Andi Gladwin & Jamie Badman - The Cheetah’s Handbook

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The Cheetah’s Handbook

Dedication To Timber She inadvertently started it all by showing us just how much mileage can be drawn from even something as simple as a stripper deck! If only she knew.

Each individual effect is copyright © January 2005 by the creator All rights Reserved. This material is protected and no portion may be reproduced without express written permission by the author. Marketing rights reserved.

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The Cheetah’s Handbook

Contents Introduction ................................................................................................................... 3 2X2 (Jamie Badman).................................................................................................... 4 Kopy Kat (Jamie Badman)........................................................................................... 7 Aces & Kings (Liam Montier) .................................................................................... 10 Hollywood or Bust (Colin Miller) ............................................................................. 12 Matrimoney (Tyler Wilson) ....................................................................................... 15 Clean Sanchez (Tyler Wilson)................................................................................... 19 Psychic Weetabix (Rob James) ................................................................................. 25 Safety Zone (Andi Gladwin)....................................................................................... 27 Dancin’ with Dancy (Luke Dancy) ............................................................................ 31 Two Ahead with the Deck (Kostya Kimlat) ............................................................. 32 Con-Fusion (Jack Parker) .......................................................................................... 35 Cain & Cord (Jack Parker) ......................................................................................... 39 Call Me. No Wait, I’ll Call You (John Bodine) ........................................................ 44 The Cheetahs demystified .......................................................................................... 46 In Closing ..................................................................................................................... 49

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The Cheetah’s Handbook

Introduction "I have been looking at the timbers of the ship... What she is not, I can easily perceive; what she is, I fear it is impossible to say." – Edgar Allen Poe This ebook contains effects by ten creative close-up magicians from throughout the UK and USA. If you’ve been keeping your ear to the ground, you would have heard of most of them: Jamie Badman

Liam Montier

Andi Gladwin

Jack Parker

Colin Miller

John Bodine

Kostya Kimlat

Rob James

Tyler Wilson

Luke Dancy

We have made great effort to ensure that effects in this ebook are equally as diverse as the creators. You will find effects using cards, coins, rings, barcodes, phones and more: that’s hopefully something for everyone and with luck, everything for someone! Each author has contributed routines to this ebook that they are particularly proud of. There is no filler in these pages; every routine is audience tested and eminently practical given sufficient practice. We’ve tried to leave the write-ups submitted by the creators intact to give you an insight into their personalities. All of us sincerely hope that you really enjoy reading, learning and performing these moves, effects and ideas and that your investment in this book – and in us – is repaid many times over. Above all, we hope that you have fun with these creations, as that after all, is what this ebook is all about! We shall all have fun in return – of that, you can rest assured! Jamie Badman & Andi Gladwin January 2005

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The Cheetah’s Handbook

2X2 Jamie Badman Effect Two cards are selected, signed and returned to the deck. A mere snap of the fingers and one of the selections is retrieved from a pocket. Another snap and the other selection travels in a similar manner. Snap again (ok, there’s only so many times you can do this without it hurting! And this one is the finale so make it a BIG snap!), place the deck on the table, show both hands empty and place one hand in your left pocket, the other in your right – and draw out cards with both hands… the two selections! Guess what… only one palm! Even better; it takes place under so much misdirection that even palm-haters might like this one! Setup Right, you read the effect didn’t you? It looks JUST like that. And you believe the old ‘effect is everything’ adage don’t you? If you don’t, you’re going to have to move on because this won’t be for you. If, on the other hand, you don’t mind playing a little bit dirty, read on... You need a duplicate card. Sign it on the face in a way you KNOW you can duplicate easily and accurately. Place this duplicate in your left hand pocket, facing your body. Now take any two cards from the deck (as long as neither matches your dupe!) and place these in your right hand pocket facing your body. You’re all set. – That’s not too dirty is it? Method Have two cards selected, but force one of the cards so that it is the card matching your signed duplicate. If it were me, I’d cheat even more and just say “For this effect I need two cards – one for me, one for you. I’ll have THIS one… [pluck out the duplicate card from a spread.] Which one would YOU like?” It’s easy. It’s worry free. It’s sorted. Now, explain you need the cards signed. Sign yours by way of demonstration – make it look JUST like the duplicate. If you fail at this stage to make it look damn close then change the effect and perform a transposition or something. The audience doesn’t know what effect you are about to perform so whatever effect you do is ok! Page 4 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

Have the spectator place both cards into the deck. Control them to the top of the deck ensuring that the spectator’s card is top of yours. There are many ways to accomplish this. My personal preference is to use the reverse diagonal longitudinal vortex split (I do it with the infamous ‘crooked pinky’ subtlety!) but you’ll no doubt have your own approach. Might I recommend either passing your selection to the top of the deck after it is returned and then employing a top-card cover pass of the spectators’ selection so that it resides beneath yours. Alternatively use a multiple shift of your choosing. As I say, there are many ways. Explain how you’re going to make the selections travel to your pockets one at a time! Snap your fingers, take the deck in the left hand (if it’s not already there) and with the right hand reach into your right hand pocket and, face unseen, remove one of the ‘X’ cards. As you do this, obtain a break under the top card of the deck with the left hand. Place the right hand card on top of the deck, tell the spectator it’s their card first – and use a double turnover to reveal their selection! Turn the double back over, take the top card and place it into the centre of the deck. Now reach over the deck with the right hand and as you pull the card in flush with the deck, execute Marlo’s Misdirection Palm from The Cardician. This is essentially a top palm covered by the action of squaring the outjogged card into the deck, so I won’t explain it. Hold the deck from above with the right hand, snap the fingers of the left hand and explain that your selection has now travelled too! Pass the deck into the left hand, reach into the right hand pocket and deposit the palmed card, bringing out the other ‘X’ card again face unseen. Obtain a break under the top card of the deck with the left hand, place the ‘X’ card on top of the deck and double-turnover to reveal the second ‘selection’. Turn the double back over again and lose the ‘X’ card in the deck using the same actions as for the ‘Misdirection Palm’ but without palming anything. You now have both selections loaded in your pockets. Place the deck on the table, snap your fingers with both hands and then show your hands empty as you reach in to your left hand pocket with your left hand, your right hand pocket with your right hand – and slowly drawn a card out with both hands! Dramatically turn them over to reveal the two selections! You’re dirty here – you have a duplicate card on the top of the deck. You really should Page 5 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

ditch it as soon as possible back into your left hand pocket in preparation for a repeat at some later time! A nice way to clean up is to alter the finale slightly; instead of reaching in and pulling the selections out of both pockets simultaneously, do this: Holding the deck in the left hand, show the right hand empty, reach in to the right hand pocket and pull out one selection. Place this onto the table or hand it to a spectator. Then pass the deck to the right hand and show the left hand empty then reach in to the pocket and retrieve the other selection and dispense with it in the same was as you did the first selection. As you do so, execute a one-handed top palm on the deck to retrieve the duplicate that lies on the top of the deck, place the deck on the table or pass it back to your left hand and place the card into your right pocket. You’re clean.

