look nice. Gear
the size of the cards to your performance venue. Index-card size is fine
for close up, but you’ll want something larger for parlor or stage. On
the backs of the cards, print or clearly write some information about the
artist, the year and name of the artwork. Select one of the 10 to be your
“target” painting. Print another copy of this one. You could then place it
in a small frame, or Photoshop a frame around the painting before you
print it. Finally, on a small rectangular card, handwrite the prediction text
as above. If you know the name of the person who you will select to help,
you can write the name in ahead of time. Or leave it blank; you will fill it
in later. Place the prediction on the easel and under a fancy silk or cloth. If
you wish to proceed with naming your helper, place the card there as well.

As mentioned above, the force used to select the target painting is the
BEPA. You begin by passing any two cards for the helper to look at and

131
JOHN CAREY & FRIENDS

then remove one. Just be certain neither of the two is the target card! On
her turn, should the assistant pass the target to you as one of the two
to choose, be sure to keep the target and discard the non-target. It is
as simple as that. Eventually, there will only be two cards left: the target
and something else. With an even number of choices, this will always
be on your turn to present two items to the spectator for the selection. At
this point, simply say, “There are only two paintings remaining, just close
your eyes and hand me one.” If she hands you the non-force card, say,
“We finally got to the monkey painting!” and toss it over your shoulder.
Immediately pick up the remaining (force) card and continue. You are
golden if she hands you the force card! (This is the “equivoque part,” of
course).

As to the name appearing on the prediction, there are several ways to

approach this. One, as mentioned earlier, is to pre-print the name if you
already know the name of the person who will be helping you. If not and
you are seated during the selection process, keep the paper hidden in
your jacket or pants pocket along with a small pen or pencil stub. You’ll
have plenty of time to write it in during the “selection” segment. Pick it up
and loosely hold it in your hand just before you lift the cloth covering the
easel. As you pull away the cloth, let the folded card drop to the table
behind the cloth. If the audience sees it drop, they will attribute to it just
moving because it was nudged by the upward movement of the cloth.
Perfect shade!

PRO PRONOUNCE
These several show you how leveraging equivoque with PATEO,
and vice versa, elevates both. The total is greater than the sum of the
parts. The nuance of adding personalization (if you can catch a name or
prospective spectator attribute ahead of time) increases the mystery and
entertainment value exponentially.

One final thought. Let’s all be clear that EQUIVOQUE is properly

pronounced: EH-KWI-VOKE. It is not pronounced EH-KWIVO-KAY. So,
stop pronouncing it this way! Yeah … I mean you!

132
 Michael Breggar

Check out Merriam-Webster or the Oxford English Dictionary. Both trace

the words’ first usage back to 1599! Furthermore, check out its definition
(from Merriam-Webster’s online dictionary):

an equivocal word or phrase specifically : PUN

double meaning

WORDPLAY

Do any (or all) of the definitions ring true?

133
JOHN CAREY & FRIENDS

HUMMER
WOULD’VE
LOVED THIS
JOHN CAREY
My absolute favorite Triumph. Almost self working. Enjoy! Use
the link below to access the online video instructions for this trick:

www.johncareymagic.co.uk/hummer-wouldve-loved-this

Password: &CHUMS

134
 

135
JOHN CAREY & FRIENDS

MYLES
THORNTON
BIO
Myles Thornton is a lover of all things magic. Based in the UK he
is both an enthusiastic hobbyist and a working professional.

136
 Myles Thornton

CHRISTMAS
CRACKER
ROULETTE
MYLES THORNTON

EFFECT
It’s Christmas time, people are happy and there is magic in the
air. The magician asks for five volunteers to join them on stage or at the
front of the living room. As the volunteers arrive onstage they are asked to
pick up one of the Christmas crackers that are on the table.

The magician explains that a member of the audience is going to play their
favourite Christmas song and whilst the song is playing the volunteers are
to continuously switch crackers which each other until the song is paused.
The audience member plays the song and the switching begins. At any
time the audience member can decide to stop the music. The music stops
and each volunteer now has a completely random cracker. The magician
explains that there is only one cracker that is “Loaded” and will make a
bang, the rest are duds.

The magician walks up to the first person in the line and pulls their cracker
with them, there is no bang and the volunteer is asked to return to their
seat. This is repeated until the magician arrives at the fourth person.
Together they pull the cracker and the classic bang is heard. This spectator
is asked to remain on stage. The final spectator is asked to pull their

137
JOHN CAREY & FRIENDS

cracker, no bang is heard and they return to their seat.

The magician states that there was no way they could know who would
end up with the working cracker. However, on stage there has been an
envelope in view the entire time. The volunteer is asked to pick up the
envelope and open it. Inside the envelope is a Christmas that they are
asked to read aloud “To the spectator’s name I hope you have a Merry
Christmas, I had a feeling you would finish with the working cracker! All
the best Magician”. The audience goes wild!

INTRODUCTION
This effect can play on the largest of stages or in your living
room on Christmas day. It is packed full of fun and festive cheer. I designed
this routine because I wanted a Christmas themed trick that backs fairly
small but can play massive.

REQUIREMENTS
5 Christmas crackers (or however many volunteers you would
like), clear tape, scissors, pen, Christmas card and something to play
music on. Also, you will need what are referred to in the UK as “Fun
Snaps” these are little parcels that when they are thrown at the ground
make a loud bang noise. I have also heard these referred to as “Party
Snaps” or “Pop Its”. They are available very cheaply online and can also
be found in joke shops.

EXPLANATION
There is a small amount of DIY needed for this effect but it is
simple. Take each of the Christmas crackers and pull out the stick in the
middle. Do this without damaging the case of the cracker. Once all the
sticks have been removed pull them apart, to create the bang sound, and
keep both pieces. Now reinsert each half into the case of the crackers,
taping it in place on either end. Thus making each one look like a normal

138
 Myles Thornton

cracker again. Do this to every cracker.

You will also need to write the prediction, for this you will choose which
spectator you would like to have left on stage. If you are performing for
friends and family then simply choose one person and write their name
in the card. If you are performing for strangers there are a few ways
you can accomplish the prediction. You could find out the name of an
audience member before the show and choose them to come up on stage
alongside the other volunteers. You could spot who you want to be left
on stage and write their description in the card. Finally, you could get the
volunteers up on stage and ask their names, then openly write one of their
names in the card and mention that this is a prediction for later.

This routine centres around the fact that apparently only one of the crackers
is “Loaded” or will make the classic ‘bang’ when pulled. In actual fact,
none of the crackers are “Loaded” the audible bang is created through
the use of a Fun Snap (as described above). To create the bang you are
going to keep a Fun Snap pinched between the thumb and middle finger
of the right hand. Now when you want to make the bang simply press the
thumb and middle finger together and move them in the rubbing/ clicking
motion together. This will cause the Fun Snap to react and explode. This
won’t hurt but it may surprise you the first time you do it. Get used to doing
this as this is the method for the routine and you don’t want to be flinching
when pulling the crackers on stage.

Now the crackers are prepared, the prediction is ready and you know
how to create the bang you are ready to perform the routine. Start with
the Fun Snap lightly pinched between the thumb and middle finger of
the right hand. Choose 5 volunteers to join you on stage including your
predicted volunteer, place your predicted volunteer 4th in line on stage.
Let them each choose a cracker from the table. Explain that only one of
the crackers is “loaded” and will make a bang. Also, explain that music
will be played and the volunteers are to continuously swap the crackers
until the music is stopped.

Go into the audience with your phone which is connected to the speakers

139
JOHN CAREY & FRIENDS

and allow a spectator to play a Christmas song and ask them to stop it at
any time they would like. Once the music has stopped and each volunteer
has a cracker you join them on stage. Now go down the line pulling
each cracker with each volunteer. When pulling the crack grip it with the
left hand first and then hold the right hand behind the left, concealing
the fun snap. Do this for each of the crackers so it looks like they are all
pulled in the same way. After each cracker is pulled without a bang ask
the volunteer to return to their seat. When you arrive at the 4th volunteer
(your predicted volunteer) you are going to pull the cracker in the same
way but simultaneously trigger the Fun Snap to explode, thus creating the
bang. Once the bang is heard ask the 4th spectator to remain on stage.
Ask the 5th volunteer to pull their cracker, no bang will be heard, ask them
to return to their seat. Now you recap the fairness of the routine and point
out the prediction that has been in front of the audience the entire time.
Ask the volunteer to open the prediction and read it out. Then accept your
thunderous applause.

140
 Myles Thornton

THE GYPSY
VANISH
MYLES THORNTON

EFFECT
The magician exclaims they are going to vanish a ring. They
place the ring on their thumb, wave their hands around in a magical
gesture and then shove their thumb with the ring under their armpit.
They bring their empty thumb out of the armpit, “the ring has vanished”.
Seeing that the spectators are not impressed the magician lifts their arm
to show the ring has vanished, only to have reappeared back on their
thumb.

INTRODUCTION
This effect takes me back to my days of busking. I would perform
small “sidewalk” shows in my home city and whilst I was at university.
Mostly I busked just because of the freedom but it taught me a lot about
performance and audience management.

One day when I was busking there was a carnival in town and a group
of young gypsy lads watched my show and came and spoke to me after.
They were very interested in how the tricks were done. I taught them a few
simple things and they stuck around for the rest of the day watching every
one of my shows. Meaning well they would shout at people who walked
away without tipping. I had to explain that it is okay if people didn’t tip,
the show was for everyone.

141
JOHN CAREY & FRIENDS

As the evening was drawing in and I was thinking about heading to the
pub. One of the youngest of the group, he must have been about 9, said
that he knows a trick. He borrowed my ring, placed it on his right thumb
and said was going to make it disappear. He waved his hands round in
a funny motion as if to distract me then stuck the ring under his armpit.
Everyone laughed but when he lifted his armpit the ring had vanished,
then I looked back to his thumb and it had reappeared. HE FOOLED ME.

Since that evening I have tried to source the trick, he told me his grandad
taught him. I traded tricks with him, I taught him the classic where the ring
jumps from finger to finger around your watch. The closest thing I have
come across is classic thimble magic. So I present to you the Gypsy Vanish.

REQUIREMENTS
A ring that fits on your thumb and a thumb.

EXPLANATION
Place your ring on your right thumb and close both hands into
fists with the thumbs sticking up. Now declare to the spectator that you
are going to make the ring disappear, you want all the focus to be on the
ring. Move your hands around in a rather silly motion as if to distract the
spectator. Then move the right thumb towards and under the left arm. As
you get nearer the armpit and when the left arm is providing cover, retract
your thumb into your fist, grip the ring and pull it into the fist. Then move
your thumb back out into the position it was before and place it under your
armpit. Remove your thumb for the armpit and act as if you are leaving the
ring under your arm by holding it against your body awkwardly. This should
look like you have simply shoved the ring under your armpit as a joke, and
will either get a laugh or sighs of disappointment, I prefer the latter.

Once the laughter or weeping has settled down it is time to make the ring
disappear and reappear for the kicker ending. To do this lift both hands,
with both thumbs still up, in the air above your head simultaneously as
you check for the ring under your armpit. As your arms raise into the air

142
 Myles Thornton

and the focus is on your armpit place your right thumb back inside the fist
and into the ring then return it to its original position thus displaying the
ring. However, don’t draw attention to it yet. Look under your armpit, on
the floor, under the other armpit. Then relax your hands back down and
be surprised that the ring has reappeared on your thumb.

This may seem like a simple trick but don’t underestimate it, it gets great
reactions and is a fun way of showing your audience you don’t take
yourself too seriously.

143
JOHN CAREY & FRIENDS

MIND READER’S
DELIGHT
MYLES THORNTON

EFFECT
The magician visually plucks a thought out of the spectator’s
head and places it into their own. Then they reveal the spectator’s thought.

INTRODUCTION
Here is a visual and magical way to reveal a spectator’s thought.
I enjoy performing this as it’s a very surprising and magical moment for
the spectator. It may seem a little cheesy but it goes down really well with
spectators.

REQUIREMENTS
A Rocco Delight (light-up thumb tip), I use a super bright white
one. The brighter the better in my opinion.

EXPLANATION
For this effect, you will some information to reveal. This could be
a forced playing card, peeked information or whichever is your favourite
way of knowing supposedly unknown information.

Once you have the information ready to reveal. Simply load the delight

144
 Myles Thornton

onto your thumb from your pocket at a convenient moment during your
routine. Ask the spectator to think of the information you are going to
reveal. Look into their eyes, then reach forward to the side of their head
and pretend to pluck something from their head. At the same time light
up the thumb tip, pulling it through the air and placing the light into the
side of your head. Act as if you have just had an epiphany and reveal the
spectator’s thought.

NOTES
Sometimes mentalism can lack a visual element, adding visual
effects to your mentalism can make your routines more magical and
memorable.

145
JOHN CAREY & FRIENDS

LOCKED &
LOADED
JOHN CAREY
A very devious piece of Mentalism which makes your spectator
the star! Use the link below to access the online video instructions for this
trick:

www.johncareymagic.co.uk/locked-loaded

Password: &CHUMS

146
 

147
JOHN CAREY & FRIENDS

NIKOLA ARCANE
BIO
Nikola Arkane is a magician from Belfast Northern Ireland.
British close up champion and Member of the Inner Magic Circle with
Silver Star over the last 3 years she has performed her magic extensively
around the world including; The Magic Castle in Hollywood’s Close-up
and Parlour rooms. The Chicago Magic Lounge, 654 Club, Mystique in
Stockholm. Davido’s Magic Bar in Oslo, The Amsterdam Magic Show,
Monday Night Magic and The Magic Circle’s Christmas Show in London.
This year Nikola also became the cover girl for April’s Genii Magazine,
the longest running magic magazine in the world!

Captivating audiences with her unique theatrical style of magic she hopes
you enjoy these little additions to this book. If you would like to discover
more about this Irish wonders creations visit https://arkaneshop.com

148
 NIKOLA ARKANE

THE AMAZING
AND INCREDIBLE
MAGIC TRICK
NIKOLA ARKANE
This trick is all about presentation. What I say and how I interact
with the audience is key. I enjoy this routine because it can be performed
anytime, anywhere with a shuffled pack of cards.

Ask someone to shuffle the deck.

When you retrieve it hold in left-
hand dealing grip. (1).

“Magic should be amazing,

and magic should be incredible
because you guys are amazing
for joining me and I, (pause) well,
hopefully this card trick will be
incredible.” Fig.1

Explain that you are going to use the the words ‘amazing’ and ‘incredible’
to perform a miracle with the cards.

“Now I’m good at magic, I am not great at spelling so would you all help
me spell the word amazing?”

149
JOHN CAREY & FRIENDS

Proceed to spell ‘amazing’ out loud and deal the cards one at a time onto
the table (2), one for each letter in the word (7 cards). When you deal the
last card, push the dealt pack towards the spectator on your right. Hand
them a pen and ask them to sign their name across the back of the top
most card on the table (3). (For the purpose of this explanation I used the
two words instead of names in the drawings). “Everyone can now see and
remember that you are amazing.” Recap the pen and lay it on the table.

Fig.2 Fig.3

Pick up the remainder of the deck and put it on top of the now signed
card (4).

Take up the entire deck in left hand dealing grip. Turn to the spectator
on your left and ask, “do you remember the other word I used in the
beginning of the effect?”

Usually they won’t, so you can use this question as misdirection for the
next move and an opportunity to invite the whole audience to have a go
at answering. One person will remember the other word and shout it out,
eventually. Whilst waiting for their response, you need to sneakily transfer
three cards from the top to the bottom of the deck (5).

Fig.4 Fig.5

150
 NIKOLA ARKANE

You can just count three cards onto the table causally, moving them from
top to bottom following this with a false shuffle on the table. Or you could
get a break under three cards transferring them all at once then false
shuffle.

After this is complete turn the entire deck face up in your hand. “Let’s spell
the word incredible!”

(Incredible has 10 letters). Take a single card for each of the letters in the
new word placing them in a pile on the table face-up (6). The card you
land on, thanks to your addition above, will be the original signed card.

Push the tabled pack over to the spectator on the left and asking them to
sign their name big and bold on the face of the topmost card. Once this
has been done, cap the pen and put it away. Pop the remainder of the
deck on top of the tabled portion (7).

Fig.6 Fig.7

All the technical work is done, and the

deck can be freely shuffled. Thus losing
the two signed cards in the deck. Ask
the spectator to position the deck in the
middle of the table as you don’t wish to
touch it.

Inform everyone that the two signed

cards will now miraculously travel and
find one another.
Fig.8

151
JOHN CAREY & FRIENDS

Spread the deck on the table, backs facing up, locating the first signature.
Remove all the cards except the cards directly above and below it. Getting
them out of sight puts focus on the final three cards. Hold them in your
hands, thumbs on top and fingers underneath (8). Point out the signature.
“If my prediction is correct, the other signed card should be either on top
or underneath.”

You are now going to execute Trevor Lewis’s Monte Plus Move. This is a
card switch that allows you to show the same card in two locations. Or, in
this case, show one signature in the middle of three cards and the other
right beside it. *Remember the signatures are now on the back and front
of the same card. Here is how to execute the switch.

Turn the right-hand over grabbing the top card, fingers on top and thumb
underneath (9). Turn the top-card over, showing it to be signature-less.
(10).

Fig.9 Fig.10 Fig.11 Fig.12

Repeat the action with your left-hand to turn over both the bottom and
middle cards (11). During this action, simultaneously pull your fingers
back and push the thumb forward. This switches the position of the signed
card from middle to the bottom (12). Visually the audience see the second
signed card right beside the middle one that they just saw (we know that
it’s the same card). Repeat this move again flipping the cards face down
so that the audience see the first signature back in its original position (in
the middle of the three card packet).

“I would like to leave you with a real memory of something wonderful,

that will only happen if we all get involved. Everyone, take a deep breath

152
 NIKOLA ARKANE

and blow towards the cards.”

As they blow, rub the cards together and slide the middle card into your
left hand (13). Pause.

Slowly hold up the two cards in your right-hand, turn them both over to
reveal that the other signature has vanished. (14). Throw these two
signature-less cards away. (Getting rid of the other cards at this point
places focus on the single, final card held in your fingertips).

Fig.13 Fig.14

Hold the remaining card up to your chest showing its back and the first
signature. (15).

“That is your signature, correct? Wouldn’t it be wonderful if I could put the

other signature on the back of the card?” Turn the card over slowly to
reveal the second signature on the back (16), first to the spectator who
wrote the signature, then to the entire audience. As you throw the card to
the table triumphantly you announce, “Now, that, is what I call an amazing
and incredible card trick - thank you!”