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The Cheetah’s Handbook

Kopy Kat Jamie Badman Effect This is a three-phase Prediction/Do-as-I-do effect; for the first two phases you make a prediction and the spectator selects a card which matches. For the final phase the spectator copies you in a ritual of selecting a card and when both cards are revealed, they also match! Comments There’s little originality here with each of the phases but the effect as a whole is my own creation. I wanted a three phase effect which appeared to be repeating but in fact uses quite different methods each time. Method Have the spectator thoroughly shuffle the deck. Take back the deck and spread the cards with their faces towards you, and comment on how well mixed the deck is. As you spread the cards, look for two cards together which match in colour and value. Cut these to the back. If none exist then glimpse the card at the back of the deck and cull its mate under the spread next to it. Shuffle the deck once more briefly, keeping the two-card setup in place and if you can, replace the card which is on the face. Hold the cards so their faces cannot be seen and state you’re going to make a prediction. Upjog the mate of the card that is on the face of the deck. Then as if in half a mind, upjog another card. Then push this card back, saying that although you’ve got a strong feeling about both cards you’ll go with your first instinct. Strip the prediction card out of the deck and place it on your mat to your right. Place the deck face down on your mat and say how what you’re going to do should be impossible. To make it a little more likely to succeed you’d like to work with just half the cards; have the spectator cut the deck in half. Take the bottom half and spread them asking the spectator to touch any card. When she does so, turn all the cards above the selection face up, grasp the selection beneath the face up cards in the right hand and flip the left hand cards face up also, in the process performing a Mexican Turnover to switch the selection for the card beneath the left hand packet.

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The Cheetah’s Handbook

Outjog the selected card, close the spread and turn the cards face down to show the selected card. Slide it to your left on the mat and have the spectator turn over the prediction to show that they match. Put the two cards to one side, riffle shuffle the half you have in your hands into the other half, maintaining the two cards at the top and the one card on the bottom of the other packet. Double cut the card at the bottom of the deck to the top (i.e. above the pair). Tell everyone that you’ll try again… using the card you almost chose as your prediction last time. Spread the cards towards you and glimpse the card you cut to the top. Upjog the mate of this card and place it face down to your right. Close the spread and turn the cards face down. Say how you’re growing in confidence and you’re ready to try again but this time with all the cards. Spread them and have the spectator touch one. Fairly remove this card, keeping it face down and place it to your left. Now turn over both tabled cards at the same time but performing a Curry Turnover on the card to your left. They match. Place these two cards with the other pair. Double undercut the top card of the deck to the bottom and place the cards on the mat again. Say how you’ll do it one last time but this time you’ll not make a prediction; rather you’ll leave it in the hands of fate. Have the spectator cut the deck into two halves. You take the top half and ask the spectator to take the other half. Ask the spectator to copy exactly what you do. Emphasise the importance of this. You do an overhand shuffle. The spectator should be able to do this but if not, just ask them to shuffle however they feel comfortable. What you actually do is undercut half your packet and jog shuffle, injogging the first card and when you square up, maintain a break below the jogged card (i.e. above the original top cards). Now ask the spectator to give the cards a straight cut. Demonstrate by cutting at the break and placing the top packet beneath the lower packet. The spectator sees this whole sequence as a simple shuffle and cut. You then take the top card and place it on the table. The spectator does the same. You obtain a break beneath the top card as you pick up the spectator’s card and place it on top of your half. The spectator picks your card up and places it on top of his packet. You then appear to place the top card of your packet to the bottom of the packet but in fact you place a double there. The spectator copies you. Finally ask the spectator to Page 8 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

turn over his packet at the same time as you: You both turn the cards over to reveal that you have both chosen matching cards! Credits I believe that the final sequence was put in to print in some lecture notes by Patrick Page in which he credits an 'unknown soldier' for the idea.

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The Cheetah’s Handbook

Aces & Kings Liam Montier Effect From a shuffled deck, the magician removes the four aces for the spectator and the four kings for himself. In a Do-as-I-Do fashion, both magician and spectator select a card and shuffle it back into their packets. The two packets are openly swapped, and the magician finds the spectators selection and much to the spectator’s surprise, he finds the magician’s selection also! Setup The kings are marked on the back, so that you can tell their suits. I mark the diamond, heart and club with pencil dots in different positions, and leave the spade unmarked. Take a deck and remove the aces and the kings. Set the aces up for the pointer principle and return them to the deck. In case you’re unaware of what the pointer principle is, take the four aces and arrange them with the ace of hearts so that the pointy bottom bit of the heart is pointing towards you, the ace of clubs so that the base of the ‘club’ is towards you and similarly the Spade. The diamond can be oriented any way you choose. The idea now is that if any ace is rotated 180 degrees, you can tell which one was turned around – either the heart, club or spade will be clearly rotated or no card will appear rotated in which case the rotated card was the diamond. Method Remove the aces and kings, handing the aces to your spectator and keeping the kings for yourself. Ask them to copy your actions. Overhand shuffle the packet and remove any card and place it face down onto the table. Your spectator will follow your actions. Reverse the other three before you drop them on top – do this by emphasizing to your spectator that he/she should mirror your actions; the packet is in your left hand. The right hand grasps the packet by the far short end and takes it from the left hand. The far short end becomes the near short end as you hold the packet at your fingertips and place it on top of the face down tabled card. This reverses the three cards that were in the hand and your spectator has inadvertently done the same thing with his cards! Page 10 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

Finally, pick the packets up again, overhand shuffle them cards, and the spectator will do the same. Swap packets with the spectator and remove the chosen ace, placing it face down on the table… direct them to do the same with the King that they think that you chose. You know which ace was selected due to the pointer principle explained above. Show the ace as the selection, and then read the mark on the king. Tell your spectator that you remembered the king of clubs (or whatever) and have them turn it over, to end.

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The Cheetah’s Handbook

Hollywood or Bust Colin Miller Effect A spectator writes down the name of a Hollywood movie star. The magician decides to make this more of a challenge; he tears up the paper and asks the spectator to try something even harder – to think of a movie that the actor/actress has starred in. The spectator does so and the magician describes a scene from a movie – it’s a scene from the thought of movie, starring the actor! Method This is a mentalism item which uses an interesting principle which Jamie Badman and I call The Blind Read. This is kind of like a mental ‘one ahead’ principle where from one piece of information, you make an instinctive ‘jump’ to the next. The result of doing this is that you now have in mind some information that truly was never written down at all; the effect of revealing this is really quite devastating. Have your spectator think of any Hollywood movie star. Hand out a piece of paper or an index card and have her write the name of the star on the back of the card. Have her fold the card up and place it into your hand. Place both your hands over the card and act as though you’re trying to discern the information via some kind of mental power. Try not to frown and grunt too much as this tends to convey less an impression of mental powers and more an aura of acute constipation! Relax, tear the paper up and ask the spectator to try something different. Throw the pieces of paper into an ashtray or bin and retrieve another card which you hand to the spectator. Ask her to write down a movie that the actor/actress starred in – preferably the last movie the spectator saw starring this person since this would be most fresh in her mind. As she does this, you peek the stolen centre-piece of the card you tore up! That’s right; you’d performed a classic ‘centre tear’ when you dispensed of the first index card. This provides you with some valuable information – the name of the movie star. Now, just think of the first movie that comes to mind when thinking of this star. You should be able to now work out the movie the spectator is thinking of by using the name and a few subtle questions to the spectator to confirm your instinctive guess!

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The Cheetah’s Handbook

If you have no idea what the movie is just state that you would like her to concentrate on one of the scenes from the movie and you will try to pick out the actor or actress she is thinking of. This is your ‘worst case out’ – which is still pretty impressive – naming an actor that the spectator thinks of! But you will find that if you select your helper carefully you should get the movie nine out of ten times and when this happens it’s really, really powerful. Here are a few examples: Julia Roberts

Pretty Woman

Humphrey Bogart

Casablanca

Kate Winslet

Titanic

Brad Pitt

Fight Club

Keanu Reaves

The Matrix

Tom Cruise

Mission Impossible

John Travolta

Pulp Fiction Grease Saturday Night Fever

Brooke Milano

Flesh Hunter 7

You will be very surprised that the same celebrities pop up all the time. Of course the movie theme leaves you wide open for some pretty creative presentations, using popular scenes from the movie may enable you to dig even deeper: For instance, imagine you’ve peeked Tom Cruise. Now assume that the movie is Mission Impossible which is a pretty good guess. Ask the spectator to think of a scene from the movie. Ask her to visualise it, and feel it as though she’s actually there, experiencing it. Then say to her "I see a train, it is going very fast, there is someone on top of it" (This of course is an outstanding scene from the movie) If you hit, well say no more. If you miss, just change tactics; you’ve more than likely hit a scene from the film, if not the actual scene she’s thinking of – she’ll make this leap and realise you’re picking up on her film which she’ll be stunned by. If you do hit directly here then just think for a moment what you’ve achieved – from just the name of a movie star, you’ve picked up on purely mental thoughts from a spectator right down to an actual event in an unnamed movie! Page 13 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

You get the idea, you have managed to read a movie – and even perhaps discern a scene, from a slip of paper you have never touched – from thoughts you could never have been party to. The ‘Blind Read’ principle can be applied in many different presentations and effects and the impact from using it is tremendous; we hope you use it and that your results are as good as ours. Comments A new effect/device called Illuminati by Larry Becker and Lee Earle is great with this routine – Illuminati uses hotel room swipe keys. If you think along the lines of autograph collecting by gathering room keys used by famous people then having the spec imagine they’re a famous movie star and to write their name on the room key – you’ll be on the right track!

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The Cheetah’s Handbook

Matrimoney Tyler Wilson Effect Celebrity Death Match between Coins Across and Ring Flight. Who will win? You! This is, after all, the Cheetah’s Handbook! Setup Wear some trousers! Oh, and have a wallet, with three identical coins (such as quarters) in your trousers pocket. Method Essentially this is just a presentational ploy for Coins Across. It gives a reason for the coins travelling from one hand to the other, and also allows for a kick-in-the-pants climax. If you already perform a Coins Across routine, you can simply add this climax and presentational ploy to your existing routine to breathe some new energy into it. If you don't already do a Coins Across, I'll describe the method I use which is a jacked up version of Tenkai Pennies. Ask to borrow a ring from one of the lovely female spectators; try to get a wedding or engagement ring if possible. With the ring in the left hand, say “Ah, the wedding ring symbolizes so much,” Look at the women and say “Love, commitment, sacred vows.” Shift your gaze to the men and continue with “Money, money, money”. Offer to show them the power it has over money and pull out your wallet with the right hand. Pull three coins of the same denomination out of the wallet (I use quarters) while saying “We'll just use a couple of quarters for this.” Put the wallet back in the rear trouser pants pocket while holding all three quarters in the right hand. Toss two of the quarters into the left hand to join the ring, this is easily done by simply holding one of the quarters back with the right thumb during the toss. Curl the right hand into a fist while putting its quarter into Tenkai Pinch. Stick out the right index finger and slip the ring on it.

Because it's a woman's ring, it probably won't make it past the second knuckle.

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The Cheetah’s Handbook

Pull the right hand away and open it up to show the condition; two quarters in the left hand and apparently none in the right hand.

Close both hands into fists while putting one of the quarters from the left hand into Tenkai Pinch. Make a magical gesture while getting the quarter back from Tenkai Pinch in the right hand. Open both hands to show that the ring can't be stopped from getting its money.

Close the right hand into a fist again while putting its quarter back into Tenkai Pinch. Extend the right index finger, point to the remaining quarter in the left hand and comment on how easily the ring can take money away from you.

Turn the right hand palm up while opening it so the fingers are under the left hand.

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The Cheetah’s Handbook

Release the quarter from left hand Tenkai Pinch into the waiting right fingers and pull the hand apart.

The coin on the right fingertips will appear to be the same one which was in the hand earlier even though you just switched it out, go ahead and pat yourself on the back. Perform the exact same actions which were done earlier; close both hands while putting the left hand's quarter in Tenkai Pinch and bringing the right hand's quarter out of Pinch position. After a magical gesture, open both hands to show the the ring has attracted all the money. For all intents and purposes, the trick is over for the spectators. Close the left hand into a fist and retrieve the quarter from Tenkai Pinch as the left index finger and thumb take the ring from the right hand. The hands spread apart into an applause cue ready for the standing ovation you should be receiving (try your best to dodge the panties being thrown at you – or if you’re short of cash, catch them – they’re sure to sell on Ebay: everything else does!). The situation is two quarters in the right hand, and a quarter and very expensive and delicate borrowed ring (which they were stupid to ever lend you) in the left hand. Under cover of the applause, you will be performing some very sneaky stuff during some very natural movements. Once the applause starts, bow down and put the right hand in front of the stomach while the left hand goes behind the back. This is the standard bowing action and it's a perfect opportunity to get your hand behind you back without the slightest bit of suspicion. While the left hand is back there, drop the ring in the rear right pocket and hopefully into the wallet itself (don't worry if it misses the wallet, it's not a big deal). For consistency's sake, come up and bow again but reverse the arm positions, the left hand goes in front and the right hand goes behind. Come up from the bowing and act Page 17 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

as if you just got an idea. Offer to let the owner of the ring try holding the coins during the trick. Give her the two quarters from the right hand while pretending the quarter in the left hand is her ring. Close the left hand into a fist and make a magical gesture. Open the hand and say “Look it worked, I got one of your quarters!” she will immediately open her hand and show that she still has both of her quarters. Look confused and then act startled while pointing out that the ring is missing (as hard as it is to believe, when you focus the attention on the quarter when you open your hand, they don't realize their ring is gone until you mention it, not that it even matters if they were to notice). Doing your best ‘Columbo’ impression, try to piece together what just happened, “Wait, if the quarter didn't come from your hand, then where else could it have come from? Hold on, I had more quarters in my wallet.” Hand the quarter to the spectator and show both hands empty before slowly reaching for the wallet. If the ring went right in the wallet then you're home free. If it just fell into the pocket but missed the wallet, there is plenty of time to drop the ring in the wallet while the hand is in the pocket (remember how slow everything is being done). Bring the wallet out and show that the ring doesn't bother with small change when there's big money to be had. Notes Tenkai Pennies can be found in Bobo's Modern Coin Magic. My wallet is a “George Castanza Wallet” which means it's overstuffed with WAY too much crap. This is beneficial for this routine because it creates an extremely large opening for the ring to fall in. If you don't want to use a normal wallet (for whatever cracked up reasons you have), you could always just use a coin purse. If you keep it open in your back pocket, it would be an excellent target for the ring. I'm sure the bowing move has probably been done before, but it's an extremely versatile move. Not only can it be used for ditches, but for steals and switches as well. In fact I use it most often for deck switches. If you're worried about not getting any applause, tell a REALLY bad joke and take a bow for how bad it was. If you don’t know any really bad jokes, contact Andi Gladwin as he has loads to spare! [AG: I’m not sure why I let Tyler keep that in.]

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The Cheetah’s Handbook

Clean Sanchez Tyler Wilson Effect Two selections are lost in a very clean manner, only to be found exactly where they should be. You're thinking “Hmm, that doesn't sound very magical”. Well, read on! Setup This trick requires a trip to the magic shop to pick up two blank-faced cards. While you're there, pick up Phil Goldstein's Midori. It has nothing to do with this trick, I just really like it! On one of the blank-faced cards, use a Sharpie to write “To find your cards, don't”. On the other card, write “Look Here!” With both cards face down, place the “Look here!” card on top and place both of them in a convenient pocket until you're ready to perform. Make sure the cards are orientated the same way; schools these days don't teach our youth how to read upside down. You’ll also need a deck of cards. Method Bring out both blank-faced cards, leave them on the table face down, and say “We'll get to these cards a little later.” Ask a spectator on the left, we’ll call her Timber, to touch the back of any card as you spread through the deck. Try to have her select a card near the middle or lower half of the deck. Show the selection around and control it to the top, using one of the many ‘Convincing Controls’ available (i.e. a card is outjogged near the centre of the deck and it's believed to be the selection, but the selection is really on top of the deck.). I personally use Lee Asher's Losing Control to accomplish this, but whatever floats your goat. If the spectator chooses a card in the upper half you’ll have to make a small adjustment in a moment…

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The Cheetah’s Handbook

Immediately fan the deck and ask a spectator on the right, we’ll call her Honey, to take any card, except the one Timber chose (say this while pointing to the outjogged card).