Fig.15

Fig.16

153
JOHN CAREY & FRIENDS

MY LITTLE RED
DOG
NIKOLA ARKANE
This colour changing effect came about though my desire to use
the Tenyo trick, The Mystery Dog House.

The simplest way to explain this Tenyo effect is that one of four coloured
sponge dogs is selected.

It is then placed into a box with the lid on. When the lid is opened again
there are now three dogs in the box magically matching the selected
colour.

For me, the box design that facilitated the trick was restrictive and I felt
the routine didn’t really have a gripping story. But I was intrigued by its
mechanics greatly. I began thinking about what I wanted the effect to
become. So, I stripped it down to basics. What I liked most about the
effect was the dramatic colour change, the ability to transform one thing
to another. I came across David Stone’s effect The Tool. A gimmick for a
deck of cards - that I highly recommend you get for your arsenal.

In the following effect I use the red Tool. When you purchase the gimmick
you get both red and blue ones so you can switch up your performance if
you want a different result upon repeating the performance.

Invite two spectators up to help.

Remove the deck of cards from the box and ribbon spread it onto the

154
 NIKOLA ARKANE

table, backs (red sides) facing up. (1).

The box is placed on the table, logo facing up. Flip the spread of cards
over and gather the spread, faces up from the table with your left-hand,
subtly flash the back of the top card, a brief reinforcement of the colour
red. Then set the deck on the box as in picture (2). The deck is in the
correct position to utilise the Tool.

Fig.1 Fig.2

Bring out the Tenyo sponge switching

box (3), atop of which should be the two
different coloured sponge dogs. For the
purpose of the trick we will use red and
blue sponges. Ask the spectator on your
right to choose a coloured dog. You will
Fig.3 now use your script to force the blue dog
with Equivoque.

EQUIVOQUE MEANING
In magic we sometimes call it magicians’ choice and it is a verbal
technique. You appear to give the audience a free choice, but the way
the question is delivered means that the audience can only choose one
answer that matches the premeditated end result.

If they pick the red dog turn to the spectator on your left and say, ‘would
you look after this for me?’ In the action of giving them the red dog,
false transfer the red sponge, pretending to place it in your left hand but
retaining it in your right. Immediately after you pretend to hand it to them

155
JOHN CAREY & FRIENDS

pick up the box and the blue dog.

If they pick the blue dog turn to the spectator on your left and say, ‘we
don’t need the red dog so you can hang onto it.’ Vanish it using the same
method remarking to the spectator on the right ‘I am glad you chose the
blue dog.’ Really emphasise the luck of their choice here.

Pop the blue dog into the box and close the lid (4).

As you pass the box to the spectator on your right to look after, perform
the box switch, secretly changing the blue dog to the red dog already
squished inside the box. Finish this section by getting the spectator to put
their hand on top of the box (5).

Fig.4 Fig.5

It’s now time to link in the colour-changing card trick.

Addressing the spectator on your left, ‘Now

you will choose a random card.’ At this
point you bring attention the deck that has
been sitting upon the box and say, ‘Oh...
I thought you would choose the red dog,
that’s why I brought a red pack of cards.
Never mind, I am a magician.’ Using The
Tool, you change the packs appearance
from red to blue. To solidify this illusion, Fig.6
you must display the deck freely showing
all the blue backs. I use a Hindu Shuffle False Display (6) (Described in
1935 in The Spinx Volume 34, p. 213 by Tom Bowyer & Sid Lorraine).

156
 NIKOLA ARKANE

Next, flip the cards face up asking the spectator on your left to touch the
face of one card. Remove it from the deck placing it face up on the table,
careful not to show the red back keeping the rest of the deck face up in
your hand.

Now, thanks to your sponge switch box and The Tool, you are ready to
make some hocus pocus bitches with three big revelations.

Making reference in your script to choices people make, tap the chosen
card on the card box, turn it over and show that the back has turned red
(7). Lift up the card box, rub it across the face of the deck in your hand
(8), spread the pack on the table and show that the whole pack has now
changed to red. Finally, get the spectator who has been looking after the
box to remove their hand, open the lid telling everyone what is inside.

With any luck they will reveal A Little Red Dog.

Fig.7 Fig.8

157
JOHN CAREY & FRIENDS

STELLAR
COLLISION
NIKOLA ARKANE
Any star in our universe can collide with another whether they
are alive or dead. Stars colliding are often described by scientists as stellar
collisions. These impacts are rare but when they happen they create a
huge gravitational force that ripples throughout space. This particular
card effect came to fruition in my head when loads of little insignificant
ideas crashed into one another and the outcome of that slowly oozed into
existence. This effect evolved by exploring this riddle…

“What is free… you cannot own it but you can use it. You cannot keep it,
but you can spend it. Once you have lost it you can never get it back.”

The answer is time.

I should just point out right now that I absolutely love colour changes.
When I began to explore time as a starting point for this particular effect
I immediately thought “What if I could show a pack of cards in full colour
and then the faces simply vanish?”.

In my first ebook on close-up performance, “The Chaos Within”, I

accomplished this concept in my coin assembly “No Alarms, No Surprises”,
using half printed cards (vertically). The method for Stellar Collision is
exactly the same but applied in two antithetical piles.

158
 NIKOLA ARKANE

CONCEPT
You show one packet of cards in full colour and one completely
blank sitting side by side. One card is dealt forward onto the table in front
of each corresponding pile. Magically, without touching any cards, the
two dealt single cards change places. To finish, the packs exchange places
too. I usually perform this effect silently to music. The trick is very versatile
and the colour changes can provide a nice metaphor for a story with just
a tiny bit of imagination.

You will need two set ups to execute this effect.

TO THE LEFT (FIGURE 1)

This packet will begin its
appearance as a normal deck of
cards when spread It is stacked in
the order below. The card on top of
the packet - the uppermost facing
card should be a normal playing
card. For this example we shall use Fig.1
The Queen of Clubs.

• Blank front card.

• Ace of hearts.

• Card packet half faces (faces to your left). Use the amount of cards
you’re comfortable with, I just normally split the pack in half using half
for this packet and half for the other.

• Blank front card

• Any normal card - Queen of Clubs

Once set up square this packet and set it on your left.

159
JOHN CAREY & FRIENDS

TO THE RIGHT (FIGURE 2)

This packet will begin blank in appearance when spread.

• Ace of hearts.

• Blank front card.

• Card packet half faces (blank

side to your left). Fig.2

• Blank front card.

Once set up square this packet and set it to your right.

Time to bust a move

You’ll be glad to hear you only need to perfect three sleights to perform
this little ditty. Apart from being able to spread and square both packets
of cards on the table you will need to be able to perform

The All-around Square-up, a Double Lift - turning over the top two cards
as one and dealing a single card down on to the table. Lastly, you will
need to palm the bottom card from one packet and add it on to the other.
Let’s begin.

Spread the left packet displaying a

“normal” looking packet of cards
(Figure 3), careful not to expose
the blank cards placed either end
of this packet. Next, spread the Fig.3

right packet displaying all blank

cards (Figure 4) again being
careful not to expose the ace of
hearts second from top. As you
close and square each packet you
Fig.4

160
 NIKOLA ARKANE

must then turn them face down.

After you turn the packet down you
must execute the All-Round-
Square-Up on each pile and set
them beside each other at the
centre of your close up mat (Figure
5). This move automatically sets Fig.5
the packets up for the switch and
final reveals.

Fig.6
Take the left packet in left-hand
dealing grip (Figure 6) and perform
a double lift showing the ace of
hearts which is actually second
from top (Figure 7). Turn the double
back down taking the now top card
(a blank card) onto the table in
front of where the pack would sit
(Figure 8). Before placing down the
packet in your left-hand, back onto
the table (with your hand, in a
Fig.7
squaring up action back and forth
(Figure 9) displace and palm the
bottom card in a deep-palm grip. See exposed view (Figure 10). As you

Fig.8 Fig.9 Fig.10

bring the rest of the packet forward slowly lower your left-hand with the
card, palm to-ward you resting it upon the edge of the table. PAUSE. It’s

161
JOHN CAREY & FRIENDS

very important here when you are in a ‘dirty’ position that you don’t rush to
grab the right-hand packet. The more relaxed you are the more readily the
audience will believe that nothing sneaky is happening at this point.

Now we are going to use the gaze and some vectors to make this card
add-on to the right-hand packet invisible.

Begin by looking directly at the packet on the right side of the table as you
reach for it (Figure 11).

Next both hands, right and left, will come together at the same time as
you look straight up towards the audience (Figure 12). If timed correctly
the audience will catch your gaze, focusing completely on your face. The
action of adding the card to the bottom of the right packet will simply go
unnoticed.

Once this card is added, continue the action and execute a double lift
showing the second card in the right packet (a blank card) (Figure 13).
Turn the double down and place the now top card (The Ace of Hearts)
onto the table (Figure 14). Perform the All Around Square-up and set this
packet behind the single card on the table.

All the hard work is now complete and the rest is acting.

Make magical gestures over the two single cards on the table and turn
them over, revealing that they have switched positions (Figure 15). There
is now a blank card on the left side
and a face card on the right.

As the final kicker, snap your

fingers over both packets, turn
each over and spread them slowly;
first the left then the right packet
to reveal that both piles have also
magically switched places too.
Fig.15

162
 JOHN CAREY

MCJOHNNIES
ACES
JOHN CAREY
Here’s a lean and mean handling of a classic assembly with a
devious intro. Enjoy! Use the link below to access the online video
instructions for this trick:

www.johncareymagic.co.uk/mcjohnnies-aces

Password: &CHUMS

163
JOHN CAREY & FRIENDS

164
 bio

PIGCAKE
BIO
PigCake is the creator of the world famous magic tutorial
channel PigCake. The channel has amassed over 55k subscribers and
continues to strive to write the most accurate biographies on books
dedicated to Magic Tricks by John Carey and Friends. He is world
renowned for being one of only few magicians to actually shower on a
daily basis.

165
JOHN CAREY & FRIENDS

LONG DISTANCE
CROSS CUT FORCE
PIGCAKE
It goes without saying (writing?) that I have a secret love affair
with the cross-cut force. We text each other till late at night sweet little
nothings and cuddle when our parents aren’t home so as to not violate
un-American incest laws. Here is a variation that involves some distance
between the cross and the cut.

Start with the card to be forced on the bottom of the deck. In telling the
participant what they are to do in a moment, pick up half of the deck and
hold it against your chest as you mention to the participant that they are
going to cut the deck wherever they want and place the cards immediately
against their chest. Regroup the cards and place the entire deck in the
spectator’s hands as you have them Cut the cards onto your awaiting
(clean) hand. At this point, remind the spectator to hold the cards against
their chest as you take the remaining cards and place them back on the
table. The participant is then instructed to look at the card they cut to (the
face card) and shuffle the packet and then replace the cards back on the
table.

The aforementioned instructions are designed for the participant to

misremember that they cut the cards from the table as opposed to the
truth, that the clever prestimastorbator has cleverly orchestrated, the cards
were actually cut from the hands (dirty) of the participant. This is further
reiterated by the performer placing their half of the deck back on the table
And having to participate conclude their actions by replacing the cards
back on the tabled half.

166
 Pigcake

I promise it’s not as complicated as it is in writing. Carry out the actions

listed above with your Tenyo blowup doll and you will see the mechanics
are hidden away in the dissemination of instructions to the participant.

167
JOHN CAREY & FRIENDS

LUCKY NUMBER
PIGCAKE
This is a very easy variation of the invisible card plot. You may
have seen this concept in having the participant select a card, the card
ends up tragically becoming invisible and then visible again, usually being
located in a certain position in the deck.

Wait politely in the bathroom at a popular restaurant and wait for a suitable
candidate. When they are done eradicating themselves of unlimited soup
salad and breadsticks, guide them towards your magic corner and have
them select a playing card from your favorite deck of playing cards. In
a normal human tone, ask them if they have a lucky number and to
mention said number out loud. After successful social interaction, get into
a conversation about lucky numbers and how your father has yet to return
from buying a pack of cigarettes 32 years prior.

Then using your favorite method, control that card to the top of the deck.
My favorite method involves an industrial vat of military-grade lubricant
and 2 days dosage of Comtrex.

Mention to the participant that you have now made their selected playing
card invisible and prove it by turning the deck face upwards and taking
an opportunity to secure a pinky break above the lowermost card. While
showing the participant that their card is now invisible, count the cards
singly to your right-hand corresponding to the previously mentioned lucky
number.

Upon reaching this lucky number, turn the cards face down in the right
hand and insert them into the break that you have created, squaring the
cards up and continuing taking cards into your right hand. You can ask

168
 Pigcake

the participant if they’ve seen their card yet, the answer will always be
“No, who are you? POLICE!!!”

You could then take the new pile of cards that you have created in your
right hand and turn them face down back underneath the cards as you
did before. Repeat this process until you come to the first face-down card
which shows the participant that their card has truly become invisible
because they have not seen their card in the deck! If you were clever, you
would have peaked at the participant’s selected card during the initial
controlling phase and can now mention to the participant that their card
has been made invisible and removed from the deck! You can prove this
by pointing to an empty space on a nearby toilet and mentioning that their
card is actually occupying that space, then mention the card they picked.

To conclude the trick, have the participants pick up this invisible card and
have them place it in the deck. Then remind them as to their lucky number
and have them deal down to their lucky number where they will find their
selected card. This card is now their lucky card and they should take this
card and place it underneath their pillow so that it wards away all the
would-be magicians from bothering them ever again.

169
JOHN CAREY & FRIENDS

PREDIXTION
VARIATION
PIGCAKE
This is a small variation on Max Maven’s classic effect. I’ve
always loved the routine, however I wasn’t keen on the dealing procedure
being so neat in the latter portion of the routine. I’m not going to disclose
the method to his original routine here however I will provide an alternative
as to the dealing procedure that allows the participant to deal the cards
down at their leisure, include the option to shuffle the deck and end with
their ability to freely deal the last two necessary piles however it is they
wish. It goes without saying that the original effect involved the participant
being left with one of two potential outs possible and this provides the
same exact outcome.

Take two playing cards of your choosing and place them in two different
locations known to the magician, one could be in the left pocket the
other one could be in the right pocket, One could be inside of your
grandmother and the other one inside of your aunt, really be creative with
this particular step. Alternatively, you can have the card set up as in the
previously mentioned Max Maven effect. These cards may be set up with
a mysterious question mark on the back alluding to some form of mystery.

The two duplicates are placed on top of the deck and the deck can and
should be shuffled while preserving the order. It is also important to note
the order of the playing cards which will allow the clever conjurer to know
the correct playing cards in the latter portion of the effect.

The pack is handed to a participant instructed to deal the cards down

170
 Pigcake

in a pile on a table, after the first two cards are dealt the participant is
given the option to shuffle the deck and stop dealing at a moment of
their choosing. Once the moment is reached, you will tell this individual
incapable of making worthwhile decisions that they are to deal the cards
in this newly created pile into two separate piles; however the cards can
be dealt in whatever way they want as long as they are dealt singly.

This situation allows for two possibilities of which will be addressed

accordingly.

THE FIRST SCENARIO

The participant splits the last two cards and they each retain
residency on the top of both piles left on the table. Remember when I
cleverly mentioned that the performer should take note of the order of
the cards as at this moment they should have knowledge of which card is
which. At this point, the participant is given free choice as to which pile they
wish, allowing the pedantic prestidigitator to reveal the correct prediction
and bring this prime example of virginity to a successful conclusion.

THE SECOND SCENARIO

Both cards are dealt into one pile leaving the other pile lonely
and without a card of significance.

At this point the participant is asked to pick up whichever pile they want
which leaves us with another set of possibilities:

THEY PICK UP THE PILE THAT CONTAINS BOTH

PREDICTIONS
You smile mischievously as you realize that you’ve gone 20
minutes into a performance without soiling yourself. You can give them
the option of the top card or the second card and still be considered in
league with the virgin devil.

171
JOHN CAREY & FRIENDS

THEY PICK UP THE PILE WITHOUT PREDICTION

CARDS
Smile mischievously as you soil your pants openly and loudly
then have them pick up the other pile left on the table placing it on top of
the current pile they hold in their hands placing you in the same situation
as before where they have a choice as to the top card or the second card.

As you can see this handling allows the participant freedom in all
aspects of the selection procedure and is more exciting than a root canal
colonoscopy.

172
 JOHN CAREY

ONE BEHIND,
ONE AHEAD
JOHN CAREY
One behind is one ahead! I’m so proud of this multi phased coin
routine that has so much action and effect and teaches some great utility
moves too! Use the link below to access the online video instructions for
this trick:

www.johncareymagic.co.uk/one-behind-one-ahead

Password: &CHUMS

173
JOHN CAREY & FRIENDS

PHILL SMITH
BIO
Hi, Phill here, I create magic stuff and design effects and cards,
write books, help magicians build their routines, all kinds of things - I’m even
designing this book literally right now! I’ve been working with JC for quite
a while and rather than just hype myself up (or challenge Myles for the title
of ‘most succinct bio’) I’m going to take the opportunity to say how much
I’ve always enjoyed working with John Carey, and that it’s nice to have been
included as a friend in this particular book, especially amongst such esteemed
company as the other contributors!

174
 Phill Smith

FASTEXT
PHILL SMITH

EFFECT
Whilst visiting your friend’s house you get talking about mind-
reading and decide that now is the ideal time to make a simple
demonstration, so you have them take a paperback book from their book
shelf. You look it over, then explain that you are going to have them pick a
word at random as a target for them to concentrate on. “I find that having
a very specific focus like this makes it easier for me to pick up on exactly
what someone is thinking.”

You hold the book facing away from you, with your head turned entirely
away so it is impossible for you to see the book at all. You riffle through
the pages, inviting them to say stop wherever they choose, being clear that
you are stopping where they say, not at a different point, and inviting them
to change their mind if they feel it will be more fair. They do not. You open
the book at that point, still turned away, and tap the page.

“Please remember whatever the first word, or the first couple of words on
this page are - it’s not a chapter heading is it? There is a word just here?
OK great. Remember that, but don’t tell me what it is. Got it?”

“Yes.”

You snap the book shut and turn back.

“OK Alex you are thinking of a word, correct? That’s perfect, and you’re
satisfied that it was randomly chosen? Good. Are you happy with that
word? You could pick a different one? No? That’s ideal, because it’s

175
JOHN CAREY & FRIENDS

important that this is fair. You could have stopped at any one of…”
you riffle quickly through the book to the last pages and read the page
numbers. “I guess 300 pages? Have you read this book?”

“Yes.”

“Have you memorised it?”

“Of course not!” You hand them the book, reaching into your pocket for
a pen and a business card.

“OK concentrate on your word for me please. I want you to imagine

the concept that it represents, so if it’s a noun, think of the thing that it
represents and imagine it being here in the room, if it’s a verb, imagine
that action in motion… ah, it’s neither it’s something else, it’s a description
of something, imagine that description then - it’s about something being
big, but not just big, something being huge, but not that word, it’s...
enormous. Enormous. Do you recall the rest of that line? Yes? Concentrate
on the rest… Enormous group, no, enormous collection of… hats? I want
to say hats. Enormous collection of hats? That’s right? Amazing.”

It is, of course, correct.

METHOD
Fastext is a slightly odd booktest that is built around a genuinely
odd thing that it is weirdly possible to do, and that you will have to try to
believe me on.

Firstly, let me explain the origin of the idea because it’s also weird. I’ve
had this ongoing conversation with my friend Looch about this odd card
‘trick’ that we keep trying to do. The idea is to give someone a deck of
cards, they take out any four of a kind and you take the deck back, riffle
through it and can tell them which cards they took out. Method: dunno,
you can just kind of tell? It’s the weakest, but there is something there in
my opinion, that when you riffle through the information is obviously going

176
 Phill Smith

in SOMEHOW and you can often (I hesitate to say always, or even usually)
name the missing cards. This idea of riffling and almost subconsciously
seeing the answer intrigued me.

It is similar to the card force where you riffle the cards and there is a short
card or a few duplicates which allow the force card to be visible for a tiny
moment longer than the rest - the trick lies in riffling the cards at the exact
right speed that they pass too fast to register, with the exception of the
force cards.

So this is kind of the principle behind Fastext: everything that happens is

genuine - you look away very pointedly as they pick their page, and of
course as they read it (there are a few booktests which use peeking the
page at this moment as the method, notably Marc Paul and Colin McLeod
have work in this area). As the page is spread open however you actually
get a left-hand pinky break at the bottom of the book, and when you snap
the book shut, this little break is held concealed - you actually squeeze the
book with both hands so that no break is visible at the front.

Now, when you later riffle through the book to see the page count, you
perform the card force mentioned above on yourself. You position your
eyes on the page so they are in the top left corner, exactly in position to see
the first words on each page, and you pull slightly on the pages to create
a subtly step where the break is. Now, as you riffle, the page you are
holding the break at will be visible for a fraction of a second longer than
the rest. In this moment you are able to read the first word, and usually
the first three or four.

You should do this at a pace that does not clearly reveal that you are
sighting those words specifically. When I do it, I often don’t register what
the words are until after I have riffled past them. It’s very hard to describe,
quick knacky, and probably a terrible choice for an effect to explain in
a book. It is something that you will only acquire through considered
practice and finding your own precise handling.

That said, let me explain the exact positioning that I use. Firstly, I hold the

177
JOHN CAREY & FRIENDS

book by the base of the spine in my left hand. I look away over my right
shoulder, and with my right hand I riffle from back to front with the pages
facing the punter. When they say stop I break the book open at that point,
and hook my left fingers round the bottom of the book in such a way that
my left little finger is in the crook of the spine. My right hand runs up the
far right side of the open spread and my right index finger taps the page
when I expect the first line to be.

Importantly you need to check if there IS a first word there or if this is a

chapter heading or illustration. I also always ask if they want to change
their mind - it is trivial to allow this so you might as well increase the
feeling of fairness.

Once they have read the first words on this right hand page (and it will
only work with this right hand page) I snap the book shut by closing the
back: the front stays more or less in position. The little finger stays wedged
into the crook of the spine, INSIDE the book, whilst the rest of the left
fingers pivot down slightly and around. The right hand now slides towards
me, a little way down the edge of the book, and holds the pages shut, so
that the break is not visible.

I angle the book so that it is side on to the punter - he can only really see
the top of the book, not the face or back. This means that the errant little
finger is completely obscured by the book and the left hand. This is my
neutral position and I will hold this for as long as necessary. A firm grasp
is required but not a death grip: you must be comfortable with this and
hold it until you feel the moment is right - much like the peek in The Biz,
this is what I call an Asynchronous Peek, because it is desynchronised from
the timing of the method and happens at the moment of YOUR choice.

When that moment arrives, a point of light relaxation in the proceedings

when attention has slid away from the book itself, I open the book and
with my right hand riffle briskly but not quickly from front to back. I tension
the pages so that I can feel a discernible break down the right side, and
position my eye-line so it is in the exact right spot as the pages whiz by:
you will not have time to move your eyes into position when the page

178
 Phill Smith

stops. As the break arrives the pages will pop into place and you will
be staring at the first few words. You now simply keep riffling and the
moment disappears and compresses into the past. I then immediately
hand the book to the punter so as I go through my mind-reading process
it is in THEIR hands.

The trick is in timing the moment so well that you don’t so much read the
words as simply see them, and then almost decode them as you carry
on riffling. What is remarkable is HOW MUCH of that first line you can
sometimes catch.

That’s how I do it. This is absolutely one of those things where when I
perform this for magicians, at a lecture for example, and tell them how
it works, first off, they don’t believe it. I think it’s the fact that you can
sometimes get four, five or even six words that throws them, and I think
that’s largely due to a misunderstanding of how people actually read
text - a competent reader reads not individual words but blocks of words,
and this trick relies on the fact that your eyes can absorb several words in
one bite.

When it becomes clear that it is a real thing, the next issue is that they
don’t believe they can do it. I fully accept that not everyone will be able
to do this: if you have a condition that makes it hard for you to read,
or hard to read fast, if you have poor eyesight or if you have dyslexia
for example - you will struggle. But it is a real method, and if you are a
reasonable reader then this is a method that you should be able to master
with reasonable practice.

If you aren’t so confident, then it’s possible to reduce the sighting load and
expand the reading phase by riffle-spotting not the words themselves but
the page number for the selected page. Depending on where on the page
the page numbers are, in the riffle you stop there and spot them, then
carry on riffling. Now you can engineer an opportunity to turn directly to
this page and read the first words at your leisure.

179
JOHN CAREY & FRIENDS

MAKING THE REVEAL

In the effect as written you’ll notice I perform a verbal reveal. I
find that verbal reveals like this are less ‘commercial’ because they don’t
have a moment of kinetic impact where you reveal a written revelation,
but what you lose in that condensed moment of revelation you gain in
communicating the process of your mind-reading and expanding the
audience’s personal experience of actually having their mind read.

With the verbal reveal you can walk through the meaning and unpack the
word in a way that conceptually mirrors how they themselves are thinking
about it, and which should more realistically communicate exactly what
you are mentally doing. For example, if I know it’s an adjective, I give the
examples as nouns and verbs, and I then know that their thoughts will be
“ah, I haven’t picked either of those…”, so just as that thought is inevitably
forming I apparently intercept and express it.

That’s the trick really to doing this. You know the end result because you
know the word, but you have to get there in a way that invokes certain
other ideas in their head and then you express those ideas, that you
couldn’t possibly know, as they experience them. You need to create a
journey that makes sense.

If they are thinking of a rhino for example, I’d say “If this is an object or a
thing, I want you to imagine holding it in your hands.” and I cup my hands
in front of me as though holding a football, then watch them and hesitate.
“Ah… ok, no so it’s something bigger than that, you can’t really hold it like
that.” I’ve navigated them into a space where they can ONLY think that.

Often it will be a word that is less conducive to a mental picture, like a

preposition or conjunction, which could in isolation be weak. If it is a small
word however you will almost always know the next word, so I lean heavily
into having them visualise this first word, then sense resistance and say
“It’s not a word that you can visualise easily right, it’s like an and or the
or whatever? Did you see the next word?” If you are telling them to build
a mental picture out of a word and the word they are thinking of is “and”,

180
 Phill Smith

they will inevitably be thinking “ah bugger I can’t do that.” You create that
idea in their head, and then you reveal it.

This is how you take your audience members on a journey with your mind-
reading, this is the trick within the trick really. This is *the* trick.

181
JOHN CAREY & FRIENDS

BULLET HELL
PHILL SMITH

EFFECT
You shuffle then table a deck of cards, and then ask four people
to help you. They are each to think of a number: person one, a number
between 10 and 20. Person two, a number between 20 and 30. Person
three, a number between 30 and 40, and person four, a number between
40 and 50.

To ensure that there’s no way they can possibly know each other’s
numbers, you ask them each to take the two digits of their numbers, add
them together, and minus them from their original numbers. You pick up
the deck and say you are going to deal down, and person one is going to
say stop when you reach their number. This you do, dealing the cards into
a pile on the table and counting out loud as you do so, and when they say
stop, you table the card at that position, face down, in front of them (but
don’t look, naughty).

You point to the top of the undealt cards and explain that this is now the
top of the deck, so if they had had more or less cards, the top of the deck
would be in a totally different position. You put the undealt cards down on
the tabled pile, and repeat the process for punter two, dealing out loud
from the (new) top of the cards onto the table, and when they say stop,
you hand them the card at that position. Again you explain that the top
of the deck now is different, and drop the undealt cards onto the tabled
cards.

You repeat this whole process for persons three and four until there are
four cards on the table. You turn over the four cards to show they are

182
 Phill Smith

the four Aces. Then you spread the deck face up to show that it’s entirely
blank…

METHOD
You need a blank deck, duh, and four Aces with matching backs.
(Incidentally, you don’t NEED a blank deck, this effect is still pretty damn
solid with a regular deck, but obviously the all blank deck is a nice kicker)

You need 48 blank cards, and the four Aces. Place the four Aces at
positions: 7, 9, 27 and 41 from the top of the deck. From now, it’s
basically self working.

OK so how does it actually (self) work? The numbers they generate are
results of the 9 force, so person one will always end up with the number
9, person two with the number 18, three: 27 and four: 36. If you want
to streamline things a tiny bit, you can just set the Aces at these positions
in the deck, start with the largest number (person four) and work back to
the smaller numbers, and put the dealt cards back on top of the deck. In
Bullet Hell instead I drop the undealt cards on top which makes it harder
to backtrack and also inserts this idea that the point you start counting
from each time is dependent on where the last person stopped.

It might well be safer territory to have the maths done on the calculator on
the audience’s phones to avoid them screwing it up. Care must be taken
to ensure that the audience understand exactly what is required for the 9
force, and depending on the venue you can encounter people for whom
drink is winning against maths. Having the phones also adds in a nice
touch that you can tell them not to let anyone SEE what’s on the screen so
no-one can possibly cheat, which adds some tiny level of armour to the
effect.

Also, the reason why YOU deal rather than letting them deal is because
spectators suck at dealing cards, and it needs to be done FAST and cleanly
to make this effect flow properly. Dealing yourself also allows you to do
this thing where, for the last person, after about twenty cards you start

183
JOHN CAREY & FRIENDS

slowing down and looking at them like they are about to stop, like you
don’t know that they are going to stop at 36 - IRL you do, but in the trick,
there’s no way you would know, so you start expecting them to stop you
much earlier than they do, and there is an element of humour from your
slight panic that they are screwing with you.

You should be able to create some visual back and forth and you kind of
stop a little and gesture like “Here?” and they shake their head - don’t
force it but create space for them to play along. When they do say stop
you act relieved: “Damn I thought you were going to make me go through
the whole deck!” The implication of the joke and your behaviour should
be that a. You have no idea where they are going to say stop and b. They
have maybe CHOSEN to screw with you a little by picking a high number.
You need to fully act as though they have chosen that place to stop.

VARIATIONS
If you don’t have four people on deck to perform this with, or
you want to perform in a more impromptu way with own normal
performance cards (or just do the effect faster) you can take two Aces
out of the deck as predictions. You then have just two people do it, using
a number between ten and twenty, and twenty and thirty. If you have the
remaining two Aces in positions 9 and 27 in the deck (easily set up as you
take out the first two Aces) it should work nicely.

Alternatively, you can go through the deck and take out the matching twin
cards of the two cards that are at positions 9 and 27 in a shuffled deck
(taking care to replace them if they are above their positioned pair cards
to avoid displacement screwing up the maths - try it and you’ll see what I
mean). This works nicely.

Another idea is to do this with JUST one Ace, and give the whole table
of people different maths instructions. Person A thinks of any number
between 25 and 40. Person B, any number between 30 and 40. Person C,
they think of any number between 17 and 50. Person D, any even number
between 9 and 30. Etc. Everyone got a number in mind? Person A, double

184
 Phill Smith

your number. Person B, you take the two digits of your number, add them
together and subtract that new number from your original. Person C: think
of your age when you had your first kiss and divide your original number
by that etc. Everyone is now thinking of some weird number. You look at
them all and ask them to concentrate… tough, I think this will work best
with person B. You go through the deck and take out three Aces and put
the fourth Ace in the 27th position from the top. Have them do a Jay Ose
cut then they deal to their number. (Bit of a weird one this one but you get
the idea)

One last one before I stop typing: you have a single punter think of any
number between 10 and 50, and do the maths. As they are doing this
you, from your pocket, remove a small number of cards which you hold
in your hand. They count to their number and take out that card. You look
briefly at the cards in your hand and then turn them over and show them
to be three Aces. They turn over their tabled card and it is the missing Ace.

For this, have the deck set up with Aces at 9, 18, 27 and 36 (in CHaSeD
order) and have a single punter think of ANY number between 10 and
50. The cards in your hands are actually all four aces, and you just do
a four-as-three Elmsley count variation (figure it out it’s easy) to conceal
whichever Ace they have tabled. TBH it would be stronger to have four
different outs where you have four sets of three Aces in a body index or
whatever, but then you need loads more cards.

You’ll work it out I’m sure.

ADDITIONAL CAREY
I had a brief chat with John about this routine because it was
inspired by him, and we mused a bit about why having the blank deck
makes it stronger. It’s hard to pin down exactly because, from our point of
view, it doesn’t affect things at all. However, I think it amplifies the risk of
failure. The revelation of the Aces, for the spectator, inspires the thought
of what would have happened if they had picked a different number or
card, and clearly what would happen with a regular deck is that it would

185
JOHN CAREY & FRIENDS

just be a different, non-Ace card. With a blank deck though, it feels more
precipitous.

The best analogy I can think of is that you coax a blindfolded spectator
to walk along a narrow plank, then at the end you whip off the blindfold
to reveal that they have just unknowingly walked between the tops of two
skyscrapers, the plank balanced over a precarious drop. The plank is no
narrower, no harder to navigate, but the risk of failure is more significantly
highlighted.

John also suggested quite a nice variation with the blank deck for a
couple, that you use the methodology outlined to have them locate the K
and Q of H in the deck. (she of course finding the K and he the Q). I think
it contains some more emotional content than just finding Aces, but I’ve
already written all about the Aces so JC it’s too late bud soz.

186
 Phill Smith

EQUIFINQUE
PHILL SMITH

INTRO
Equifinque is a simple little ice-breaker which will provide you
with an opportunity to meet fabulous people and seduce them with your
incredible abilities. Or maybe just provoke a wry smile. Its up to you really.

EFFECT
“You look like quite an unpredictable type, you’ll be fun for this.
Have you ever wondered how we make decisions?”

“No” they will say. Or maybe yes. It doesn’t matter. You hold out your left
hand, palm down, fingers extended. Fold your thumb away.

“Pick any two fingers, at random.” They point to two and you fold them
down leaving two extended. “You see when you make a decision, what
your brain does is basically flips a coin and then afterwards it justifies
this random decision. OK, now just touch one of these two.” You mime
touching the tip of one of the remaining fingers. They touch one finger,
and you fold it down.

“One finger remains. Actually before I came out here tonight, I made a
prediction about which finger you would pick.” You reach into your pocket
with the spare hand and rummage around for the prediction. “This is
going to rock your socks. Are you ready?” You pull your hand out of your
pocket with the same finger extended as on the other hand.

You smile and graciously milk the laughter.

187
JOHN CAREY & FRIENDS

“I know what you’re thinking, I really am that good.” you nod. “No, really.”

You turn your left hand over with the one finger still extended. On the palm
is written: You’ll pick this one! and a small arrow points to the extended
finger.

METHOD
The clue is in the title. Clearly it is just equivoque, dressed up for
a bit of a giggle. Obviously you have the prediction written (or maybe
tattooed.. hey why not) on your palm when you start. The first phase you
simply either keep the two they pick or fold them down depending on
whether they have included the predicted finger in their selection. When
you have two fingers extended and they are touching one, you have
two options, if they are touching the selected finger you close the other
finger and mention the prediction and your fingertips remain in contact.
Alternatively you fold down the touched finger and make the prediction
gag. It’s just equivoque, I don’t really know why I had to explain it so
much.

Just for the record, the reason I don’t include the thumb in this is because
a five item equivoque can run to three phases, and the three phases can
start looking a little bit laboured and contrived. Surely not?

NOTES
Some people refer to equivoque as the magicians choice, but
this name is misleading, because “The Magician’s Choice” is clearly
“Should I tell the missus that I bought a rubbish booktest for £300 or not.”
The answer is of course: No.

188
 JOHN CAREY

RIGHT BEFORE
YOUR VERY EYES
JOHN CAREY
Before your very eyes! Currently my favorite anytime effect that
has a divination, a vanish and a magical reproduction packed into one
very tidy bundle. You will love this! Use the link below to access the online
video instructions for this trick:

www.johncareymagic.co.uk/right-before-your-very-eyes

Password: &CHUMS

189
JOHN CAREY & FRIENDS

REDDEVIL
BIO
Robert “RedDevil” Cosley is an expert amateur and proud
hobbyist in the field of magic and mentalism since 1980. Just like
everyone else in this book, he gained the love of magic as a child, and
then made a promise that he would never grow up. So far he has been
successful. In the spare time allowed after his real job, RedDevil loves to
create and write magic and mentalism effects. He has published two card
effects in The Linking Ring, and he has written multiple e-books of close-
up mentalism, some of which, people actually read and used.

190
 RedDevil

THE COOZEE
AMBUSH
REDDEVIL

REDDEVIL WRITES
“Years ago, I purchased Steve Bedwell’s “Taped” video and
watched with awe and admiration as he performed his card to card box
routine “Parked Card.” Right under the spectator’s nose, he secretly
placed the chosen card on an openly visible card box on the table, twice!
He then proceeded to do the impossible; magically producing that card
from inside of the card box, folded.

Not long after, I saw Doc Eason perform his Card Under Glass routine.
With his spectators eyeing the glass all night, Doc still managed to place
their card under it seven or eight times!

With their routines as inspiration, I decided to develop a routine that

utilizes the misdirection caused by the determination of the spectators not
to get conned again.