Once Honey has removed a card, close the fan without disturbing the outjogged card. If the first spectator’s card is in the upper half, remove it and re-insert it in the lower half – this usually should not be necessary since it should be a simple matter to have the card selected from the lower half in the first place. Take Honey's card and insert it into the deck from the front about 15 to 20 cards from the top and leave it outjogged a little less than Timber's card so both cards can be seen at all times. Turn the left hand clockwise horizontally to show the audience that both cards are in different parts of the deck.

Turn the left hand back to its natural position and very slowly push Timber’s' card flush with the deck using the left index finger. Turn the left hand palm down to flash Honey's card before turning the hand back over. The insertion of Honey's selection should look identical to the previous card, but it will become injogged in the process. This happens by pushing in on the card from the front right edge with the left index finger.

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The Cheetah’s Handbook

When the card is almost flush with the deck, the left index finger pulls the card to the left which angle jogs it slightly. The left thumb is removed from the photograph for clarity The left thumb covers the protruding corner from view and at the same time pushes it down and to the right. This leaves Honey's card conveniently injogged, so the only thing left to do is bevel the deck towards yourself by pushing on the front of it with the left index finger. This hides the injogged condition from the front, while the left pinky hides the condition from the side, so the only angle which is vulnerable is directly from behind.

I know I just took an awful lot of words to describe the selection and control procedure, but if it's performed in a slow and deliberate manner, the spectators will have no choice but to honestly believe the cards are exactly where they appear to be (which will immensely increase the strength of the climax). We all know better though because the real condition of the deck reveals Timber's card sitting pretty on top of the deck while Honey's card is injogged roughly a third of the way down. “Finding your cards is so easy.” Point to the two blank-faced cards which have been on the table the whole time (remember them?). Because of the way it was said, the spectators will believe those two cards are their selections. Pick them up with the right hand and turn them over as a group bookwise on top of the deck. As soon as they see the writing on the cards, the spectators are a little surprised (especially since most have never seen writing on cards before).

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The Cheetah’s Handbook

Say, “These are the instructions for the trick, I never leave your mom's home without them,” And read aloud, “To find your cards, don't”. The top card will be pulled back off the deck to reveal the rest of the instructions, but the injogged card will be loaded underneath it at the same time. This happens by placing the right index and middle fingers on the top card near the rear. The right thumb contacts the underside of the injogged card and pulls up on it. The left pinky has been removed from the photograph for clarity. Because the right fingers are contacting the top card and the right thumb is contacting the injogged card, both cards will slide back in unison during the right hand's retreat. Again, the left pinky has been removed from the photograph.

The base of the left thumb and the left pinky act as rails to keep the two cards aligned from the side. You'll be pleasantly surprised by how well the two cards keep squared throughout the entire move, although all of the audience's attention will be focused on the next instruction card, so some minor spreading is nothing to worry about (I really want to put a joke here about a “minor spreading”, but believe it or not some people get offended by humour). Now that the incredibly detailed instructions for the trick have been revealed, “To find your cards, don't look here!”, place the double card back on top of the deck. Ask the spectators “Do you know why we shouldn't look there?” and wait for them to shake their heads. Pull the top card back mimicking the way you did it earlier during the loading sequence and toss it off to the side to reveal that the second instruction card has disappeared and say “Well, because there's nothing there.”

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The Cheetah’s Handbook

The two selections are in the first and third position in the deck, so all that's left to do is centralize them for the revelation. If you have a favourite Shift you like to use, now's the perfect time to use it (with the exception of the Turnover Pass, because the cards need to stay face down). If you would rather pass on the Pass, a simple cut will do just fine. Ribbon spread the deck to reveal a face up card in the centre. Now pull away all the cards except the ones one either side of the instruction card.

Say “In fact, the instructions state emphatically that you're supposed to look here!” as you spread the three cards to reveal the words “Look here!”

Ask Timber for the name of her selection and turn over the card in front of her to reveal it. Do the same thing with Honey. Call it a day. Notes If you would like to print on blank faced bicycle cards using your home printer (as seen in the photos), pick up a copy of Mark Allen's DVD Versatile Monte and Beyond. It contains everything you could ever want to know about printing cards from your computer. I don't know the history of writing messages or instructions on cards, but the routines which first got me exploring the concept are Chad Long's ‘Back & Forth’ from his notes Page 23 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

The Lost Cheesy Notebooks Vol. 1 and Joshua Jay's ‘Written Favorite’ from his book Magic Atlas. Lee Asher's Losing Control can be found in his notes Hand Jobs as well as the Losing Control CD-ROM. Things are a little sketchy when it comes to crediting the loading move used from the injogged position. I've seen it credited to Nate Leipzig, Irv Weiner, and John Brown Cook. Just to be safe, you should just credit me with the move.

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The Cheetah’s Handbook

Psychic Weetabix Rob James Effect You are in a supermarket with a friend. You have a card chosen then pick up a box of cereal and take it to one of the price checking scanner units located in the store. The barcode of the box is held to the scanner. It beeps and on the display appears the following: "Club - 8" – the selected card. Method You need to do a bit of research. Next time you are shopping take a few items up to the price check scanner and note what the display looks like. In the example above the item that actually produced the message was an eight pack of Club biscuits. I also found that refills for Diamond razor blades produced the message "Diamond b X 5" which should pass for a strange scanner code for the five of diamonds. You will need to experiment a bit as stock will vary from supermarket to supermarket. A good way of finding likely products is to go to the home shopping section of the supermarket chain's website and search for things like "club" or "heart" to find products with those words in the name. The trick isn't limited to just finding cards. It can be used for anything where the message displayed on the scanner is ambiguous in some way (see below for an idea). Let's say you are using the club biscuits. You will need to buy a packet, take them home and cut the barcode from the packaging. I suggest that you affix it to a bit of cardboard as otherwise it is likely to get crumpled up quite easily. When you get to the supermarket force the card that corresponds with your grocery item and pick up the box of cereal - of course any product is ok but a largish box has six sides, only one of which has a barcode on so it is easier to hide the following. You take the biscuit barcode and press it to a side of the cereal box. You are now able to apparently scan the barcode of the cereal box but actually scan the hidden biscuit barcode. As the message is displayed you send the hidden barcode south. For a non-card impromptu version you can have a small grocery item forced - a perfect method would be to make up a shopping list so that you are able to use it to carry out Spackman’s Clip Line force (see The Want Ad Test in Fulves’ Self-Working Mental Magic) and revealed by scanning the actual item that you have palmed while apparently scanning the cereal box. Page 25 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

Warning: Don’t leave the store with the item still palmed; we will not bail you out! My good friend and favourite funny man, Andi Gladwin has some additional ideas with this concept: You need to palm a barcode for men’s razors. You pick up some women’s razors and say, “Watch, I’ll make the razors temporarily turn into a transvestite.” You do that by scanning the razors with the palmed barcode over the real barcode. You then ditch the extra barcode and scan the real thing. It turns into the lady’s razors. Another idea from the Gladmiester: You get the barcode for a small bar of chocolate (say Dairy Milk). You go to the scanner with one of those massive bars of chocolate that are intended for large families, or large people. When you scan it, the price comes out at 35p instead of £2.50. This can be used either as an impromptu magician effect or as a cruel hoax on an unsuspecting friend; have him argue at the checkout that the litre bottle of whisky should actually cost just £2.00 for a while and see how long it takes the supermarket security to march him off the premises!