Once a card appears under the glass, they will watch it like vultures,
allowing me to place their card in other places within seconds. The result
is a quick routine in which I can overload their senses by allowing the card
to appear in four impossible places within seconds of each other - with
some good magic in between, of course.”

191
JOHN CAREY & FRIENDS

EFFECT:
The performer places a prediction on the table and asks the
spectator to name any card. The spectator then opens the prediction,
which says, “Look under the Coozee!” - the named card is found under
the coozee!

The card is then signed and lost in the deck - almost immediately, it is
found lying on top of the card box!

Seconds later, the signed card is found beneath the close-up mat!

Finally, the card is found folded inside the coozee underneath the can!

PREPARATION
You will need a deck of cards that has a card box with the card-
back printed on the box, a black magic marker, a water or beer can, a
coozee (a foam insulator used to keep cans and cans cold longer), a large
close-up mat, an envelope, and index card, and some rubber cement or
super glue.

You will prepare the coozee by folding up one of the cards in the deck
into quarters. Then glue/tape it to the bottom of the inside of the coozee.
Then place the can inside and on top of the card in the coozee (wait until
right before the performance, or the card will get too soggy).

As for the deck, place the 7H on top with the QH underneath it. On the
index card, write “Look Underneath the Coozee!”

Place the card in the envelope, which has “My Prediction” written on it
with the marker. When ready to perform, place the card mat on the table
about 18 inches from the edge of the table. Place the coozee to your right
about 8 inches from the edge of the table. Then place the card box, with
card back side up, to your left underneath and outside of the lower left
corner of the mat. Have the marker and envelope in your jacket pocket.

192
 RedDevil

The cards should be on the mat.

RedDevil believes it is best for your spectator to sit on your left preferably.
But the built-in misdirection of the trick allows the spectator to sit across
from you in a bar situation.

PHASE I; CARD UNDER THE COOZEE

1) Take the cards and fan through them face up as you say,
“Fifty-two cards in the decks and everybody has a lucky one. You know,
I’m pretty good at guessing a person’s lucky card. It’s kind of a knack
I’ve developed.”

2) Take out the envelope and place it on the table next to the spectator,
saying, “I have a prediction here of what I think will be your lucky card.
Hopefully, I won’t miss. Will you name your lucky card? If you don’t have
one, make one up.”

3) Okay, no matter what card is named you will be correct using the method
from the effect “Crystal Thought” found in EXPERT CARD TECHNIQUE. A
majority of people asked to name a “lucky” card will name the 7H for
obvious reasons. That card is on the top. If the spectator names it, you’re
in great shape. But many people, ladies especially, will name the QH.
That card is second from the top. If the spectator names the Queen, do a
Slip Cut, bringing it to the top.

4) Now, if the spectator names any other card, say, “That’s interesting!
You’re not like most people. You’re different. You see, most people don’t
choose that card, they choose the Seven of Hearts.”

5) With the faces toward you, fan through the deck as if you are looking
for the Seven, but actually locate the named card and bring it to the top
of the deck. Then just do a Double Lift, showing the Seven. “And you can
see why, of course. The Seven is a lucky number, a Heart means lucky in
love, and so on. But you didn’t choose the Seven of Hearts. You named
the... (name of card they selected).”

193
JOHN CAREY & FRIENDS

6) Turn the Double face down again. Now you’re in a wonderful position.
No matter what card was originally named, whether the Seven, the Queen,
or another card, the spectator’s chosen card is now on the top of the deck.
“Well, so be it. You could have named any one of these, but go ahead
and open the envelope.” As you say this, palm the card off the top into
your right hand. As the spectator reaches for the envelope, you will do
two things simultaneously:

a) The left hand ribbon apreads the cards face up from right to left on
the close-up mat.

b) The right hand places the palmed selection face down behind the
coozee then places the coozee on top of the card.

It is important that the card is loaded during the Ribbon Spread. The
reason is if the spectator looks up from the envelope, she will follow the
movement of the spread rather than look to the innocent looking coozee.
“Go ahead, read it aloud.” The spectator reads the prediction and the
card is revealed under the coozee!

PHASE II; CARD TO THE CARDBOX

1) “Wow, that is your lucky card! And you thought the coozee
was an innocent object. You won’t let me get that card underneath there
again, will you? Good. Tell you what, let’s keep your lucky card in play
for a while, and please sign your name on the face of it for me.”

2) Give her your marker and have the card signed. Take back the card
and do your favorite lose the card, control it to the top maneuver. Then
place the deck face down in Dealing Grip.

Note: The following sequence of patter and method comes directly from
Steve Bedwell’s “Parked Card.”

“Okay, let’s do something different. I’ve lost your card in the face down
deck, so what direction is your card facing?” Point downwards. The

194
 RedDevil

spectator will say, “Down.” Turn the deck face up in Dealing Grip, saying,
“And when I turn the deck over face up, what direction is it facing?” Point
upwards. The spectator will say, “Up.”

Riffle the cards and snap your fingers and say, “But if I riffle the cards and
snap my fingers, what direction is it facing?” The spectator will usually say
“Up” again. But no matter what, point downwards trying to convince her.
“Well, I guess I will have to prove it.”

The deck is face up in your left hand with the selection at bottom. Get a
break above it with your left pinky, almost preparing for something like
a Gambler’s Cop; your right hand comes over the deck and you now do
two simultaneous actions:

a) Take all of the cards except the selection with the right hand and
Ribbon Spread it from left to right.

b) Turn the left hand palm down with the card copped in the left hand and
place the card on the card box and then immediately follow the motion of
the right hand with the left hand following it (to control their gaze).

Whatever you do, even if the card is not perfectly placed on the box, don’t
look at it. The card should be camouflaged in plain view on the card box
because the box has the back of the card printed on it.

Turn your head, body, and hands toward the face-up Ribbon Spread.
“Let’s see now. It’s here somewhere.” Finger through the cards a bit.
“Oh, I see it…It’s on the card box on the table.”

PHASE III; CARD UNDER CLOSE-UP MAT

1) This phase knocks ‘em dead because it happens just seconds
after the card is discovered on the card box. The great thing about this
phase is it happens during the relaxation beat of the performance. They
don’t expect magic to happen so soon. Thus, their eyes are not as hot on
your hands.

195
JOHN CAREY & FRIENDS

2) Basically, you will perform Tony Miller’s “The Close-Up Pad from La
Brea” (PLEASING DECEPTIONS p. 27). Take the selection face up in the
left hand and scoop up the deck spread with the short end of the card
such that the selection ends up in left palm and the deck is squared face
up. Then simply turn the deck face down into the left hand on top of the
palmed card with the right hand and, again, do two simultaneous actions:

a) Right hand takes deck and Ribbon Spreads it from left to right.

b) Your left hand with its palmed card turns palm down and crosses
underneath right arm to the far right corner of the close-up mat. As the
right hand is spreading to the right, the left hand moves left along the
edge of the mat and pushes the card underneath it and then continues
past the left edge of the mat. Practice this move and it will be undetectable.
The movement is crossing the right arm under the left arm, and then
uncrossing your arms as you do the spread and load the card underneath
the mat.

3) As you do the load, say, “You know. You’ll probably be upset with me,
but I just did it to you again.” Look over at the coozee and lift it up as if
you were looking for the card. Then look over to the card box and rub
its top. Look confused a bit and then say, “Oh yeah, I know where it is.”
Take the cards off the mat and place them to the side. With both hands
palm out, grab the near corners of the mat, lift it off the card underneath,
and drag it back about five inches. Then lift up the whole mat, revealing
the selection. It appears that the card was underneath the very center of
the mat.

PHASE IV; IMPOSSIBLE CHALLENGE

1) “Okay, okay. I’ve been very unfair, trying to be so sneaky,
so I will make you a fair offer.” Place the coozee on the mat and point to
it. Apparently lose the card in the deck and control it to the top via your
favorite method. Hold the deck face-up in your left hand dealing grip.

2) “I will give you a better chance to catch me this time. I will leave the

196
 RedDevil

coozee right here in plain view on the close-up mat, right in front of your
eyes, and I will still get the card underneath it without you knowing it. But
first…,” as you look at her, get her to meet your gaze, “Please tell me
something, (name of spectator). How many seconds do you want me to
take to get away with sneaking it, 2 or 3 seconds?”

With this brief misdirection, do a Mercury Card Fold on the selection.

3) Allow her to answer whatever she wants; it doesn’t matter, really.

4) “Okay, 2 seconds it is. One…” Riffle the pack towards the coozee,
making sure to hide the palmed mercury fold, and say, “Two. Did you see
it go? No? Well, it’s under the can. And in only 2 seconds!”

5) Look smug and satisfied. She doesn’t believe you. Ask her to lift up the
coozee for herself. She will see that you apparently failed. Wait for her to
return the coozee to the table. “Well, I thought for sure I put it under the
coozee. I don’t see what I did wrong. Oh I remember…”

6) Slowly and carefully pick up the coozee with an open show of the right
hand as you place the deck of cards on the table, keeping the folded card
in left palm. Then, with the left hand, palming the folded card, around
the coozee, take the coozee from the right hand (careful not flash the
selection folded in your left hand), allowing the right hand to slowly and
fairly take out the can and put it on the table. Switch the coozee back to
the right hand and drop your left hand with its palmed card casually to
your side on the table.

7) Look in the coozee and then show the specator the inside of it, displaying
the folded card glued at the bottom of it to the spectator. To reveal the
selection, just do a Shuttle-type Pass by acting to pour the card from the
coozee into the left hand. Hand her the card to unfold. As she does, place
the can back in the coozee, take a long drink, and thank the spectator for
some great fun at being ambushed by the magician.

197
JOHN CAREY & FRIENDS

GAME OF CHECKS
REDDEVIL
First published in The Linking Ring in April, 2001, in Tony Econ’s
“Card Corner,” this routine is powerful in a parlor setting. As Tony wrote
over 20 years ago:

“I have to admit that I was more than a little leery at the prospect of mixing
two red decks and one blue one. On reading the trick again, however, I
realized that the second red deck immediately gets its cards back. After
finally getting it straight in my head how to work it, I found that it packs
quite a punch for a lay audience. I used it as a closer.”

EFFECT
The magician randomly places three red-backed cards selected
by the spectators into a deck of blue-backed cards. He offers a table of
three spectators a CHECK for $100.00 if all three can avoid choosing one
of the red cards from a face up fan of the blue deck. Despite the great
odds in their favor, each of them chooses a red-backed card.

As the spectators note that that none of the three cards are their selections,
the magician is accused of cheating, which he admits by showing the deck
is in fact all red-backed cards…except for three blue-backed ones…the
spectators’ three selections!

As a kicker, the magician opens the red card box from which the spectators
chose their selections, revealing it contains all blue cards.

198
 RedDevil

PREPARATION
You will need one blue deck and two red decks for this effect.
From the blue deck and one of the red decks, remove a matching set of
three spot cards (e.g. 2 of clubs from each pack, 4 of diamonds from each
pack, and an 8 of spades from each pack).

From the set of three blue cards, place two of them on top and one on the
bottom of the red deck that contained the matching set of three cards, and
then place this stacked deck inside the BLUE card box.

Place the set of three matching RED cards face down on top of the second
red deck, which is returned to its original box. Both of these cases are then
placed together in your right coat pocket. The remainder of the blue cards
go inside the empty red box, which is put in the breast pocket of your shirt.

Finally, you will need three personal checks (cheques), marked for $100.00,
$33.33, and $1.00. At the top right corner of each, write “VOID” (just in
case). These are placed in your wallet or trouser pocket.

PRESENTATION
Remove the blue and red card boxes from your coat pocket as
you ask, “Have you ever really studied a deck of cards?”

Open the blue box and bring out the deck face down, being careful not to
expose the red backs of the cards.

“Well, I know it sounds like I have no life whatsoever, but that’s all I ever
do with my spare time: play with myself...with cards. My wife says it’s not
normal and that I need help, but she just doesn’t appreciate the beautiful
properties of a playing card. For instance, each and every card in your
standard deck is opaque. You can’t look on one side and see what’s on
the other.”

199
JOHN CAREY & FRIENDS

With the deck in dealing grip in the left hand, slide the top blue card over
to the right hand.

“See, you can look at the back of this card, and you will never guess what
is on the other side. Isn’t that awesome!”

Replace the card on top and then turn the deck face up back in dealing
grip in the left hand (the face-up card on top is a blue card). Again, slide
the card to the right hand, saying, “And look, if you just saw the face of the
card, you could never know what color the back is...Blue!”

Immediately revolve the card face down with fingers as you turn your left
hand with the deck palm down and face down. Then slide the blue card
in your right hand about an inch into the deck within five or so cards from
the top. Just make sure it doesn’t go directly beneath the top two cards; it
helps with the show of the cards later. Point again to the blue back of the
card and then push it in flush with the rest. What you have done through
visible show and patter is reinforce over and over that the entire deck is
blue.

“You can also play some pretty neat games with cards. No, really! You’d
be amazed at all the games you can play just because these cards are
opaque. Would you like to play one? Tell you what. I’ll give you all a check
for $100 if you win. I’m serious! A hundred dollar check! Pleasssssssse!
Oh goody! You’re gonna love it. You have absolutely nothing to lose in
this game. Let me show you how it works...”

Place the squared deck carefully on the table and retrieve the red deck
with the 3 matching selections stacked on top of the deck from your coat
pocket. Take out the cards and complete a cut, holding a pinky break
above the three selections that were originally on top.

(Pointer here: Emphasize the colors of the cards whenever you can. If you
don’t, the spectators will soon get confused about what card was what
color.)

200
 RedDevil

“I’m going to let each of you select a card from this RED deck. But you
can’t show each other your cards. That would be cheating. And cheating’s
BAAAAD.”

Actually, you are lying when you claim the above because you are going
to cheat yourself. Case in point, you will do a riffle force by asking one
of the spectators to tell you when to stop. Then lift the cards off the break
and ask each of them to take a card from the top, stating, “That’s right,
just take these random cards from the middle.”

After the force is conducted, instruct each party to remember her card.
Quickly, as the spectators look at their cards, place the red deck back in
its box and return it to the coat pocket and then immediately take out the
red case from your shirt pocket and place it on the table. This standard
deck switch sets up the kicker at the end.

“Okay, you guys have each chosen a RED card. I’m going to place each
one of them in this BLUE deck.”

Slide each one randomly but carefully into the middle section of the “blue”
deck on the table.

“Three RED cards in a deck of fifty-two BLUE cards. Now, here’s the game.
In a second, I will turn the BLUE deck face up and fan out the cards. Then I
will ask each of you to touch one card. All you have to do to win is touch a
card with a BLUE back instead of one of the three cards with a RED back.
If all three of you manage not to touch one of the RED cards, I will give you
all this latex-free check for $100.00! How does that sound?”

Take out the $100.00 check and show it to the spectators (covering the
“void” with your fingers) and place it face down on the table.

“Are you ready to play? Oh goody!”

Pick up the “blue” deck and turn it face up and spread the cards to your
right hand. Go ahead and spread most of the deck, but try not to spread

201
JOHN CAREY & FRIENDS

down to the three blue cards near the bottom of the face-up spread. Ask
each spectator in turn to touch any card in the spread, always reminding
her that she is trying to touch a BLUE card. Lay each card on the table
without exposing its back color. When the third card has hit the table, you
need to quickly separate the blue cards hidden at the bottom of the deck
so that they appear randomly distributed in the deck.

You can do this by holding the deck faceup in overhand shuffle position
in your left hand. Undercut half the deck with the right hand, but use the
left middle finger to retain the top blue card. Then give a true cut using
the same action. The three blue cards should now be randomly distributed
throughout the deck.

“All right. Let’s see if you guys won the hundred dollar prize. I’m so
excited.”

Point to the first spectator and ask her to turn over her card, revealing the
red back.

“Ahhh. That’s just awful! I really wanted you to win. Tell you what, as long
as the other two cards are BLUE, I will give you this check for $33.33.
Sound fair?”

Show the second check from your wallet or coat. Then have the second
card turned over, revealing another red back.

Do this sequence one more time with the $1.00 check (the depletion of
the check amounts are obvious comedy opportunities for the performer).

Now all three cards have been revealed to have red backs and the
spectators should realize you have cheated because none of the cards
match their selections. If they don’t realize it, make sure they do.

“Well, that’s the other beautiful property of cards that I have discovered.
They’re really easy to cheat with. You see, I don’t think you had much of
a chance at all.”

202
 RedDevil

Ribbon-spread the deck face down on the table revealing the entire deck is
red except for three blue cards randomly distributed throughout the deck.
Then dramatically reveal the faces of the blue cards to be the original 3
selections. Apologize and hope no one shoots you.

KICKER
This part is not necessary, but it is logical.

“I bet your wondering where all those BLUE cards went. After all, they just
can’t disappear into nothing. That’s not a property of cards, after all. Well,
you remember this deck of cards [point to the red box on the table]? The
deck you originally chose your RED cards from?”

Open the box and take out the deck, revealing all blue cards.

203
JOHN CAREY & FRIENDS

204
 BIO

RICK HOLCOMBE
BIO
Rick is primarily a coin guy, but loves to dabble in all magic. He
has released his work independently and through Copeland Coins. He
has also published his work in Genii magazine and The Hermit Magazine.
He has also been proud to lecture for clubs all around the world from
Italy, France, England, and even for Alakazam’s Online Academy and the
TRICs convention in his home state of North Carolina.

205
JOHN CAREY & FRIENDS

AFCA
(ANOTHER F*!?$%# COINS ACROSS)
RICK HOLCOMBE
Why another Coins Across? Aren’t there enough versions of this
out there already? Maybe, but what I offer to you here is a very easy,
very deceptive, and very clean looking Coins Across that offers something
a little bit different. This routine also fits perfectly when paired with the
previous routine “Triple Travelers” creating a neat little package.

EFFECT
Three coins cleanly and impossibly travel from the left hand to
the right hand. The third coin can even appear in the spectators hand.

METHOD
You will need 4 coins and a table top. This routine begins where
the previous routine “Triple Travelers” leaves off; you have a coin in left
hand Finger Palm and three coins on the table.

As you talk to the audience, casually display the three coins on the table
by turning the coins over once or twice using BOTH hands. This subtly
emphasizes that the coins are normal and by using both hands, it helps
disguise the dirty left hand. Finally grab a coin with each hand and display
at the fingertips before apparently dropping both coins into the left palm.
What actually happens is the right hand retracts its coin into right hand
Finger Palm by pulling backward with the thumb, as the left hand drops
its coin from the fingertips to the open palm.