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The Cheetah’s Handbook

Safety Zone Andi Gladwin This effect introduces a simplistic plot, and a finesse of Marlo’s Combination Cull and Exchange that makes for a more convincing handling than Marlo’s original move. Effect The performer removes three kings and the ace of spades from the deck. The ace of spades is placed face up on the bottom of the face down kings. The cards are squared, then immediately spread: the ace has moved up from the bottom of the pack, to second from bottom. During a similar process, the ace then jumps slightly higher; to second from top. For the final jump, to get the ace to the top, the performer places the four cards onto a participant’s hands. With a small gesture from the magician, the face up ace rises to the top of the packet in the spectator’s hand. “Imagine for a second that these three Kings weren’t aces. Imagine they were other cards,” The performer asks, “What three cards would they be?” The participant says the other three aces. They turn over the three kings to show that they have changed to aces. Note All photographs in this explanation are taken of a left handed performer’s view. The explanations are from a right handed person’s view. That’s the best of both worlds, you lucky people. Method Before you perform this effect, casually spread through the deck and cut the ace of spades to somewhere near the top (say, five or six cards from the top/back). Spread through the face up deck and upjog any three kings and the ace of spades as you come to them. As you’re spreading through the deck, cull the other three aces, but do not square the cards, allowing you to keep the culled cards at the right side of the deck. Strip out the upjogged cards from the spread (the three aces remain at the right of the spread). Buckle the bottom card of the four - the Ace of spades - and place the packet Page 27 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

on the bottom of the spread, but slide the three kings between the culled aces and the deck. The ace of spades stays at the bottom of the spread. The photographs on the next page show an exposed and audience view of the move. Audience view

Exposed view

Close the spread and turn the deck face down, immediately pushing off the top four cards without reversing their order. You are now holding the four aces, with the ace of spades at the top. Table the deck as you don’t need it any more. Turn the top card face up and then execute a double lift, placing the two cards (face up ace of spades and face down ace) at the bottom of the packet. See the photograph to the left, to show the double (exposed view).

Spread the packet to show that the ace has now jumped to second from bottom.

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The Cheetah’s Handbook

Square the cards again and catch a break below the top two cards. Use the break to push the second from top card to the right for about half an inch. The photograph on the left shows what this would look like with the covering hand removed. Peel your left fingers around the secretly sidejogged card and pull down on the card, causing it to move to the bottom of the packet, in the same style as a Pass.

Again, the photograph on the left is an exposed view. Spread the cards again to show that the card has risen once more. Square the cards and catch a break below the face up ace of spades. Ask a participant to hold out their hand, and as they’re doing this, execute a Side Steal of the ace into Classic Palm. Drop the packet into their hand. The photograph shows a view from underneath the hand.

Wave both hands over the packet and drop the palmed card onto the top. The ace of spades will show on top of the packet. You can, however, do this in your own hands if you’d rather. Finally, ask the participant, “Imagine for a second that these three kings weren’t aces. Imagine they were other cards. What three cards would they be?” If they think about

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it, or start to say something other than aces, suggest, “Well, I guess they should be the other three aces.” Wave the ace of spades over the three face down cards and use it to flip them over.

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The Cheetah’s Handbook

Dancin’ with Dancy Luke Dancy Effect A very impressive-looking four-card production, which is extremely easy to execute. Setup On the top of the face down deck is an ace followed by two face-up aces. On the bottom of the deck is the fourth ace, face down. Method Introduce the deck and explain how when you want four of a kind, the usual way is to spread through the cards to locate them – however, magicians often use other approaches to this; for example, here’s a way of finding one ace… Perform a false cut (or two) and then flip the deck over to show the first ace. Casually spread a few cards beyond the ace as you explain how that’s one ace found but there are still three more. This time you’ll try to find them a little more impressively: Grip the deck in left hand dealing grip, left thumb on top. Throw the deck into the right hand, retaining the top and bottom cards. This is a very old ‘move’ which you probably already know and use – however, this time you perform the move with a little variation; as the deck leaves the left hand, flip it over; it enters the right hand turned over – and as soon as the right hand receives the deck, push the top card forward. At the same time, push the top card of the pair of aces that are in your left hand over also. The effect is to display the four of a kind in a nice formation. This whole process takes an instant – and if performed correctly, the other three aces just appear! What more could a magician ask for?! Credits The move used within the routine is a variant of Two Card Catch, from Expert Card Technique and is often associated with Hofzinser.

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The Cheetah’s Handbook

Two Ahead with the Deck Kostya Kimlat Effect This is a truly deceptive effect in which you blindly divine two cards: one physically and the other mentally selected. Setup All you need is one duplicate in the deck – we’ll use the king of hearts – and two willing spectators. Both king of hearts should be on top of the deck. Method Force one of the king of hearts on the first spectator. Have the king replaced and control it to the top, ensuring that both king of hearts end up on top. Ask the second spectator to merely think of a different card. Turn to the first spectator and say that since he physically picked a card, he has a much better chance of finding it than you do. Swing cut the top quarter of the deck into the left hand and replace the rest of the cards on top, retaining a break. Execute a ‘stop’ force, by cutting small packets of cards onto the table, asking him to say ‘stop.’ Time the cutting so the spectator stops you at the pinky break. Take the top card - a king – and place it face-down in front of the first spectator. Turn to the second spectator. Explain to her that at this point, not having yet claimed James Randi’s two million dollars, you are unable to actually read her thoughts. In fact, since she is just thinking of a card, you have no ‘method’ to find it, and might as well use blind luck. Execute a Benzais Slip Cut, shooting the top king off of the deck and onto the table, in front of the second spectator. Note: You can produce these two cards in any way you want, but the key is that you never look at either one of them. Now ask the second spectator what card she was thinking of. Let’s say she says: three of spades. Ask the first spectator for his card and he will say: king of hearts. Spread through the deck, keeping the faces toward you. Cull out the thought of three of spades and bring it to the bottom (of the face-up deck). As you execute the cull, bring your

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The Cheetah’s Handbook

hands down so that the spectators can see the faces and the culled card remains hidden below the spread. As you go through the deck, say: “Well, I’ve got good news…and better news. … I don’t see a king of hearts, and…nope, I don’t see a three either…so looks like we found them!” Turn the deck over in your left hand so that the three is on top. “Of course, we should check, since I’m a bit nervous…” With your right hand, pick up the card in front of the first spectator and slowly turn it over. The spectator will respond quite positively, as he had found it himself. The reactions from the spectators will give you enough cover to execute a top change, switching the king for the three. In your right hand you are now holding the three, face-down. Immediately turn towards the second spectator and ask her what card she thought of. “And you just thought of the three of …?” The spectator will remind you, shifting focus towards her for that second. As she answers, bring the three in your hand towards the king on the table in front of her and execute a Mexican Turnover. As soon as the turnover is done, drop the king face-up on the table in front of her. What a beautiful finish!

Notes The ‘blind luck’ approach to the revelations is not only entertaining but also saves you from trying to act. If you actually go through the deck face up and take out the two cards, then you are expected to react when the spectators name their cards. Furthermore, you have no reason to go through the deck to see if their cards are truly gone. When you don’t even know the cards that are on the table, then everything is justified! For an alternative handling, try this: after turning the first King face-up on the table, execute John Carney’s ‘Versa Switch’ on the tabled card as you turn it face down again, switching the King for the three during the offbeat. Now finish with the Mexican Turnover. Another alternate approach to the close of this effect is as follows: Assuming the spectator to your right has chosen a card and the spectator to the left, thought of a card, you can cull the thought-of card to the back of the deck, turn the deck back face down then perform a curry turnover of the card to the left as you turn over the card to Page 33 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

the right at the same time. This replaces the top-change and the Mexican turnover. However, this economy comes at a price; the pace of the revelations change, becoming snappier. The beauty of the top-change/Mexican turnover approach is that the revelations can be built up, performed slowly and one after the other. The curry handling has been explained here not so much for offering an alternate approach but to explain why the main method given is as it is! If you always work with a duplicate in the deck, I suggest making both cards cornershorts. This will allow easy access to both of them if you choose to have the deck shuffled by the spectators. I must thank my friends: Adam Rubin, for originally working with me on the inner monologue of the effect, and Adam Elbaum, for suggesting the wonderful ‘blind luck’ approach. The premise and method of the trick is directly based on an unpublished, non-card effect created in October, 2004, also called Two Ahead.