206
 Rick Holcombe

What you get is a perfect illusion of both coins going into the left palm.
There will be a visual convincer with the audience actually seeing two
coins and an audible convincer because of the coin already in the left
hand. Just be sure to allow the coin held at the left fingertips to clink as it
drops onto the coin hidden in Finger Palm as the left hand flattens out in
a palm up display. The conviction is so strong you do not need to worry
too much about having a flawless technique with your right hand when
pulling it’s coin into Finger Palm.

Reach down to the table with your right hand and pick up the third coin
at the fingertips. You will fake toss the coin into the left hand, but in reality
you will pull this coin into right hand Finger Palm as you did before. Now
the sound illusion comes from the right hand as the two coins slap together
in Finger Palm. The left hand immediately shuts and mimes the actions of
catching the falling coin.

Now you are 2 ahead! This is a great position to be in and it’s what makes
this coins across so clean.

For the first coin to travel, do your favorite “magical” gesture and then
reveal the coin in the right hand. Simply open both hands at the same
time and let the two coins in the left fall to the table, however, the right
hand will do something slightly different. With the right hand execute the
Marlo Friction Pass to retain one of the coins in Finger Palm as the other
coin falls to the table. Any sound made by the coins in the right hand will
be covered by the coins falling from the left hand.

Reach down with both hands and pick up the two coins on the left just
at the fingertips, one in each hand. You are going to execute the actions
from the first sequence again. The left hand will drop its coin from the
fingertips and allow it to fall into the left hand as the right hand does
a fake toss, but retracts its coin into right hand Finger Palm. The sound
illusion will come from the coin being pulled back and clinking the coin
held in right hand Finger Palm. Time the actions of each hand so they
occur simultaneously. The most deceptive part of this fake toss comes from
the left hand miming the actions of catching the coins. Now the right hand

207
JOHN CAREY & FRIENDS

picks up the remaining coin from the right side, displays it briefly at the
fingertips, then the coin gets clenched into Thumb Palm. Your right hand
may feel “crowded” with two coins in Finger Palm, but just drag the coin
at the fingertips down the inside of your thumb with your index finger and
make a fist and that coin will go into Thumb Palm. Now turn both fists
palm down, this will help hide any flash of silver from the coin in Thumb
Palm.

For the second coin to travel, do your “magical gesture” and reveal two
coins on the right and one on the left. This time both hands remain palm
down and just drop their respective coins. The right hand maintains its
grip on the coin held in Thumb Palm as it allows the other two coins to fall
from Finger Palm. The left hand simply opens and drops its coin.

The left hand picks up its coin and performs a simple fake toss to the right
hand as the right hand turns palm up revealing the previously hidden
coin. The audience will perceive this as the same coin that came from the
left. The right hand will tap the two coins on the table with the coin held at
the fingertips as if to indicate, “these two have traveled across..”

The right hand raises up and away from the tabled coins as the left hand
reaches over to scoop them up. The hidden coin in the left hand is added
to the other two coins as they are all gathered into a stack. Meanwhile
your attention is focused on the coin held on display at the right fingertips.
Hold the right hand coin in position for a French Drop as the left hand
leaves its coins and raises up to “take” the coin from the right hand.

Execute the French Drop and mime the actions of crumbling the coin with
the left hand before finally revealing an empty hand and that the third
coin has in fact arrived with the other two in the stack. Simply lift the stack
of coins with the right hand while keeping the fourth coin in Finger Palm
and drop or toss the three coins to the table allowing them to spread out.

208
 Rick Holcombe

TELEKINITION
RICK HOLCOMBE

EFFECT
A thought of card is revealed to be the only card face up in a
face down deck and it is shown to be from an entirely different deck of
cards.

METHOD
The core of this trick comes from Mr. John Carey himself from his
trick called “Thinkenesis” in his book Crafted With Carey. The only thing I
have added is the force and a little kicker of an ending.

The main premise comes from combining the ideas of telepathy, telekinesis,
and premonition: Telekinition

You will need a deck of cards and a card from a deck with a different
back design, the 8 of Clubs for example. As you unbox the deck, you will
leave the odd backed card in the box. You can perform any other trick,
but to prepare for Telekinition you will need to get any 8 to the bottom and
any Club to the top.

Begin by dribbling the cards from the right hand to the left and ask the
spectator to say stop. Stop the dribble at that point, square the edge of the
upper half of the deck against the back of the lower packet in the left hand
with an audible “tap”. Place the right hand packet to the table and add
the left hand packet on top and slightly askew. This is the classic Cross Cut
Force, just reframed. The classic approach works just fine , but I think the
added details of the dribble, the tap, then going to the table add a lot to

209
JOHN CAREY & FRIENDS

the deceptiveness. Try it out, you’ll see what I mean. Leave the deck on the
table for just a moment, now we add some time misdirection.

I tell the spectator how all card tricks seem the same, “you pick a card, we
lose it in the deck, then I find it.” I tell them how I’m working on making a
different card trick, one where they make the decisions!

“First of all, you are not going to select a card, I want you to think of
a card. But I want you to think of a card you would have never thought
you would think of? A lot of people think of the same cards, like the Ace
of Spades or the queen of Hearts, for example. So I want to create the
thought of a card in your mind.

“Here, look where you asked me to cut the cards. I want you to take the
value of this card…” lift the upper packet with the right hand to show the
bottom card of that packet.

“...now combine that value with the suit of this card…” with the left hand
lift the top card of the lower packet so they see the suit. Now repeat
for them clearly as you move each hand forward with emphasis, “Value
and suit..value and suit”. You have now forced the odd backed card that
remains in the box.

Immediately square the deck and place it back in the box ensuring that
the odd backed card slips into the middle of the deck, but reversed, face
down in a face up deck. Everything is done and it’s all presentation from
here.

I tell the spectator that card tricks all seem the same because they all
reveal the card in the same way, but I want to reveal their card in three
ways.

“I could ask you to use your power of Telepathy to send me the thought
of your card, or I could teach you Telekinesis and we could turn your card
over while it’s closed in the box, or I could prove to you I knew what card
you are thinking of before you even thought of it! Which one should we

210
 Rick Holcombe

do first?”

You can have a lot of fun with this because you are set to reveal their card
in any way they want. For example if they chose Telepathy, I do my best
acting and slowly reveal the card piece by piece, then as an afterthought I
say, “well, you might have chosen telekinesis, in which case I would have
done this..” I slowly turn my outstretched hand from palm up to palm
down. Then just unbox the deck and spread face down to indicate my
“powers of telekinesis”. The thought of card will be the only card face up.
Then for the kicker I say, “well, you might have chosen Premonition, in
which case I would show you that this card is actually different from all the
rest. I was so sure you would think of this card, I took it from a different
deck!” Slowly extract their card from the spread and reveal the back to
them. This is a fun one and each reveal builds upon the previous one, but
in a logical way since you gave them three choices.

211
JOHN CAREY & FRIENDS

TRIPLE
TRAVELERS
RICK HOLCOMBE

EFFECT
Three coins vanish, one at a time, from the hands of the magician
and re-appear under the coin purse from where they were taken out.

METHOD
You will need 4 regular Half Dollar coins, a coin purse, and a
table top. With the purse in your left hand,open it toward yourself with
your right hand. With your left hand, pinch one of the coins from the
outside of the purse and prevent it from falling out as you dump the other
three coins into the right hand.

Give the purse a gentle shake as it is held upside down by the left hand
to give the subtle impression that it is empty, even though you’ve held one
coin back from the group. Set the purse down on the table as you snap it
shut. Be sure to orient the purse so that the snap is facing you.

Briefly display the three coins spread on the open right hand palm as you
say, “a little trick with three coins..” Perform a Marlo Friction Pass as the
coins are tossed into the left hand. One coin is held back in the right hand
as two coins fall to the left hand and the left hand closes.

Maneuver the right hand coin into finger palm, if it is not there already, as

212
 Rick Holcombe

the right hand raises with a pointed finger, “now, it is your job to keep an
eye on the coin purse and make sure I go nowhere near it.” As this line is
delivered the right hand lowers to the purse, the right thumb makes contact
with the snap of the purse and pushes down to lever up the front end. The
coin in Finger Palm is transferred to the fingertips as the fingertips scoop
under the front edge of the purse adding the coin underneath. The purse
is brought up to eye level with the coin hiding on the back side and held
with the right hand thumb and fingers in front. As the end of the sentence
is delivered the purse is placed neatly on the table.

You are now two coins ahead and in a great position! You have a coin
hidden inside the purse and one beneath the purse, two coins are in your
closed left hand.

The first vanish is self-working because you are so far ahead. Take one of
the coins with your right hand, but keeping your left hand closed loosely.
Display the coin at your right fingertips as you say, “this is the first one,
we’ll get to these two in a moment.” As you finish that sentence, bring the
right hand, with its coin, to the left hand palm. You will deposit the coin
held by the right hand onto the coin remaining in the left palm as the right
fingertips tap a few times on the coins. The goal is to make it look like you
took one of three coins from the left hand, showed it at the right fingertips,
then tapped the remaining two coins in the left hand. This is a sound
illusion from Doug Brewer called the “Phantom Click Pass”. Do your best
acting to “crumble” and vanish the non-existent coin in your right hand.
“That’s coin number one!”

At this moment display both hands palm up for the spectator and say,
“now just two remain, really, only two.” It is clear that your right hand is
empty and there are two coins in your left hand. Loosely close your left
hand round the coins and rotate your palm down. Reach into the left
hand between the thumb and first finger and grasp both coins with the
right thumb and first two fingers. As the right hand fingers extract both
coins, the right hand thumb slides its coin to the right and behind the right
fingers so that only the front facing coin is visible. It should appear to the
audience as though you reached in and pulled out one coin from your left

213
JOHN CAREY & FRIENDS

hand when in reality you pulled out both coins. Again, do your best acting
as the left hand “crumbles” its coin away. Show the left hand empty and
gently take the coin held at the right fingertips by its edges.

Display the last coin at the left hand fingertips in a French Drop type of
position, with the coin being gripped on the edges from either side with
the thumb above and first two fingers below. To vanish the last coin you
are going to execute the mechanics of a French Drop, but without the right
hand included. Instead, the coin is dropped into Finger Palm as the left
hand turns palm inward, then up to the mouth, where a “magical” blow
causes the coin to vanish. All the dirty work is covered by the motivation to
blow on the coin. This move is all about timing. You want to time the drop
right when the coin turns out of sight of the spectator. After the blow, turn
your left hand palm outward toward the spectator and just lightly brush
the thumb and fingertips together to indicate the vanish. This is also a nice
little display of an “empty” hand thanks to Ramsay subtlety with the coin
held in Finger Palm.

Now for the re-appearance! The right hand approaches the coin purse
with its coin in Finger Palm and plants down on top of the coin purse to
turn it over. As the right hand turns the purse over, the first coin is revealed
underneath. The right hand simultaneously loads its coin under the purse
as the purse is set a few inches to the right. The right hand leaves the
purse, slides the first coin over to the left and counts, “One”. The right
hand goes back to the purse and turns it over once more to reveal the
second coin, “that’s two!” Again, the right hand leaves the purse and
slides the second coin over to the left.

For the last coin, repeat the actions from the first two coins by turning
over the purse. This time nothing will appear under the purse. You look
confused, you search for the coin. There’s a rattle! You shake the purse
close to your ear and the audience can confirm an audible rattle coming
from the purse. You say, “Ah! Sometimes the last one goes all the way
inside.” Slowly open the purse toward the audience to be clear there is
really a coin inside. You can take the coin out, or have the spectator take it
out, but you want to be sure the coin is seen inside the purse. This is a very

214
 Rick Holcombe

clean moment. You can casually hold the purse over the coin still in your
left hand Finger Palm as the effect sinks in and you are in perfect position
to go right into the next effect “AFCA (Another F*!?$%# Coins Across)”

215
JOHN CAREY & FRIENDS

RAJ MADHOK
BIO
Raj Madhok is a dermatologist from Minneapolis, Minnesota
whose true passion is close-up magic and mentalism. Over the past
four decades his creations have been published in most of the magic
journals of our time. He has performed at the Presidential Inauguration
and lectured for the Psychic Entertainer’s Association and the Magic Live!
convention. His book Mysteriouser and Mysteriouser is a collection of
modern close-up mentalism.

216
 raj Madhok

OUT OF POCKET
EXPERIENCE
RAJ MADHOK

EFFECT
A participant shuffles eight ESP symbol cards and selects four of
them. These are randomly placed into four different pockets while the
performer turns away. The performer still accurately identifies each symbol
and its location. The cards are unmarked.

PRESENTATION
Begin with two identical sets of four ESP cards: cross, circle,
square, and wavy lines. (The star symbol will not be used.) These may be
in any order to begin but each set should be in the same order. Place one
set of four cards face down on top of the other four (e.g. circle, cross, wavy
lines, square, circle, cross, wavy lines, square).

“I’ve got several ESP cards here that I would like to use for an experiment
in my paranormal abilities. The cards have symbols depicting a “circle”,
“square”, “waves”, and a “plus sign”. Casually spread the cards face
up allowing cards to be seen but not revealing the preset order. Turn the
packet face down and deal the top four cards into a pile and place the
other remaining four in a face down pile next to them.

“I’d like you to push these cards together into one pile so they are mixed
and you won’t be able to know the location of any specific symbol.” (The

217
JOHN CAREY & FRIENDS

Lennart Green rosette type shuffle works well here.)

Pick up the combined pile and spread them between your hands. Keep
the top four in your right hand and leave the bottom four spread in the
left hand.

“We only need to work with four cards. Which group shall we use?”

Place the unselected pile aside and square up the four cards they’ve
elected to use.

(No equivoque – either pile may be used.)

“I’ll give these cards to you and I want you to look at them and make
sure you can recognize the symbols. There should be a mix of cards
representing WAVES, a CIRCLE, a PLUS SIGN, and a SQUARE.” (It is
critical that you and the spectator use these terms for the symbols as they
will need to spell these words.)

“I can’t know what combination of symbols you have but you should have
a mix of some composed of only straight lines,(the plus sign and the
square), and some with only circular and curved shapes (the circle and
the waves). If you have a curved shape place it face down on the table.
Next if you have one made only of straight lines put that on top of it. Next
let’s use a rounded or curved one if you can, then finally if you are able to
place a straight lined symbol on top. If not place whatever is left on top.”

Thanks to the original stack and the Gilbreath principle they will end up
with one card of each symbol despite the shuffling. Following the above
instructions places them in the correct order to allow the rest of the trick
to be self-working.

POSITION CHECK
The face down stack has a square or plus sign, followed by
waves or a circle, followed by square or plus sign, and ending with waves

218
 raj Madhok

or a circle at the bottom.

“Clearly I couldn’t know which four cards you chose or the order they are
now in. We’re going to isolate the cards so that even you don’t know which
symbol is where. To do this we’ll randomize them by spelling whatever
symbol shows up. Peek at the top card in your hand. Spell the name of
the symbol, using one card for each letter, by moving them from top to
bottom of the pile, one by one. For example if you see the WAVES, you
would spell W-A-V-E-S with each new top card moving to the bottom, letter
by letter. For the PLUS SIGN, it would be P-L-U-S-S-I-G-N. Got it? I’ll turn
away while you do that now. So you’ve reached an unknown card on top.
Don’t look at it but put it in your right jacket pocket. Now you have a new
card on top that I want you to peek at. Spell the name of that symbol the
same way, e.g. CIRCLE would be C-I-R-C-L-E. When that’s done take the
new top card and put it in your left jacket pocket without looking at it. You
have two cards left. Mix them up so there’s no chance of knowing the top
card. Peek at the top one and spell it as well. Done? Now the new top card
goes into your right pants pocket. Don’t peek at the last one but put it into
your left pants pocket.”

Unbeknownst to the spectator the symbols will appear in PLUS SIGN,

CIRCLE, SQUARE, WAVES order. Use the mnemonic “T O E S” based on
the appearance of the symbols as letters.

You dictate where they put each card so you can easily reconstruct their
location.

“Let’s begin by putting your left hand on your right jacket pocket. Hmmm…
I’m getting very positive vibes from there. I sense the plus sign. Take it out
and verify that I’m right.

Next hold your right hand over your left jacket pocket. This time I’m
getting a sense of oneness and warmth close to your heart. That would
represent the circle. Please remove it and show everyone. Correct! Now
I’m going to give you a chance to test your ESP. I’m sensing the waves are
in one of your remaining pockets. Point to the pocket that you think holds

219
JOHN CAREY & FRIENDS

the waves.” If they point to the correct one congratulate them and tell
them you agree. Have them remove the card to verify. If they point to the
incorrect pocket (the square) then hesitate and say you sense something
else there and name the square. Finish with: “I didn’t expect you to be
perfect at this but I have a strong sense that you can name the card still
hidden in the last pocket… (They will realize it has to be the remaining
symbol that has not been shown yet.) Correct!”

NOTES AND CREDITS

-Based on Richard Bang’s Suit Yourself Surpassed in Steve Beam’s SACT
Vol. 8, p. 69. The original used playing cards.

- King’s Coronation from Jim Steinmeyer’s Further Impuzzibilities 2006.

-This may also be done impromptu by drawing the four symbols on the
back of business cards.

-To suggest greater fairness in the cards selected you may begin with a full
ESP deck with your 8 card stack on top. False shuffle and remove the top
eight cards. During this you may mention the star as a potential selection
creating the illusion of more choices.

220
 Raj Madhok

TEQUILA WITH
A TWIST
RAJ MADHOK
This is my presentation of Mark Elsdon’s Tequila Hustler routine.
It is a ramped-up version of the standard “Which Hand?” effect using a
coin and the Liar-Truthteller concept.

I was never a fan of the logic puzzle aspect of the trick until Mark’s
brilliant method simplified and clarified it. Two questions give you all the
information you need to know which hand holds a concealed coin. But I
felt it was over too fast. I wanted to add more texture and an unexpected
punch. I prefer Elsdon’s impromptu, ungaffed version but there are many
gaffed methods. The trick has been popularized by Derren Brown but
many have worked on this. Since the method is not mine to explain I refer
you to Mark Elson’s “Tequila Hustler” download or e-book available at
Penguin Magic or mindfx.co.uk.

THE TAKE-AWAY
The mystery worker convincingly demonstrates the ability to
know which hand a coin or small object is hidden in - and even control or
predict the outcome.

MY PRESENTATION
“We’d all love to have the power to tell when someone is lying
to us, whether it be politicians, con artists, or everyday little white lies. This

221
JOHN CAREY & FRIENDS

little experiment tests that ability. I’d like to give you a chance to lie or tell
the truth and have me figure out which is which. We’ll use this coin which
you will hide in either your right or left hand while your hands are behind
your back.

“But first you must silently decide if you would prefer to tell the truth
or lie to me. I’m not judging. But it is a rare chance to lie without any
consequences. But the decision is yours. Decide now so later there will not
be any hesitation later when you answer a few questions. Got it?”

You now remove a business card and write a concealed message. The
card is folded up as you state, “This will be important in a few moments.”
You hand the participant both the folded card and a coin to be placed
behind their back.

“Place the coin in one hand and the card in the other hand, switch them if
you’d like, then bring your closed fists forward in an identical position. My
job is to identify where you’ve hidden the coin. I’ll ask you where the coin
is but remember that you can lie or tell the truth. Ready?”

Gently tap their right hand and ask, “Is the coin in this hand?” Remember
their yes or no response. Nod knowingly as if you’ve gleaned some
worthwhile information from their response.

Ask them to place their hands behind their back again. This time you
state, “Now I’d like to give you a chance to switch the two objects in your
hands. Or keep them where they are. It’s up to you. Done?”

Now is the time to remind them that if they chose to lie, they must lie again
or remain a truth-teller if that is what they previously chose. They bring
both hands forward. You then ask the second question, “Did you switch
the objects?”

Based on their response you now know the location of the coin using the
Tequila Hustler technique. If it is in the RIGHT hand you can tap it and
say, “Got it! The coin is in your right hand. Show everyone.” This is the

222
 Raj Madhok

first revelation.

You continue, “But remember I gave you a message in your other hand.
Let’s take a look.” Retrieve the folded-up card and unfold the first fold to
reveal the message: “The Coin is in the OTHER hand!” With an appropriate
pause the participant will realize the joke as it is obviously always in “the
other hand.” This small gag is revelation number two.

“But wait, there’s more!” Unfold the second fold to show the final message:
“-In your RIGHT hand!” This is the third revelation. Thus, you’ve not only
identified which hand but predicted where it would end up!

But what if the coin is not in their right hand after the two questions? Well,
you place it there! You will need to perform a third phase to switch which
hand the coin is in. Specifically, if after the two questions you determine
the coin is in the LEFT hand you continue, “I think I’ve got it, but I want to
be sure. Put your hands behind your back and this time really switch the
two objects then bring your closed hands forward. Now just think of which
hand the coin is in…”

After a suitable moment of contemplation, you continue by revealing that

the coin is hidden in their right hand. Then continue with the final two
revelations.

NOTES
The original Tequila Hustler and this version do not allow you to
know if they lied or not. I’m not bothered by this and I’ve found that the
three-phase reveal takes the heat off this question even arising. Elsdon and
others have verbiage to imply you know their role. (I prefer the simplicity
of, “I think you’re better at telling the truth than lying.”)

I prefer to have the third question answered silently in their head rather
than verbally. This creates the impression and memory that you ascertain
the final response by non-verbal cues. If your style is more playful and
need to ask a third question you may use an irrelevant question such as

223
JOHN CAREY & FRIENDS

“Did you get up on the right or left side of the bed this morning?”Since
they’ve transferred the coin into the right hand the choice of question (and
answer) are superfluous.

THE INVISIBLE VARIANT

This version allows you to not only know which hand holds an
invisible object, but you can divine the object as well! You’ll need your
favorite peek wallet and a few business cards. No coin needed but ask the
participant to imagine a small invisible object that would fit in their hand,
for example a cork, die, pearl, etc.

Ask them to write the name of the thought-of object on a business card you
remove from your wallet. While they are writing you write your prediction
card. (Your write “object” instead of coin in the prediction.) You fold yours
and trade with them and insert their card into your peek wallet. Glimpse
at your convenience. Now after the three predictions are revealed you can
mysteriously divine the invisible object they are holding.

224
 Jon Racherbaumer & Raj Madhok

YOUR OWN
PERSONAL SLANT
JON RACHERBAUMER
& RAJ MADHOK

DESCRIBED BY RAJ:
Jon Racherbaumer’s “On the Slant” audio column in the March
2017 Genii magazine describes a cunning late night session card trick.
The effect is a prediction of two playing cards randomly turned face-up in
a face-down packet of cards while hidden under the table. I tweaked the
presentation (while retaining Jon’s brilliant method) moving it away from
a card trick and giving it a personal touch by using two names. There is
plenty of room to create your own presentation as I’ll mention at the end.

You’ll need a stack of 25-30 identical business cards with blank backs.
Manage to be seated across the table from your two helpers. Hidden in
your lap is a stack of two business cards - each has one of the participants’
names written on the blank back with the name-side up.

Casually mix the remaining stack of business cards to subliminally show

their uniformity. Square the packet business-side up and demonstrate
cutting off a small random number of cards. Hand the entire packet to the
first participant and ask her to cut off a small number of cards leaving the
rest on the table. Next have her place her packet of cards under the table
and silently count the number of cards she holds. Only she will know her
secret number of cards. The remaining tabled cards are passed to the
second participant so he can do the same and have him remember his

225
JOHN CAREY & FRIENDS

secret number of cards that he cut off. The remainder of the cards are set
aside.

The participants’ packets are now combined and handed to you. Explain
that each person’s secret number will be used to reverse a random card
in the packet. Instruct them that this will happen under the table with the
cards out of sight. Take the packet of cards and hand them under the table
to the first participant - but as you do secretly turn the entire packet over
bringing the blank side up. Tell her to spread and count over to her secret
number from the top and then turn over (reverse) the card at this number.
Ensure she understands that, for example, if her number is 6, she will be
turning over the sixth card from the top. When she is done, you reach
under the table with your palm-up left hand to retrieve the cards.

Just before you bring the cards out from below the table, turn your hand
palm down and add the two lapped cards to the bottom of the packet.

At the end, you will have a packet of cards, business-side up, (except
for the card turned over by the participant) above two cards which are
“name-side” up.

Now casually double undercut the top card of the packet to the bottom.
(If you have an aversion to sleights, simply use the top card to gesture
towards the spectators and then replace it to the bottom of the packet
you hold.) Hand the cards to the second participant so he can follow the
counting and reversing the card at his number while they are under the
table. Due to the principle at work here he will be unwittingly canceling
the actions of the first participant. He will be reversing the same card thus
nullifying her actions.

Have him bring the cards into view and hand them to you. Casually
shuffle the cards to randomly distribute the two reversed “name” cards in
the packet. Now finish by spreading the cards blank side up on the table
and extract the only two reversed cards.

Emphasize that these two cards were selected while the cards were under

226
 Jon Racherbaumer & Raj Madhok

the table, out of sight, and in their own hands. Turn the cards over to
reveal that each has a participant’s name written on it!

Jon Racherbaumer comments, “The principle is from Professor Sidney

Lawrence; however, Fred Smith and Ed Marlo applied it to force the same
card on two spectators. (See Marlo’s “Multiple Effect” from The New
Tops). What is intriguing is to use the principle to NULLIFY two TURNOVER
ACTIONS. This erases tracks that defeat retrograde analysis. Using
business cards eliminates the “card-trickery associations” that often cause
spectators to wince or walk away.”

The impromptu, personalized nature of the trick makes it memorable and

a great way to get your business card into the hands of your audience.

If you don’t know the participant’s names simply write “PICK ME” on two
cards, or draw two red hearts for couples and romantic occasions. Put
your synapses to work creating a version that represents your style and
performing venue.

227
JOHN CAREY & FRIENDS

SCATTERED
JOHN CAREY
Super visual, easy and commercial. Currently my favorite Aces
production you will love using! Use the link below to access the online
video instructions for this trick:

www.johncareymagic.co.uk/scattered

Password: &CHUMS

228
 

229
JOHN CAREY & FRIENDS

SCOTT BAIRD
BIO
Scott Baird is a Canadian magician, illustrator, artist, and writer.
He has a Bachelor of Fine Arts degree in traditional printmaking and has
shown his artwork in galleries around the world. Scott currently works as
a professional chef and is the editor of The Hermit Magazine, a monthly
magic periodical that focuses on creativity in magic.

• www.hermitmagic.com

• @hermitmagicmag

230
 Scott Baird

FLASH RIBBON
SCOTT BAIRD
As far as startling openers go, this is a favourite. A coin is
displayed, tied and hanging on a piece of string. The string is lit with a
lighter and in a flash of fire, the coin is now seen to be hanging from (and
threaded onto) a red silk ribbon.

This quick, two-second effect requires a bit of prep work. To prepare, have
the lighter ready and waiting in your left side trousers pocket. Tie a Chinese
coin on the end of an eight to ten-inch long piece of flash string with a
strong knot. Thread a duplicate Chinese coin onto the center of a longer
red silk ribbon, about eighteen to twenty-two inches long (so that, hanging,
the folded ribbon’s observed length replicates the length of the string.) Wind
about two inches of the loose ends of the ribbon around your right thumb,
so that the coin hanging from the ribbon appears to be of a similar visual
length to the prepared strung coin. Bunch the excess of ribbon and the strung
duplicate coin in your right hand fingerpalm, so that it is all hidden from your
audience’s eyes from the front. The right fingertips hold the very end of the
flash string, and the coin and string are dangling from the right hand.

To perform, reach your left hand into your left side trousers pocket, and
remove the lighter. Strike the lighter, and hold the flame well below
the prepared flash string and coin. When you’re ready to have your
preparation all go up in flames, bring the flame to the flash string near
the coin, so that your left hand is still below the dangling Chinese coin.

Everything is about to happen very quickly, and it will all be masked by the
sight and sound of the flash string igniting and “burning away.”

When the flame ignites the flash string, three things happen nearly

231
JOHN CAREY & FRIENDS

simultaneously. First and foremost, your right fingers need to let go of the
flash string completely, so that you don’t accidentally get burned. As with
all fire and flash products, there is a real element of risk involved. I take
no responsibility for any injuries incurred by those who choose to practice
or perform this routine. I will now reiterate that point- the first thing that
you need to do is let go of the flash string as soon as it is lit!

Also, your right hand will release the ribbon and coin from your fingerpalm,
allowing it to tumble down from the hand to roughly replace the space
formerly occupied by the flash string and coin duplicate. Because the
ribbon is wound about the thumb, it is a simple thing to continue holding
onto the ends of the ribbon, allowing it to dangle from the hand in the
same way that the strung coin was. Again, this all happens as soon as the
flash string is lit, and the flash of fire temporarily blinds onlookers who will
fail to see the coin and ribbon fall out of the hand.

Finally, in that moment, the left hand holding the lighter will catch the
duplicate coin that will fall off of the incinerated flash string in a roughly
fingerpalm position. Try to catch it directly into fingerpalm, but as long
as the caught coin remains hidden from the audience, it should be an
invisible action. Because you light the string where it is attached to the
coin, the Chinese coin should fall straight into your left hand.

Once the effect has registered, the left hand can immediately go back
into the pocket to dispose of the lighter, and you can ditch the initial
Chinese coin. If you like, you can palm more Chinese coins from the
pocket to produce them, in preparation for a different routine, such as
Troy Hooser’s “Charming Chinese Challenge.”

It is possible to thumbpalm the ends of the ribbon, negating the need to

wrap the thumb.

I originally created this effect for myself to be a follow-up routine to

Shoot Ogawa’s “Coin and String” from the Coinvention DVD set, which
is actually a gypsy thread routine, with the convincer of a coin tied to the
broken and restored string.

232
 Scott baird

ONE WAY,
ALL THE WAY
SCOTT BAIRD
I am not afraid to ring in a gimmicked or gaffed deck in order
to bring about miracles that just can’t be achieved any other way, but this
trick takes that sentiment and flips it on its head. Instead of making the
trick easier to perform, the gaffed deck makes it harder. But that’s where
the humor comes from.

I wouldn’t consider this effect a magician-fooler, but try it out on an

audience full of laypeople, and you’ll see just how strong it plays. It’s a bit
of fun with a surprising magical revelation at the end.

You will need to buy a one-way forcing deck of Bicycle playing cards. Let’s
suppose it’s a deck of fifty-two individual two of hearts. These cards need
to be marked, but on their faces, not their backs. Take an exacto knife or
a sharp pin and scratch a short vertical line in the lower right index pip
of each card. You only need enough of a mark so that you can recognize
that it’s been scratched. Try to mark each card in as close to an identical
way as possible.

So now, it’s a one-way deck with one-way faces. All the cards are the
same on the front (in our example, they’re all the two of hearts), and
they’re all marked subtly on the lower end of their faces, as well. The deck
marked in this way can now function as any one-way deck would, despite
one-way decks traditionally having the indicators on their backs. Any card
that is turned end-for-end so that it is out of sync with the rest of the cards
can be immediately found in a spread of face-up cards, as the mark on

233
JOHN CAREY & FRIENDS

the index will stick out. Because the mark is so subtle, and only you know
where to look for it, the marking system will go completely unnoticed for
the duration of the routine.

To perform, bring out this prepared deck and set it on the table, without
flashing the face of the deck to any of your spectators. The marked end of
the deck should be closest to you.

“Do you know what the chances are of finding a chosen card by simply
pulling one out of the deck? One in fifty-two. Not great odds, and yet
magicians do this all the time. I’m here to tell you, I’ve come up with a
way to circumvent those odds altogether. You may think it’s cheating, but
hey... I’m a magician. It’s what I do.”

Ribbon spread the deck in a wide arc on the table, face down. Invite up a
spectator to be your volunteer. Hand them a sharpie.

“In a moment, you’re going to need this. What I’d like for you to do is
to please slide any card - just one - out of this spread, like so. You have
a completely free choice, but when you settle on one, slide it out of the
spread, and sign your name on the back. Don’t turn it over- the face
doesn’t matter, really. At least not yet.” Mime the actions that you’d like the
spectator to take as you speak, and then let them proceed.

The mime is important, because you want the spectator to slide the card
out of the spread carefully. You don’t want them to move the card off of
the table- it has to stay aligned relative to the spread, so that we can know
for certain that the card will return to the deck reversed, allowing us to find
it with the one-way marked faces.

When they’ve nearly finished signing their card on its back, use both
of your hands to close up the spread of cards inward from both ends,
coalescing the cards into a neat pile in the center. In the action of squaring
the cards up, rotate the deck 180 degrees, end for end, so that the marked
faces are now on the ends of the cards furthest from you.

234
 Scott baird

“Now, I want to show you the card that you signed, so that you can
remember it. It’s very important that you lock it into your mind, and don’t
forget it. I’ve had people forget their cards before, and it was a nightmare.
Please, remember this card.”

With your left hand, grasp the spectator’s still-tabled signed card by the
lower left corner, closest to you. Pick it up from this corner, and slowly raise
it to eye level for your spectator to see it, making a big deal to prove that
you aren’t peeking at it, by holding it with your arm extended at full length
and elbow locked. Turn your head away, down and to the right as well.
Your fingers on the face of the card are covering the index with the scratch
mark, so you can give your spectator a good, long look at their card.
Slowly return the card to the table in the same position, again making a
big deal of the fact that you didn’t see what it is.

“I didn’t see what it was, but you are remembering it. The card that you
simply pulled out of the deck and random and signed. There’s no way I
could know what card you would choose. Now we have to lose it in the
deck. Please, stick it anywhere you like in here.”

Pick up the tabled deck and spread it between your hands. As you pick it
up, be careful not to rotate the deck end for end. You want the card to be
returned into the spread by the spectator in the orientation that things are
in right now; the deck has been turned around once, but the spectator’s
card has not.

When they return their card, square the deck immediately, proving and
emphasizing the fact that you aren’t controlling the card or holding onto
it in any way. When everything is square and copacetic, give the deck a
quick overhand shuffle or two (again, being careful that you’re not turning
any of the cards around in the process.)

“Now, it’s good and lost. I’ve shuffled, and there’s no logical way to
find the card, right? We would have to play the odds. Is that right?” The
audience should agree with you.

235
JOHN CAREY & FRIENDS

Return the cards to the table, face down, and ribbon spread widely. You
will see that the card bearing the spectator’s signature sticks out like a
sore thumb.

“Actually, it’s quite easy to find your card. There it is. But maybe it would
be harder if you gave it a shuffle.”

Close up the ribbon spread and hand the deck to the spectator, miming
for them to also overhand shuffle. You want someone to help you who can
and will follow these directions. It’s important to the comedy in the routine
for them to shuffle in the manner that you are directing. Watch as they
also overhand shuffle the cards, while holding the cards face down. Stop
them half way through.

“Wait- I shuffled face down. You should be shuffling face up, to really mix
them well. Here, keep shuffling.”

The line makes no sense, but it gives you a reason to grab the deck
from them, turn the cards over with dramatic gusto, and shove the deck
back into their hands, face up. They will begin shuffling, and eventually
everyone will notice that all of the cards are the two of hearts. They’ve
been had!

“I’m getting a strong psychic impression that you picked a red card!”

You can say all the tongue-in-cheek lines that you want here, really. It’s
a funny reveal that all of this has apparently just been a set-up, and
everyone can take a second here to relax. When it’s time to get back to it,
though, you’re ready.

“Let me see that. What’s interesting about this deck is, all the cards are
the two of hearts!”

Take the shuffled deck back and quickly ribbon spread the deck one final
time, face up, so that you can see the upper left indexes of each card. You
can begin scanning for the card that’s been reversed, as it’ll be the only

236
 Scott baird

marked pip that you see in that spread.

“But this makes it interesting. I can find your card, but can I find your
actual card? Since all the cards are the same, this gets tricky. The only way
to tell would be to look for your signature on the back- but you shuffled
face up. So we’re doing it from this side now.”

Locate the reversed two, and you now have a choice. You could immediately
slide their card out of the spread, and then close the deck up. Reveal the
back of the card you slid out, showing that it is their selected card, and
accept your applause.

But this, to me, screams “marked”. I would go a different route.

Slide the card out of the spread that is directly above the reversed two.

“Your card could be any of these twos. Maybe it’s this one. The odds are
against me. But I did mention that I have a way to get around these odds.”

Then, close up the right side of the ribbon spread up to where the removed
card was, leaving this portion of the deck in a neat pile on the table. Next,
close up the left half of the spread, and set this on top of the other half.
This way, you’ve cut the deck at the point that the card was removed, and
the selection (the signed card) is on the face of the face-up pack. Pick this
up, and casually hold it in a loose mechanic’s grip in your left hand, so
that the twos are all face up. The attitude that you have during the “clean-
up” of the table is that you are getting ready for the big reveal. At your
convenience, obtain a pinky break below the top card (the selection.)