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Con-Fusion Jack Parker Effect Three cards are freely selected from the deck. From these cards, one is finally chosen and remembered. The cards are taken one at a time and flipped face down, the chosen card being taken last, and left face up on top. The deck is placed aside. The magician states that he needs to use the aces for the following effect, then snaps the cards in his hands, which are now shown to contain a face up ace! The ace is placed aside, face up. The cards are flicked again and another ace appears face up! This is repeated again to show a third ace face up in the group of cards. With three aces on the table, the magician gives a final snap. The three original selections fuse into the final ace which is shown freely. So where did the three cards go, and more importantly where is the selected card? The aces are cut into the deck face up, the deck is then spread to reveal the aces have captured the chosen card, face down between them. Setup Have the four aces on the bottom of the face down deck, the bottom three being face up. Slip an indifferent cover card face down on the very bottom. Method Casually Overhand Shuffle the cards, and slip off the cover card as you do so. However, ensure that you but keep the ace stack intact on the bottom. Spread the deck face down and ask the spectator to touch the back of three cards. As they touch each card, flip it face up and upjog out of the spread. Each card is successively outjogged a little more than the previous one so for the first card outjog it only enough so you can clearly see the index, then the next one further out and so on. Continue spreading for the all three choices to be made but obviously don’t go to the very end, as you’ll flash the face up aces.

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When you’ve had all selections made, you will end up with three outjogged face up cards from various points in the deck stepped out from the front so that the index of each is visible, as shown in the photograph on the left. Close the spread and catch a pinky break above the four aces on the bottom. To catch the break, either riffle up the back edge with your thumb and count four cards or use a pinky pull down. Ask the spectator to choose one of the three outjogged cards as their final selection. When they choose one, adjust your grip on the deck by taking it with the other hand at the inside corner while the hand underneath pulls down on the four aces with its pinky so that the fingers can be slipped in between. The hand that was holding the break now slides the ace packet forward, out jogging it, until its front edge is about ½ inch further in than the selected card. If the least outjogged card is selected, then the ace packet is only set out a small amount, but this gets progressively larger depending on which card is chosen. Now regrip the sides of the deck with this hand as your other hand lets go of its grip on the corner and points to the chosen card. This hand then retakes the deck from the sides in preparation for the strip out. With the hand that was beneath, reach around either side of the projecting cards and strip out the least outjogged of the two cards they didn’t choose, taking its corners with your thumb and middle finger tip ad pulling it away from the deck. As you strip it out allow it to paddlewheel over the end of the other cards, finishing face down in your hand. Use this same action with the un-selected other card so you have a packet of the two unselected cards in your hand in a standard dealing type grip.

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The selected card is still outjogged with the aces secretly outjogged at the bottom of the deck. As you go to strip out that last card (without flipping it over), add the two cards in your hand back onto the bottom of the deck. Move your hand along the deck towards the outjogged card with thumb on one side and fingers on the other. Strip out the face up card and the packet of aces in one movement. It should appear that you merely stripped out this card, but in fact you have secretly added the four aces below the card. The aces can protrude out the back of the card, as illustrated in the photograph.

Place the deck aside and state that you want to try something with the three cards that you’ve just removed. The top face up card is their selection. However, state that you will also need the four aces. Flip their selection face down on top of the packet (a face down card will show below the ace), snap the cards and use an Elmsley Count to show that a face up ace has appeared in your three face down cards. Upjog the ace as you count it and strip and drop it on top of the card case. Elmsley Count again to show a second face up ace has appeared, and again up jog as you count and strip out at the end, dropping face up on to the other ace. Make sure to drop it square so that you can’t see the ace beneath, this allows for a subtlety in a moment. Elmsley Count for one final time, to show a 3rd ace, upjog it and strip it out. This, time however, keep it in your other hand and use it to point to the two aces on the card case, pointing out that three aces in total have now jumped across from the deck. Name the ace in your hand, then use it to gesture to the ace on the top on the card case, as you name it too. While doing this, slide the top card of the two left in your other hand across a little so you can get a pinky break beneath it. Page 37 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

You can’t name the third ace because you can’t see its face so drop the one in your hand back face up on to the packet, freeing your hand up to move over the top ace of the two on the table so you can name the bottom one. Then go back to the in hands packet and pick of the ace and the card beneath it (above the break), and drop them as one onto the aces on the case case. While doing this you say that only leaves one ace (name it) that needs to jump across and join the selected cards in your hand. Keep your first finger across the front of the packet to help shield the lack of thickness. Snap the card to show that you only have one card, the four selections having fused into the final ace. Drop it face up on the group. So where did the three random cards go and more importantly where is there chosen card? Well, you said you needed the aces to help you with the effect, so pick them up in one hand and the deck in the other. Drop the deck in front of the spectator and ask them to cut it. Drop the aces packet face up onto the bottom half and tell them to replace the top section. Get them to pick the deck up and place it between their hands and give it a good shake. Finally either you or they ribbon spread the deck to show the four face up aces in the centre with a trapped card between them – this is the selection! If you like, you can Ascanio Spread the aces when you pick them up from the box. Notes The strip out switch used within this effect is a minor variation of one developed by Kostya Kimlat and B.J Bueno. It is called Streamlined Switch and was published in Kostya’s excellent lecture notes Card Work, Card Play. I pointed out to Kostya that the switch is very similar to Alex Elmsley’s Strip Out Addition featured in Pick of the Litter from The Complete Works Volume 1. The stepped outjogging and individual strip out action is identical but the actual switch is different.

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Cain & Cord Jack Parker Effect The magician proposes to make a coin vanish and appear under a selected card. He accomplishes this, but differently to how the audience expect. Then, he proceeds to make their card invisible and to undeniably prove it really happened. Setup You need a duplicate card, for instance the king of spades, and two matching coins (I use US half dollars). Take one king of spades and fold it around the coin, with its face on the inside, to form a neat parcel. Place this parcel into your trouser pocket. Also, ensure that the other king of spades is on top of the deck. Method Phase One It is important to state that you have not had a card selected yet. Table the cased deck and the half dollar and casually show your empty hands. After explaining that you will make the coin vanish and appear below their selected card, complete the actions of Paul Cummins Tarantula Vanish as follows: Hold the coin in the classic French Drop position and apparently carry out the French Drop with your other hand. In fact, this hand really does take the coin directly into a Classic Palm. As it moves away the other hand contorts suspiciously as though holding a coin. Crumble your fingers above the deck with the hand secretly classic palming coin then move this hand aside, casually keeping it open and the palmed coin hidden using the Kaps/Malini Subtlety. All attention will be focused on that suspicious looking other hand which you now show is really empty. Pick up the deck with this hand and hold it with its edge towards the spectator. “Doesn’t look much like there a coin in there does it?” As they focus on the deck, drop your other hand a little and let the palmed coin fall to fingertip rest. Pick up the card case with both hands (the hand with the palmed coin is on the end that opens) and secretly press the hidden coin against the underside of the case. Push the along towards the other hand, which holds the case on the end that doesn’t open. Page 39 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