Dramatically reach over with your right hand, and pick up the tabled two
of hearts from the lower right corner. Mirroring how you held the card up
before, slowly raise your hand to reveal the back to the spectator. They
will sympathetically inform you that it is a miss, and their signature isn’t
on that card.

“That’s not your card? I guess I wasn’t that lucky. You’re a great shuffler!”

237
JOHN CAREY & FRIENDS

Drop your hands in mimed defeat, relax your shoulders, and at the moment
when tension is lowest, execute a top change, switching the wrong two for
the signed two. The change is covered by a small gesture towards the
spectator during the patter statement, “You’re a great shuffler!” The card
in your hand will still be face up, and the top change will be essentially
invisible, due to the cards all being the same on the face anyways.

“I can correct this, though. I have a way of guaranteeing the odds in

my favour- I use magic. Since you did me the honour of giving me your
autograph, would you please say the magic words?”

No matter what they say, snap the card in your right hand by flexing it,
and then slowly raise it again to reveal its back, now accompanied by your
spectator’s signature in indelible sharpie.

They can keep that card as a souvenir, and you can continue performing
this effect for more groups during your gig or set. Eventually, you will
need to replenish your deck with replacement cards. Make sure that you
remember to mark their faces with a scratch when you do!

238
 Scott Baird

TAP-A-STACK
SCOTT BAIRD
This effect, where a spectator finds the performer’s card (and
vice-versa) is an easy-to-do routine inspired by Paul Cummins ingenious
“Tap-a-Lack”. I came up with this method as an attempt to replicate the
core effect of “Tap-a-Lack”, using a procedure that doesn’t require any
clocking. The trade-off is that you have to use a simple stack.

The presentation for this effect, like in “Tap-a-Lack”, is kept straightforward

and minimal. Paul Cummins’ trick is so beautiful because of its direct
simplicity; there doesn’t appear to be any “method” happening in the
eyes of the spectators. My routine follows this framework as best as it can,
though it does require that a certain procedure be followed. Because of
this, the script has a “do as I do” premise.

As with many good magic tricks, the method to Tap-a-Stack begins

before the trick is actually being performed. The first hurdle is that the
deck of cards in play must be believed to be shuffled fully, though it is
actually in Si Stebbins stack. There are a number of ways to get into this
position. A deck switch from a spectator-shuffled deck is a great option;
you could also begin from a new deck, and shuffle into Si Stebbins stack
using Darwin Ortiz’ Si Stebbins Secret. It is also possible to begin with a
Stebbins-stacked deck, and perform various false shuffles.

Perhaps you can even perform a trick or two first, that doesn’t change the
order of the cards. A “searchers” routine could work, so long as the cards
are not shuffled in the duration of the trick. Because the entire deck is in
use during the routine, it reinforces the impression that the audience has
that the cards are being significantly handled, and therefore mixed.

239
JOHN CAREY & FRIENDS

However you got to this point, the deck should be in Si Stebbins stack
when you begin. Set this pack face down and square in front of you. You
are going to lead the spectator through the following actions by doing
them yourself first, and then having them copy you.

“In a moment I’m going to have you do this as well, so follow closely. First,
you’re going to cut the deck towards me, wherever you like, like this.”

Cut approximately half the cards off of the pack and reach forward across
the table, setting them in front of the spectator and flipping them face
up in the process. They are kept as square as possible throughout this
procedure. I like the look of flipping the cards end over end.

“Now, peek at the top card that you cut to however you like, remembering
it, and then replace it back on top. I’m going to remember this card.”

Pick up the top card in front of you, and keep its face hidden from the
spectator. Pretend to remember this card, but in actuality you do no such
thing. Replace it back on top of the pack, and then pick up the entirety

of the cards in front of you and reach across the table again, turning the
packet over and placing it square on the other face up cards, burying your
selection in the center. Make a big deal of squaring everything up.

“Once remembered, this card can get buried in the center of the deck.
And that’s it! Turn that deck over in front of you. You’re going to do exactly
the same thing.”

The spectator is lead through the same procedure. They truly cut anywhere
they like, setting the cut off portion in front of you, face-up. Have them set
the cards more towards the center of the table between you, rather than
close to you. Because the deck is in Si Stebbins stack, the card they’re
about to peek (the top of their remaining cards) will be easily identified
as the next card in sequence from the one staring up at you (the bottom
card of their cut-off packet). They peek and remember their selection, and
replace it back on top, before burying it by turning that packet face up and

240
 Scott Baird

setting it square on the already tabled face-up cards.

You now know the identity of their peeked selection. If the card looking
up at you was the Eight of Diamonds, for example, you know that their
selection is the Jack of Clubs. I silently recite to myself the initials of the
card (in this case, “JC”) a few times in my mind, to make sure that I don’t
forget it later.

Let the deck sit between you on the table for a moment.

“Now, do you think that you know the identity of my card? Could you find
it if I asked you to look?”

The spectator will shake their head.

“And by extension, since we did the same actions, you must agree that
there is no way that I could know the identity of your card.”

It’s all lies, but it is a logical conclusion to come to. You already know what
card they peeked at, but they don’t know that.

“Since you don’t know the card that I looked at, perhaps you can leave it
up to chance. Pick up the deck, turn it over, and set it in front of you. Now,
cut the deck in half, as before, but keep it all face down. Set the cut off
cards in the middle of the table, and deal the next card- the one you cut
to- to the side. Don’t peek at it!”

The spectator follows your instructions. A card is cut to and dealt. This is
“your card”, and you don’t even know the identity of it yet.

“Now, complete the cut, and square everything up.” They obey. They have
removed a random card from a part of the deck that they freely cut to. In
their mind, everything so far has been fair.

“Chance, fate, or whatever leads your subconscious has apparently lead

you to choose that card as the one that I am thinking of. I’m going to

241
JOHN CAREY & FRIENDS

quickly run through the cards and see how inspiration strikes me as I
guess yours.”

You have two jobs at this moment. First, pick up the pack, and turning the
faces towards you, run through the cards quickly, looking for the card you
are remembering that they peeked (in our example, the Jack of Clubs). It
is also very important that you note the bottom card of the deck, because
the card they pulled aside earlier (your card) is the next in Si Stebbins
sequence after this card! If the bottom card of the deck is the Four of
Spades, you should remember that your card (the one the spectator pulled
out) is the Seven of Diamonds.

The less time that you spend with the cards face-up towards you, the
better.

Casually cut at their Jack of Clubs as you close up the spread, bringing
their selection to the top secretly, and turn the pack over. A general
nonchalance, and the guise of you “trying to get a psychic impression or
moment of inspiration”, allow for your actions, but you don’t want to look
focused on it. You can, though it may be overkill, perform a turnover pass
to both cut the pack at the selection and turn the cards over simultaneously.

“I didn’t get any indication of what you card may have been, so I will also
just cut randomly. Let’s see- maybe this one is yours. Yes, that could make
for an impossible coincidence.”

You are now going to perform any false cut that goes from the hands to the
table. I like a cut that I learned from Frank Garcia in The Stars of Magic,
called the Manitoba Cut. It looks like a straight cut, but the hand that
should be taking the top half of the deck to the table first grabs the bottom
half instead. You could also use Jay Ose’s Triple False cut (described by
Harry Lorayne in Close Up Card Magic (1962) and attributed to Jay Ose).
Any false cut to the table will do. You want to make it look like you, too,
are leaving things to chance. After the cut, deal the top card (the Jack of
Clubs) in front of you, face down, after completing your false cut. Set the
remainder of the deck aside.

242
 Scott Baird

Everything is set for the grand revelations!

“So, here’s the thing. We both cut to wherever we wanted to find our own
cards initially, and then we both cut again to find each other’s card. Let’s
see if I was right- what was the card that you are just thinking of?”

They name the Jack of Clubs, and you turn over the card that you just
pulled out of the deck. As the excitement begins to decline, continue-

“Did you get my card? I was thinking of the Seven of Diamonds!”

Let them reveal that they, also, successfully found your card, by turning it
over themselves.

To reset the deck back to Si Stebbins sequence, thumb fan the pack with
the faces towards yourself. The stack will have one spot where there are two
cards of the same colour side-by-side; put the card that the spectator pulled
out for you in between these two cards. Close up the fan, and place the card
that you pulled out for the spectator on the top or bottom of the deck. You’re
back in Si Stebbins stack, and ready to perform another miracle.

An alternate ending would be to simply pull the spectator’s thought-of

card out of the deck when you’re looking through it, and setting it face-
down in front of you. You lose the perceived symmetry of the pseudo Do-
as-I-Do presentation, but it is quicker and cleaner. I like the idea of both
cards being found by chance.

You can see that this would be much easier to perform for the average
magician than “Tap-a-Lack”. There are no mental gymnastics beyond
remembering two cards, and doing the simple math of the Si Stebbins
sequence.

This, obviously, would also work with any memorized stack. You learn the
identity of the cards selected by seeing the one that precedes it in the stack
sequence, so with any memorized stack you can just recite the sequence
to decipher which card comes next.

243
JOHN CAREY & FRIENDS

SEAN DEVINE
BIO
My name is Sean Devine and still can’t believe that I’m in this
book! A little bit about me, I’m a card magician currently living in Missouri.
I’ve never spent a day without a deck of cards in my hands for the past
20 years! While I don’t perform magic for a living anymore, I spend my
time as a stay at home dad. I’m blessed to be in this position where I have
all the free time in the world to read magic books, sharpen my skills, and
create effects. These tricks that I’ve chosen were taken from my book,
Beyond Fantasy. I hope that they serve you well and I hope that we get a
chance to meet up if you’re ever rolling through Missouri!

244
 Sean Devine

FASTEST
REVERSE ON
EARTH
SEAN DEVINE

EFFECT
The fastest reverse on earth.

PERFORMANCE
“Did you know that magicians are judged on their sleight of
hand by how fast they can turn a card over? Here let me show you.” Have
a card selected and controlled to the bottom of the deck by any means
you like. What happens next is a cutting action that will result in a random
card being turned face up in the middle of the deck, with the selection
directly above it. Here’s how.

Begin swing cutting small batches of cards into your left hand. When
you’ve cut about half the deck, place your left thumb on the top card of
the right hand packet.

Now in a quick and sharp action, slide the top card off onto the lower
packet, revolving it face up in an out-jogged position. Quickly and
aggressively slap the upper packet on top to conclude this extraordinary
feat.

245
JOHN CAREY & FRIENDS

They will quickly tell you that it’s not their card. “I just said I would show
you how fast I could do it, I never said it would be your card! If you want
me to do it with your card, I’ll try to do it even faster for you!”

As you’re saying this, spread the deck and turn the card face down, while
secretly turning their card face up with the Larreverse move from The
Classic Magic of Larry Jennings (1986). Here’s the action.

Spread the deck and as you come to the face up card, push it to the right,
aligning it with the bottom card of the right hand spread. The goal is to
create an impromptu double backer. Once this is accomplished grab the
double card with right fingers, and turn your hand palm down.

Next, pin this double card onto the lower packet, revolving the right hand
back palm up and square the deck. This simply mimics the action of turning
a face up card over in the middle. Go through the actions of legitimately
turning a card over in this way without the double. You’ll see that it looks
the same! And if it doesn’t, it’s always a good idea to practice until it does.

This move should just be done casually as you’re speaking. Time it so that
it’s done after you say “...I never said it would be your card!” All you’re
doing is turning a card over, so there doesn’t need to be any focus on it.
At this point, their card is face up in the middle of the deck, so it’s time to

246
 Sean Devine

bring this thing home! “Alright, this time I’ll go for your card. It’s difficult
because now I have no idea where it is! Focus on it for a second. Okay,
here we go.” Now you will give the deck a few cuts like before, which
will retain the face up card in the middle. The purpose of the cutting is to
mimic the card reverse you did the first time! Here’s what you do.

Swing cut about a quarter of the deck into your left hand. Next, swing cut
half of the remaining cards on top of it.

Finally, slap the remaining cards on top of all with the same aggression as
before, creating the feeling as if something happened! “There it was! Did
you see it? It was so fast, you didn’t see it! What was your card?” Spread
through the deck and show that
you nailed it.

247
JOHN CAREY & FRIENDS

FRENCH DIP
SEAN DEVINE

EFFECT
This sandwich trick is inspired by a phase in Jacks Or Better by
Martin Nash. When I watched him perform it, all of his participants were
gasping! It seemed like it was the one thing on that DVD they enjoyed
the most. I knew immediately that I had to start performing it, and over
time, I’ve simplified the handling. You can find it on Award-Winning Card
Magic of Martin Nash - Vol. 2.

“I’d like to show you something that was shown to me by an old gambler.
It’s a way to move any card to any position in the deck that you want!”
As you say this, run through the deck and toss out two Jacks as you come
to them. “I’ll use a couple of Jacks so that you can clearly see what’s
happening! I’ll stick them face up in the deck”. Place the Jacks together,
face up about a quarter from the bottom of the deck.

Now start to spread and drop groups of cards face down onto the table,
forming a pile. After about ten or so, ask your participant to stop you
at any time. Once they do, square up the cards in your hands, getting
a pinky break below two cards. This is very easy and casual, due to the
cards being in a spread condition! Execute a double turnover, asking them
to remember this card. Turn the double over, and take the top card off.
Use this card as sort of a pointer, gesturing towards the tabled pile and
ask them to lift up about half of the cards. Place the card on top of the
lower pile, and ask them to slap the cards they’re holding on top of it.
Then, ask them to pick up all of the cards and mix them so that nobody
could possibly know where the card is! This is very disarming!

248
 Sean Devine

As they’re shuffling, take the top card off of your packet with your
right thumb, taking it into your hand. Immediately begin spreading the
packet on top of this card, thus culling it underneath. This action doesn’t
necessarily need misdirection, but it also shouldn’t be highlighted.

As you’re spreading the cards, say “somewhere in your half is your card,
and in my half are those Jacks” Spread until you come to them, and load
the culled card in between them as you close the spread. Here’s how.
When you get to them, place both thumbs on top of each Jack and
separate your hands.

The culled card will naturally be under the right hand Jack, so when you
coalesce the spread, it will automatically be loaded in between! Square
the deck and place it face down on the table.

Ask them to place their cards on top of yours and to square the deck.
“How many cards would you say are in between your card and the Jacks?
If it’s more than thirty, this really hurts!” As per Martin’s original
presentation, abruptly smack the deck with quite a bit of force, and don’t
say anything. This is quite a shocker! Give the deck a wide ribbon spread
on the table and say “one card has moved in between those Jacks!” Ask
them to slide the card out. Voila!

249
JOHN CAREY & FRIENDS

HIGH FIDELITY
SEAN DEVINE

EFFECT
This is Prior Commitment by Simon Aronson, from Try The
Impossible (2001). However, this is done for one participant, using an
entirely different principle!

PREPARATION
Remove the Jokers from the deck, and using a sharpie, write
the number “3” on the back of one of them, and the number “4” on
the back of the other one. Next, remove one card, making a fifty-one
card deck. Place one of the Jokers eighteenth from the top, and the other
eighteenth from the face. You’re ready to begin.

PERFORMANCE
“Magic is all about secrets,
and today I’d like to share one of
those secrets with you!” What you
need to do now is get three face
down piles of cards in a row on
the table, each of which consisting
of seventeen cards. This is easily
done, due to the position of the
Jokers! Turn the deck face up and
spread through it until you get to the first Joker. Break the spread and
thumb it off onto the table.

250
 Sean Devine

At the same time, turn the cards in your right hand face down in a squared
pile. Next, spread through until you come to the other Joker and repeat
the above, placing it on top of the first one.

Turn the remaining cards face down next to the other piles. You may feel
the need to explain why you’re making three piles of cards. But I find it to
be unnecessary! As John Bannon says, “No justification is better than a
lame justification.” Simply state that you’ll be using the Jokers for later as
you remove them.

What happens next is that they will select a card, and it will automatically
be controlled to the thirty fourth position, and you never touch the deck!
It’s accomplished with the Free Cut Principle by Gene Finnelle, from Free
Cut Principle (1967). First, let’s take a look at how the principle works.

Imagine that the packets in front

of you (from left to right) are
numbered 1, 2, and 3. Pick up
pile 1 and cut off about half of the
cards, noting the card on the face.

Now put this cut off packet on top of pile 2, and place the remaining cards
in your hand on the combined pile. Next, pick up pile 3 and place it on top
of everything. The card you looked at is now at the thirty-fourth position!
This in itself isn’t very magical, so let’s add some smoke around it.

“I want you to look at a card that I could never know!” Ask them to pick

251
JOHN CAREY & FRIENDS

up any pile they want, and to give it a good mix. Now ask them to just
lift some cards up and remember their card. You may want to mime this
action with an imaginary packet. This is much more effective than saying
“Cut the packet and remember the bottom card.” Next, ask them to put
it on top of any other pile. The work is done at this point. You can have
them mix all of the other cards, put them on top in any order, it makes
no difference! As you can see, the above instructions are exactly like the
practice drill you just did. But there’s a lot of things going for us. The first
one being that they have no idea that each pile has exactly seventeen
cards! And the fact that they have so many free choices eliminates any sort
of trickery. Plus, you never touch the deck!

At this point, remind them how impossible it would be to know where their
card is after they just shuffled the deck, looked at a random card, and
then shuffled again! Pick up the jokers and say “I did tell you that I wanted
to share a secret with you, and in fact, these Jokers will tell me what the
secret is!” Bring the Jokers close to your ear and pretend to be hearing
something, as if they’re telling you a secret! “Okay, I don’t know if you
heard that or not, but they just said that your card is at number thirty-four!
That seems a little crazy, right? But there’s only one way to find out!” Pick
up the deck and count thirty-three cards face up onto the table and take
the next one into your hand, face down. Ask them what their card is, and
turn it over! Let this moment marinate for a minute so that they can fully
appreciate the impossibility of what just happened.

When the moment is right, say “but I said that I would share a secret with
you. The secret is that I knew exactly which pile you would pick up, and I
knew exactly how many cards you would take off. In fact, I knew exactly
where your card would end up after all that shuffling you did!” Slowly and
dramatically turn the Jokers over to reveal the number 34.

252
 bio

STEVE REYNOLDS
BIO
Steve Reynolds is a close-up magician and writer from New
Orleans. He specializes in card magic and his work has appeared in
numerous books and magazines.

253
JOHN CAREY & FRIENDS

A NIGHT IN
N’AWLINS
STEVE REYNOLDS
This version of the Motel Mystery was inspired by Jon
Racherbaumer’s exploration of the history and methods in Looking Glass
(Winter. 1996) and his A Night In the Big Easy from Cardfixes (1990). My
take is different than other methods. It tries to avoid overhandled displays
and palming. Also, it sets up for the final transposition without any last-
minute moves.