The fingers of this hand then press up against the coin and take over the role of holding it under the case. Move your free hand away slightly after it has open the flap so it can be seen empty then let the deck slide out on to it. Basically both hands are seen empty and you have used the deck as cover for a hand to hand transfer of the coin. You’re now holding the deck in one hand and the empty case in the other with the coin pressed held underneath it. Hold the deck edgeways towards the spectator again and say, “Definitely no coin in there.” Table the empty case, using this misdirection to take the coin into casual finger palm. “I know why! I never got you to select a card, so the coin can’t appear under your selection. It must still be floating around in the ether. You best select a card quickly.” Bring your hands together and start a hand to hand spread with the deck. The coin in finger palm goes underneath (in the hand that the cards are being spread into) and rides along under the spread almost like a culled card. When the spectator touches the back of a card go through the mechanics of Edward Marlo’s Convincing Control as follows: Apparently lift up the selection and all the cards above it and hold these cards vertically (the selection is the bottom one of the spread). What you actually do is momentarily square so that the bottom card is a double. Lifts the spread and show them the face (the bottom card of the double). The hand holding this part spread looks very natural but is in fact also concealing a coin against the underside of the cards. As you bring the spread horizontal again pull the bottom card of the double under the spread (but above the coin) in the standard Convincing Control technique, outjog the decoy card as you put the halves back together. So you end up with the deck squared with a decoy card outjogged, directly above this is the coin with the actual selection above that. Pull out the outjogged card and lay it face down on the table and ask the participant to place their hand on the card. As they look at the card to do this place the deck aside. It’s worth not keeping the deck too neat as if it’s slightly unsquared this provided extra cover for the break created by the coin. It is also advisable to have the far end of the deck pointing towards your spectator, from the front any minor break is even less likely to be seen. As it is, you have strong misdirection away from the deck as they put their hand onto the supposed selection.

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“OK. The coin will now appear under your card. Here we go…” Snap your fingers and after a pause ask them if they felt anything. They will of course say no. Ask them it feels like there is anything under their card; anything coin shaped. Again they will say no. “Ah, well you see you wouldn’t be able to feel anything under your card would you. Because that’s not your card.” They turn the tabled card over to find that this is true, it’s an indifferent card. “But if you look at the deck that has been sat over there I think you’ll find that it looks very much like there is something in the centre of it.” Ask them to cut off all the cards above the coin and hold them above the table. Remind them that you said you would make the coin appear below their card and then have them look at the bottom card of the packet they are holding. Their selection was of course directly above the coin. Phase Two During the revelation at the end of the first phase, just as they are looking at the deck to cut it at the coin, casually stand back and put your hands in your pockets. Finger palm the coin with the card folded around it and bring your hands out. Once they have discovered their card on the bottom of the packet they hold, have them remove and table it and place the half deck they hold to the side. You then pick up the remaining half, tipping the coin off onto the table and place it on top but perpendicular to their half. This is the Criss-Cross Force. It needs a little time misdirection to be most effective, although since they don’t even know they are selecting a card at this point, they will pay no attention to the deck. “So these two cards seemed to have switched places some how. You know how that happened? Well, I can make cards invisible. Let me show you.” Place the two single cards back face down onto the top half of the deck which is still in Criss-Cross Force position. “We’ll take a random card, the one you just cut to in fact.” Pick up the top half of the deck and point to the top card of the lower half. Ask them to look at it and remember it. Then place the top half back on top, but make sure that its square this time. Ask them to place a hand over the deck to make sure you can’t get to it. “So you have looked at a card you randomly cut to which is in the middle of the deck somewhere. I am going to now make it invisible.” Snap your fingers again and Page 41 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

announce that it is now invisible. To prove it, ask them to see if they can cut to it. Tell them it should be fairly easy as invisible cards are very light and easy to find. They cut the deck at approximately the centre. “Aha! You got it on your first try!” Point to the top card of the bottom half and go to pick it up by the ends but in fact just mime picking up an invisible card which you are holding by the ends. Have them turn a hand palm up and drop the invisible card (!) onto it. “Now of course you correctly cut to your invisible card, but I still can’t see what it is. You know why that is?” Cue for my favourite cheesy gag. If they say because its invisible you say no, because its face down. Of course they are smart and say because it’s face down you say no, because it’s invisible. Either way, cheesy gag. Ask them if they can feel how amazingly light weight an invisible card is and then tell them since you suspect they don’t believe a word of this your going to prove it to them. Ask them to take the coin which is still lying on the table and to fold the card around it, being careful to keep the face of the card on the inside so you don’t see it. Tell them to do it carefully and they should end up with a small package of folded card with coin in the middle. They will of course just be holding a coin but its amazing how far people will go with miming this! Take the “parcel” from them and hold it in your empty hand (you’re still finger palming the card/coin packet in the other hand) at the fingertips in readiness for Dai Vernon’s Spellbound move. “The folding and bending of the card plus the extra weight of the coin means that with just a little rub I should be able to make it visible.” Complete the Spellbound move and then take the packet and place it on the table for them to open. As they do this classic palm the coin your secretly hold while the other hand picks up the deck. Case the deck and pocket it ditching the coin as well. Alternatively, if you have an older case with a bit of give, a neat ruse is to have the coin at fingertip rest then take the deck on top of it. Now shove the deck and the coin below back into the case together to finish with empty hands. The spectator will open the card and discover the coin inside, just as they should, and of course, the card is the very one they selected. It really was invisible you know!

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The Cheetah’s Handbook

Notes Marlo’s Convincing Control can be found in Hierophant March 1970 (No. 3, Spring 1970, pp. 133-135) Paul Cummins Tarantula Vanish appears in his FASDIU 1 notes within Paul’s explanation of his Top Billing effect. Is it an exaggerated version of Ed Marlo’s Spider Vanish from Coin Magic by Richard Kaufman. Dai Vernon’s Spellbound can be found in Stars of Magic by Louis Tannen.

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The Cheetah’s Handbook

Call Me. No Wait, I’ll Call You John Bodine Effect A spectator selects a card which is lost amongst the 51 other cards (no self-respecting card guy keeps the jokers in the deck) and therefore hopelessly lost. The magus, in his effort to find the card, repeatedly fails in all attempts to locate the selected card. Much to everyone's surprise, a cell phone interrupts the trick at hand. Pausing for only a moment to answer the phone, the magician realizes the call is actually for the spectator and hands over the phone. The beautiful lady gazes upon the phone only to realise the picture on the phone is actually her card! Amazement, applause, digits exchanged. The phone is retrieved as you explain that many phones these days are "camera phones" but has the lady heard about "printer phones"? That's right, you close the phone, press on the antenna, and out from between the two halves of the phone the card emerges, as if printed by the phone! More digits exchanged. Method This is actually quite an easy effect if you don't want to get all complicated by having the card signed. Begin by taking a nice CLEAR picture of any card in the deck with your camera phone. I have a Motorola V220 which is a flip model. A flip phone is essential for the second effect. Set the wallpaper of your phone to be the picture of the card. Now the hard part; force this card on an unsuspecting lady using your favorite method. Any force will work, it's not that important. Hand her the deck to lose the card back into the deck. From here you can jazz with the effect. I often don't take the deck back but instead have a friend call me while the lady is shuffling away. I pretend to answer, in actuality hanging up on the caller, and say something clever and witty like, "Oh, you want to talk to Timber?" (Don’t use that name, use the name of the lucky lady!). Hand her the phone while you retrieve the deck of cards. As she looks at the phone, cull the selected card to the bottom of the deck and palm it in your left hand with the face of the card facing you. Retrieve the phone after the amazement has dwindled just a bit and in the act of closing the phone into your left hand, load the selected card between the two halves of Page 44 Ы®½¸¿-»¼ ¾§ ¬º±®¬«²»à±³²·-°»½·¿´¬§ò½±³ º®±³ ¸¬¬°æññ©©©ò«²¼»®¹®±«²¼ó½±´´»½¬·ª»ò½±³