SET UP
Remove the four Kings, Queen of Spades, Queen of Hearts, and
Ace of Spades. Leave the Ace on top of the deck and place it to your
right. Arrange the court cards in the following order: (from top down) red
Queen, red King, red King, black Queen, black King, black King.

METHOD
Spread the six-card packet
face down between your hands.
Begin any of the usual Hotel/Motel
presentations. Split the spread,
holding three cards in each hand.
Turn both hands palm down to
briefly display the red and black
sets.

254
 Steve Reynolds

Turn your hands palm up and duck the red cards under the black cards in
your left hand, injogging the red set as you square up into dealing grip.
The exact order of the cards will not register with the spectators because
the faces are shown briefly. Add to this Vernon’s stratagem to confuse the
order of the cards (Carneycopia (1991), p 169. Because of this, the
following discrepancy will whiz by.

Lift the cards above the break to

your left fingertips and hold the
three cards above the packet.
Perform a D’Amico or Pivot Spread
to display the black Kings.

Using the D’Amico Spread was

part of the Motel Mystery methods
in Marlo Magazine (1976), p. 247.

Square the spread and duck the three cards face down under the cards in
your left hand, outjogged slightly to make the next display trouble free. Lift
the upper set and perform nother D’Amico Spread, only this time the two
red Kings are shown. Square the spread and duck them face down under
the left-hand cards. No break is held.

You will now display the two Queens as follows. Thumb over the top card
and revolve the black Queen face up between your right fingers. Hold this
single card by its right side between your right thumb (above) and fingers
(below).

Retain the Queen as you perform a

three-card block turnover, using the
Fulves no-break method—usually
associated with Bro. Hamman’s
small packet work—and use your
right fingers to flip the card(s) face
up on top of the left-hand card to
display the red Queen.

255
JOHN CAREY & FRIENDS

Repeat the turnover and take the top card (King) under the right-hand
Queen, spread to the left. Move the fan to the left and lay the face-down
King on the table. Then place the black Queen face up to your right.

Now, thumb over the top card and take it with your right hand, by its right
side, in a pinch grip. Turn your right hand palm down to flash the face of
the black King which is used to tap the face-up black Queen as you say,
“The black Kings go with the black Queen.” Turn your right hand palm up
as your left thumb thumbs over the top card of the packet (Queen) and
takes it onto the right-hand card. Each hand has two cards.

Spread the left-hand pair rightward

and turn your left hand palm down,
displaying the red Kings. Tap the
face-down card mentioning the
red Queen.

Turn your left hand to bring the fan face down them under the right-hand
cards and square up. To justify bringing the packets back together, simply
turn over the Ace of Spades on top of the deck to introduce the House
Detective.

Now, perform a Hamman-style three-card turnover from the bottom by

pulling the top card at an angle to the left, exposing the right side of the
lower three cards. Using a pinch grip, slide the block to the right and flip
it face up on top. Thumb over the top face-up card to display the two red
Kings.

Buckle the bottom card and with

your right hand grip the right side
of the apparent two-card fan with
the fingers (above) and thumb
(below)

Turn the two-card(?) fan face down, end for end, into an angled outjog
and hold everything in place with your left thumb..

256
 Steve Reynolds

With your right hand pick up the face-down card, the assumed red Queen,
and insert it between the apparent two cards. In fact, align it with the top
block. Square the block, leaving the lower card sidejogged.

Lift the spread with your right hand and place it on the table to your
left. Perform the Small-Packet Hideout—the classic ribbon-spread hideout
done with a small packet (see: Output 17 for full details). This displays
three face-down cards, with the lower card hidden beneath.

Now, you’ll apparently sandwich the face-up black Queen between the
Kings in your left hand. This is actually the single red Queen. There are a
few bluff ways to do this. Here’s one way:

Pick up the black Queen and flip it face down on top of the left-hand
card. Then peel it into your left hand and then place the right-hand card
on top. Pick up both cards from above and by the ends. Turn your right
hand palm up to flash the black Queen on the face. Turn your right hand
palm down and then peel the top card into your left hand and place the
right-hand cards on top.

Square the assumed sandwich and lay it face down to your right. Square
the three-card sandwich on your left and your set to reveal the transpo.

257
JOHN CAREY & FRIENDS

PUSH-PULL
SWITCH
STEVE REYNOLDS
This was published in my first book: Arsenal Notes (2000). It
was originally worked out as an off-beat color change and then as an
exchange of a card.

This is similar to a switch by Marlo where a centralized outjogged card

is apparently removed and tabled face down. Jerry Sadowitz published a
similar move in Contemporary Card Magic (1984). He secretly takes the
bottom card as the outjogged card is pushed into the deck.

The following variation uses a Strike Second Deal during the push-in. It’s
used in a handling of Alex Elmsley’s Point of Departure. It was published
in Output 7 (2021).

AS A POINT OF DEPARTURE
Spread the deck face up between your hands and upjog the two
red Kings. Close up the spread and with your right hand strip out the
Kings. Your left hand flips the deck face down into dealing grip.

Obtain a left fourth fingertip break

under the top card of the deck as
you place the Kings face up on top,
retaining the three-card break.
With your right hand lift the three

258
 Steve Reynolds

cards as you peel the top King square on top of the deck.

Bring the right-hand card(s) on top of the King as if to pick it up. In fact,
pick up only the single top King and place it, as two, to the table.

On top of the deck, is a face-down x card covering a face-up King. Marlo

used this handling in Have Another Sandwich from the Hierophant and on
the Malone Meets Marlo DVDs. Though here I take some advice from Don
England and casually drop the single to the side, almost tossing it. Pay no
attention to it and turn back to the deck to have a card selected.

The deck is squared in dealing

grip and your left thumb riffles
down the outer left corner until a
spectator calls stop. With your right
hand lift the top half away from the
lower half. The right half is used to
flip the top card of the lower half
face up. Guide the card forward
with the right half, so it last face up
in an outjogged condition.

Place the right half back on top, leaving the selection outjogged face up.
Next, bring your right hand over the front end of the deck. Under this
cover, move your left first finger to the outer end of the outjogged card. In
a moment, this finger will push the card flush.

Turn a bit to the left to add some

further cover. Curl your right
second, third, and fourth fingers
around the front end, contacting
the back of your left fingers. Your
right first finger is curled on top.
Now, push the top card over, at an
angle, exposing the King below it.

259
JOHN CAREY & FRIENDS

Notice that your right first finger and thumb are pinching the corner of the
King. Two things happen next. First, your right thumb and first finger pull
the King forward in a striking action. Move it forward until the front end
moves past the outjogged selection. Next, your first finger pushes inward
on the selection until it’s flush with the front end of the deck. See photo; a
stop action view.

Once the King is dealt past the

front end of the deck, turn your
right hand palm down, bringing
the King face down as you deal it
to the table.

Marlo published essentially the same technique as Sadowitz, using a

bottom-card take, in Randy Wakeman Presents (1989). He deals the card
directly to the table as I do here. Marlo called this the Illogical Switch.
Using the face-up King eliminates the illogical aspect.

Place the deck to the right. The selection is face up in the middle.

Now, with your right hand pick up the assumed pair of face-up King on
the table and place the card, as two, into your left hand, dealing grip.
Make this a deep grip to hide that it’s a single card... or live dangerously.

Pick up the selection (?) with your right hand and slide the card under
the King—at the inner end—as if sandwiching the selection between two
Kings. Push the card forward until it’s square with the face-up King. Your
right fingers then drag back the face-up King for about a third of its length,
exposing the back of the bottom card at the outer end. This is assumed to
be the back of the selection.

You’ll now use a bluff display suggested to me by B.J. Bueno (Orlando,

FL). Grip the outer-right corner of the “sandwich” with your thumb on top
and fingers below. Turn your right hand palm down, revolving the cards
end for end, back into dealing grip. Photo 6

260
 Steve Reynolds

The spectator sees a different King on both side, and each side has a
face-down card. The face-up cards draw the eyes, and the repeat back is
not noticed.

Push the cards square by pressing your right thumb against the inner
end of the face-up King. You can now go into Elmsley’s Prayer Vanish—
revolving the flat palms, so a Kings can be taken into each hand, and
dropped face up to the table.

Another way to do this—which follows the bold procedures used thus far...
why stop now?—is to flip the back-to-back Kings over into dealing grip
and say. “One.” The flip the face-up King face down as you say, “Two.”
Then flip the pair face up into dealing grip on, “Three.” Spread the Kings
to reveal the vanish.

261
JOHN CAREY & FRIENDS

TOMMY TUCKER
PASS
JOHN CAREY
My absolute favorite pass. So deceptive, not too difficult and
can be used both sitting and standing. A keeper! Use the link below to
access the online video instructions for this trick:

www.johncareymagic.co.uk/tommy-tucker-pass

Password: &CHUMS

262
 bio

WAYNE GOODMAN
BIO
Wayne Goodman has been a full time working professional
magician since 1992, he has worked all over the world including Spain,
Denmark, Mexico, Dom Rep, Crete, Greece and Norway.

Wayne is known for his no nonsense approach to magic, his magic mixed
with endless jokes and comedy has made him a highly sought after
performer for weddings, corporate events and trade shows.

Wayne is the author of over 15 books on comedy and magic and also over
2 dozen released magic effects that are used every day by professional
magicians all over the world, he has lectured for magic clubs all over
the world and continues to work to bring new and original ideas to the
market.

263
JOHN CAREY & FRIENDS

2 DECKS
GO TO WAR
WAYNE GOODMAN
This is a really great trick, and whilst not completely hands off,
I have done this live with a small group and had the spectator do almost
everything.

EFFECT
You show two decks of cards, and the spectator chooses a card
from one deck.

The other deck, through a small process of elimination, reveals the whole
suit of the chosen card in order with one card missing, the very card
selected by the spectator.

SET UP
2 decks of cards are needed for this, and it has a small set up.

Choose and place your force card on top of one deck and place this deck
aside for the moment.

For this example we will use the 8 of hearts as the force card.

The 2nd deck is set up in this manner

264
 Wayne Goodman

You only need 48 cards for this to work so remove the jokers and 4 cards
that are not of the same suit as the force card.

We are using the 8 of hearts as the force card so make sure the four cards
are not heart cards.

Now take all the heart cards and place them in numerical order from Ace
to King.

Random card
ACE OF HEARTS
3 Random cards
2 OF HEARTS
3 Random cards
3 OF HEARTS
3 Random cards
4 OF HEARTS
3 Random cards
5 OF HEARTS
3 Random cards
6 OF HEARTS
3 Random cards
7 OF HEARTS
8 OF HEARTS
2 Random cards
9 OF HEARTS
3 Random cards
10 OF HEARTS
3 Random cards
JACK OF HEARTS
3 Random cards
QUEEN OF HEARTS
3 Random cards
KING OF HEARTS
2 Random cards

Shuffle the rest of the deck.

The stack is very simple and will take a couple of minutes to set up.

Regardless of the value of the force card you should place it in the position
next to the 7, this will ensure the spectator sees the card in the first face
up pile of cards.

265
JOHN CAREY & FRIENDS

Once the deck is stacked you can spread the cards to show all mixed up,
as long as it is a quick look no one should spot the single suit in order.

Now you need to force the card on the spectator, there are many ways to
do this and if you have a favorite method then you can employ it here.

If you do not know how to force a card then I will explain the cross cut
force at the back of the book, which is very effective when done over
video.

SEQUENCE
Bring out the two decks and spread to show two mixed up
packs.

Place the stacked deck to one side and tell the spectator they are going to
choose a card from the other deck.

Now you can force the card, ask the spectator to place the selected (force
card) face down on the table as you do not want to see what it is, and
you can put the remainder of the second deck away as it is now no longer
needed.

Now you pick up the (stacked) deck and explain that this deck will help
you identify the selected card.

Tell the spectator that they must not give away any clues to the selected
card, this is important as in a moment they will see their card and assume
that you have made a mistake.

You ask the spectator to deal the

cards down into two alternate
piles, with one pile being face
up and the other pile being face
down.

266
 Wayne Goodman

Have the spectator deal the first card face up and the second card next to
it face down.

Repeat this for the whole deck.

The spectator will have seen their card in the face up pile, regardless, you
pick up the face up cards and discard them.

The spectator will assume you have made a mistake as their card has
been discarded.

Now you are going to repeat the action again, have the spectator deal
face up and face down into two piles.

Once again discard the face up cards. This will leave you with 12 face
down cards.

You explain to the spectator that this pile will assist you in locating their
card.

You can now turn the packet over and spread them out to show all the
Heart cards in order with only one card missing.

When you turn over the spectators chosen card (from the other deck still
on the table) it will be the one that is missing from the suit order.

267
JOHN CAREY & FRIENDS

2 DECKS GO TO WAR SEQUENCE

Action
Force the card then discard remainder of this deck
Bring out stacked deck and explain this deck will assist you in
finding the selected card
Deal the deck out first card face up then second card face
down into two piles
Discard all face up cards (which will include the spectators
chosen card)
Repeat face up and face down action
Take remaining 12 cards and turn over to show whole suit in
order with one card missing
Turn over spectators card to show it is the missing card

268
 Wayne Goodman

CARD THE
BOUNTY HUNTER
WAYNE GOODMAN
This is a great routine that can be done live, over video and if
desired or required completely hands off.

EFFECT
Through a series of random choices made by the spectator your
chosen bounty hunter card is able to eliminate the whole deck until only
the bounty hunter card and selected card remain.

SEQUENCE
You ask the spectator to
shuffle the deck and then deal into
two piles of 15 cards.

You now ask the spectator to

choose one of the piles to be their
pile and the other pile to your pile.

You can separate the two piles like

in the picture, this will make the
next step easier.

269
JOHN CAREY & FRIENDS

Now you can ask the spectator to cut their pile into two piles, and to do
the same to your pile.

From the remainder of the deck you will now remove a card to act as the
bounty hunter card, if you desire,
the spectator could choose this
card.

Now you ask the spectator to

choose a card from the remainder
of the deck and place it face down
on the table without you seeing it.

The remainder of the deck can now be put aside as it will no longer be
required.

Have the spectator place their chosen card face down on any of THEIR
piles and then place one of YOUR piles on top.

Place your bounty hunter card face up on YOUR remaining pile and place
THEIR remaining pile on top of the bounty hunter card.

Pick up your pile and place it on their pile.

You now have one pile of 32 cards with their card somewhere facedown

270
 WAYNE GOODMAN

in the pile and your card somewhere face up in the pile.

Now give the pile to the spectator and ask them to deal the cards from the
top into two piles, left, right, left and right all the way through to the end.

Spot and remember the pile that contains your face up card.

When they have dealt the entire pile ask the spectator to pick up the pile
with your face up card in and repeat the action, the other pile can be
discarded.

Repeat this action until the pile

contains just the face up card and
one face down card.

Recap that the spectator chose a

card and it was lost in the middle
of two piles.

They dealt the cards and eliminated

the piles that did not contain the
face up bounty hunter card.

You can now ask the spectator to turn over the face down card to show it
is the chosen spectators card.

CARD THE BOUNTY HUNTER SEQUENCE

Action
Deal two piles of 15 cards.
Pick a bounty hunter card from the remainder of the deck and
have the spectator choose a card also.
Spectator places their card FACE DOWN on top of one of THEIR
piles.

271
JOHN CAREY & FRIENDS

Spectator places one of YOUR piles on top of the pile with

THEIR chosen card.
You place YOUR bounty hunter card FACE UP on top of YOUR
remaining pile.
Spectator places THEIR remaining pile on top of YOUR face up
bounty hunter card.
Both piles placed together.
Spectator deals into two piles.
Discard the pile that DOES NOT contain the face up bounty
hunter card.
Repeat until only the face up card and one face down card
remains.
Recap
Reveal face down card is spectators chosen card.

272
 Wayne GOodman

THE MONKEY FLIP

WAYNE GOODMAN
The monkey flip is a beautiful card trick that looks impossible
but is in fact really easy.

SEQUENCE
Ask the spectator to take out any 4 of a kind, for this example I
will use the 4 Jacks.

Now ask the spectator to deal off 20 random cards.

The spectator should now spread out the cards face down and insert the
four chosen cards face up into random places in the spread.

Now you tell the spectator that you

want them to mix the cards but in
a special way.

Have the spectator cut the cards

once and then you want the
spectator to deal the cards down
alternating face up and face down.

Down - flip - down - flip and

so on for all the cards.

Once this is done, have the

spectator square up the pile into a
neat pile, they can also choose to

273
JOHN CAREY & FRIENDS

turn the deck over or not.

Now ask the spectator to give the cards a single cut.

The spectator will now deal the cards down onto the table again but this
time, to make it a little different, they will deal two cards at a time and they
can choose to put it down as it is, or flip it over.

This will create a very mixed up packet of cards with some face up and
some face down.

Now ask the spectator to again give the cards one more cut.

Now the spectator is going to again do the face up face down dealing but
this time with groups of 4, and again they can choose to place it down as
it is or flip it over.

Do it for the whole set of cards.

Now the spectator should deal the whole packet into two piles, first to the
left and then to the right.

Now the spectator can choose to pick up either pile and turn it over and
place it on top of the other pile, but it is their choice which pile they pick
up.

Now when you spread all the cards out, they will either be:

• All face up except 4 face down cards. Or:

• All face down with 4 face up cards.

The 4 cards will be the 4 of a kind they chose at the beginning

274
 WAYNE GOODMAN

THE MONKEY FLIP SEQUENCE

Remove any 4 of a kind
Deal out 20 random cards
Insert the 4 of a kind face up
into the face down 20 card spread
Deal packet face up / face down
Cut the cards
Deal 2 cards at a time
face up / face down (spectator chooses)
Cut the cards
Deal 4 cards at a time
face up / face down (spectator chooses)
Deal the packet into two piles
Spectator choose one pile to turn over and place on top of
other pile

275
JOHN CAREY & FRIENDS

276
Wayne GOodman

277
JOHN CAREY & FRIENDS

278
Wayne GOodman

279
JOHN CAREY & FRIENDS

Copyright © 2023 John Carey

All rights reserved. This book or any portion thereof may not be reproduced
or used in any manner whatsoever without the express written permission
of the publisher except for the use of brief quotations in a book review.

The information in this book is distributed on an “as is” basis, without

warranty. Although every precaution has been taken in the preparation of
this work, neither the author nor the publisher shall have any liability to
any person or entity with respect to any loss or damage caused or alleged
to be caused directly or indirectly by the information contained in this
book.

Design by Phillip Smith ( www.phillsmithcreative.com )

280