The Cheetah’s Handbook

the flip phone. Don't let the card sneak out the exposed side of the phone just yet, but hold the phone out at your finger tips with the card hidden in your palm. Babble about it being a printer phone, squeeze left hand which will drive the card out from between the two halves. Pull card out and turn over to great delight. Now's the right time to pull out the sharpie and get her phone number. Details I almost always force the same card, and I usually have the same friend call me. I've set his name in the phonebook to be the name of the card, for example, "Two of Hearts". This way you can hand the phone to the spectator before the effect begins and in the middle of the effect when the phone rings, have them answer but be sure your friend hangs up as soon as the spectator sees who is calling. They will see the name of the card was calling, and then they will see the picture of the card. You don't have to have a friend call, it's almost as equally effective to just pull out the phone or pick it up off the table and hand them the phone to look at, this is card to impossible location but it's a digital representation of the card. Take a picture of a couple of cards and after everyone is satisfied, switch images to a different card and repeat. People often ask you to do it again or for a friend, be prepared. Cell phones don't have great clarity and as a result you can forge a signature before you take the picture. If you are going to do this, draw a line where they should sign and draw a line on the forged picture. And now the real secret... glimpse cards. Any time you are doing a trick glimpse the cards they select. More often than you think, someone will take the card which is on your phone. Take advantage of those situations.

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The Cheetah’s Handbook

The Cheetahs demystified Biographies and facts on the troops The majority of the Cheetahs are established members of the well known TSD card gathering. They meet once a year to session, hang out and create card magic. Here is a brief rundown of the team and their greatest accomplishments. Jamie Badman You’ve heard of Jamie Badman before and you’ll hear about him again. He’s the driving force behind the popular magic websites, Magic Notes and Underground Collective, with fellow Cheetah, Colin Miller. Started magic after choosing to switch hobbies, retiring as English Champion in the card game ‘Magic the Gathering’. Badders fact: He once made a hotel receptionist cry after shouting for her to “F**k off,” when he thought it was Andi Gladwin returning a practical joke. Andi Gladwin Andi is the youngest of the gang. He is about to embark on a US lecture tour and was recently featured in a one man issue of MAGIC magazine’s Talk About Tricks column (called Everything’s Gladwin).

He also performed on one of Lance Burton’s TV

specials. Besides all that, he still has the worst jokes of the group and has the best Classic Pass by virtue of an overdeveloped left forearm. Gladders fact: His favourite chat up line is “I’m no Fred Flinstone, but I can sure make your bed rock.” Thinking about it, this explains the forearm! Colin ‘Heinz’ Miller Miller, Miller, Miller. He’s one of the busiest graphic designers in the UK, with a whole host of clients under his hat. His magic is different, strong and well respected: he cocreated Heirloom with Badders and continues to be a creative force in the UK magic scene. Miller fact: He designed the packaging for Stella Artois. Now don’t forget it. Mind you, it’s still hard to get him to actually buy a round of drinks!

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The Cheetah’s Handbook

Rob James He puts on a fake accent when he’s in the USA (proven by the overuse of the phrase ‘Jiggerwy Pokerwy’. Some women think he looks like Keanu Reeves. Others think he’s more like Jim Reeves. He’s a very successful professional magician and very smooth on the phone when dealing with hoax calls! His number is +44 72 3231233; ask for ‘Guy’. RJB fact: He once spent $50 on a cup of tea whilst in Las Vegas because he wanted to feel sophisticated. He only took one sip because the tea was disgusting. Kostya Kimlat If we hear the phrase, “Kostya has chops,” one more time, we’ll literally chop him up. Kostya’s career has exploded over the past few years and his lectures and booklets are always constant sell outs. He’s performed in just about every performance venue possible; from the Magic Castle to the Whitehouse. Oops sorry; that should read ‘Magic House to the White Castle’… Kimlat fact: He fooled Timber. This makes him a true rarity. By the way, did we mention that we like Timber? Wood is good! Tyler Wilson Hold onto his sister, the cowboy is here. Tyler is a recent addition to the troupe, but it feels like he’s been with us for years. His jokes are tragically bad, yet his magic is exceptionally good. He spends more time published in MAGIC magazine, than he does on the toilet. This guy is good. Tyler fact: As a child, Tyler believed that dolphins ate babies. Oh, and if you put his first name and last name together, you get Tyson – like the boxer. So watch your ears! Liam Montier Blimey, this nipper is good. Liam Montier is a creative force that you shouldn’t take lightly. He works for a well known magic shop in the UK, which allows him to perfect every routine you promised your wife you wouldn’t buy. His creations are slowly being published throughout various mediums. Check them out; they’ll kill you. Montz fact: He has sold more copies of his Henry Sugar booklet than Roald Dahl!

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The Cheetah’s Handbook

Jack ‘Black Art’ Parker The bald one. He is a clever chap, his work is respected all over the world and there’s a good reason for that. If you like offbeat magic, you’ll like the magic that the follically challenged one produces; it’s seriously good. Baldy fact: He once asked Chris Kenner for a sample of his lounge carpet. Seriously, we don’t make this stuff up. ‘Crazy’ John Bodine John Bodine was nicknamed Crazy John within the first few minutes that we got to know him. Just spend a few minutes hanging out with him and you’ll realise why. He has the largest collection of offbeat effects known to man and can perform them all perfectly. Especially the match and tongue one; that has a punchline you’ll never forget! Crazy J fact: John once spent an hour long taxi journey teaching the rules of cricket to the driver. There were about ten of us in that five-seater taxi at the time. Luke Dancy You know Dancy from his DVD, Magic for the Eyes. David Regal likes him, we like him and every lay person we’ve ever seen him perform for loves him. He’s taking everyone by storm and will fool you until you have a heart attack. Dancy fact: Luke once spent a week locked in a Limousine with someone called Man Girl Kristy. Rumour has it she swallowed the key. Was it the key to his heart? We may never know!

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The Cheetah’s Handbook

In Closing “Only a sweet and virtuous soul, Like seasoned timber, never gives" – George Herbert, (English metaphysical poet and clergyman, 1593-1633)

Well, that concludes this collection of effects – we all hope you found some great new material in here; or some food for thought at least! Until next time, we’d like to part with these words:

“For what we are about to receive… trust us… we are truly thankful” The Cheetahs

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Whispers from the Underground We trust you enjoyed this manuscript; we at the Underground Collective are proud to have been able to bring it to you. Rumour has it you can nd more effects and manuscripts at our website: http://www.underground-collective.com - you can visit there and browse. For the time being, take a look at a few of our offerings below. If you have a product you’d like us to consider for publication through our site, please contact us at ‘[email protected]’. Regards, The Underground Collective.

Other effects available from www.underground-collective.com The Underground Change

Heirloom Imagine an effect that resides snugly in your wallet. An effect that packs such a punch when you perform it that your spectators get goosebumps just thinking about it. Someting with such impact that people talk about for years to come. “Heirloom” is that effect - and it’s nally here!

The Underground Change has been creating a storm amongst card magicians around the world. It is a brand new, very versatile and practical card move invented by England’s Jamie Badman. Those who have been lucky enough to see it feel that it is something very special in a time where little is truly new any more.

Panagram

Sensory Projection

Imagine having a spectator just think of a word... imagine being able to be able to pluck the letters of that word out of thin air and slowly rebuild that thought in front of the spectator as though you had drawn it directly out of their mind! ‘Panagram’ makes this pipe-dream a reality; ‘Panagram’ truly is the last word!

The Mind-Reading ideal uses no props, no gimmicks, no devices. The spectator thinks a thought and the mind-reader tells them what it is. Traditionally this was thought to be a dream; an un-attainable goal. No longer. Now we have ‘Sensory Projection’...

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