Mr. Gadfly Journal for Card Magician Vol 1-2

THE ‘SLUG’ BY MARTIN NASH I’m going to explain this as I do it. The Infinity card and/or corner crimped card is on the bottom of the deck. I then casually shuffle nineteen cards to the bottom (the Infinity/crimped card is now twenty from the bottom). I spot the top card and shuffle it to thirteen from the top; this is my key for the first part of the “show.” Have spectator select a card, look at it, and have him replace in deck (here for the replacement cut to Infinity/crimped card is placed on deck, rest of deck dropped on top). Now give the deck some false shuffles and table the deck. Cut off a packet of cards, explaining about the “slug” making sure you cut between thirteen and sixteen cards. Soon as the packet is cut off the deck, do a one-handed face-up fan and spot your key card at the thirteenth position, so now you can count how many cards are in your hand. I.e. you see there are three cards above the “key” you know you have cut off sixteen. Tell spectator the number of cards, look at him/her, hand them the packet to count on table. While they are counting get a five card break on the bottom five with thumb, hold break, but place deck on table, and then slide the deck very slightly forward, but angling the bottom cards. Take cards from spectator and place on deck, mention how most poker games require five cards, lift deck and drop five cards on table, (this is the reason for the table jog) and finger fan on table. Square up cards on table and drop deck on top, but leave bottom cards jogged towards yourself, just be casual, pickup deck and get the break above the five cards. Now tell spectator how you have cut a known number from the top and from the bottom, but it is almost impossible to cut any number you want from the center. Ask him to give you a number “between, say one and twenty” Now for the reason for the five-card break at the bottom. If he says a number lower the fifteen, you already have five cards counted off, so if he says thirteen, just drop off two cards on top of the five in the hand. If he says a number more than fifteen, release break and thumb count off from bottom. Book-leaf the deck at the lower packet; toss down all cards below Infinity, and close book-leaf. Place deck to one side and let spectator count the cards face down onto the table to verify the number. Now state “not only did I cut the number of cards I wanted from the top, and from the bottom, but now the number you wanted from the center. But aside from having to cut that number from the center, I had to cut to exactly your card!” Turn tabled packet face up and show selected card.

MARTIN NASH Presents HIS FAREWELL LECTURE The average magician has heard of Martin Nash but knows very little about him other than he's a "card guy.” The average card guy knows that Martin is one of the top card men ever, with a trilogy of books that are considered "must reading.” Fewer know that he has made his living for several decades as a magician, entertaining "real" people.

Martin has performed dove magic (he's the inventor of the invisible harness), card and billiard ball manipulations, and grand illusion. In addition, he has performed all over the world as "The Charming Cheat.” Such is the stuff of legends. In his final lecture, Martin will be covering some of his favorite sleights such as the side steal, his knockout double lift, several false deals, the pull through shuffle, and his multiple shift. You will also learn several applications of his amazing "Infinity" work. If that were not enough, Martin will also cover practice techniques, misdirection, presentation construction (with the emphasis on character development), how to really work an audience, and much of the thinking behind his magic. You will get a chance to see Martin perform and explain several of his pet effects, including his award winning acts, "Jacks or Better" and "Ovation". Martin Nash is sincere in wanting you to walk away from his lecture with something you can use. To ensure this, he is presenting the lecture in a question/answer/workshop type format. He will go where you want to take him. Martin encourages you to bring any questions regarding his work, moves, or routines with you. Take advantage of this rare opportunity to see a living legend work. Spend some quality time with Martin Nash. "Thank you so much for the lecture. As I said, you did not get a standing ovation, but rather you earned a standing ovation. It was the first time I have ever seen our people rise so quickly, in perfect unison as though rehearsed (and, believe me, it really was spontaneous), applaud for so long, or rave so loudly about any lecture we have ever seen." – Greg Dietlein President, Vancouver Magic Circle.

CHEATER’S POKER BY JIM STEINMEYER A Lesson in Cheating the Hard Way! "Cheater's Poker" is an ace assembly routine originally created by Alan Wakeling, a challenging routine in which the cards reassembled while sealed in envelopes and held in the spectator's pockets! It’s always interesting to me to see how inspired, professional magicians—not card magicians—approach card tricks. Often the results are amazing. Guy Jarrett was known among New York magicians for his card miracles. Most of it was hardly fashionable today, based on his techniques with a stacked deck or a stripped deck. But his results were simple, astonishing and, you can see, tricks that were efficiently designed to create a reputation. That’s all he was interested in, and he achieved it. Several years ago, I had a chance to write The Magic of Alan Wakeling. Alan’s reputation, of course, was for club and stage magic, and his artistic, commercial routines were renowned by working professionals. But I was particularly surprised by

Alan’s elegant approach to close-up magic. I’ve seen his “no-palming” card to wallet performed, a masterpiece of simplicity, and know that Earl Nelson, a knuckle-buster’s knuckle-buster, has been closing his act with Alan’s routine of “Aces Front” for many years, because of the magical quality of the routine. “Aces Front” has since been featured by Lance Burton. Alan told me about a routine which he performed many years ago at a Los Magicos meeting in Los Angeles. It’s off the beaten track. I also thought that the effect, which Alan presented as a challenge Ace Assembly, lends itself to a fanciful gambling presentation. Hence: Cheater’s Poker. Here’s the effect. The magician takes out a deck and offers it to someone to be shuffled. “A number of years ago, I had a chance to talk to a card player. Not just a card player, a card cheat. Not just a card cheat, but a real artist at the bottom deal. He told me about meeting with three other card cheats, and how they arranged to play a game of poker. Of course, considering that each player was as crooked as they come, it was a pretty interesting game. He explained his techniques, and I thought you might like a demonstration of world-class chicanery—how a cheat cheats cheats.” Three spectators are invited up on stage and they sit around a table with the magician. The shuffled deck is brought to the table and the magician spreads it, removing the four aces. “First of all, the deck was checked to make sure that there were only four aces in it, and the aces were evenly distributed, to make sure that they didn’t end up in someone’s sleeve.” One ace is placed, facedown, in front of each player. “Then, three more cards were given to each player, so they had a four-card hand.” This is done, so each spectator has an ace and three other cards. Now the performer invites each spectator to pick up an envelope on the table and seal each packet in an envelope. “Each hand was actually sealed in an envelope, which prevented any sleight-of-hand.” “Now, I need each one of you to find a safe place for your envelope. An inside pocket or purse. Or, you can just sit on it.” Each spectator finds a place for the envelope. “You can’t shuffle cards if they’re sealed in envelopes. The cheaters agreed that, to make it fair, they would shuffle the hands.” At the magician’s direction, each person changes envelopes with the person across the table, then changes envelopes again, moving the envelopes around the table one place, clockwise. “This way, in case you did manage to cheat and get an especially good hand, someone else ends up with it.” The magician has each spectator place their envelopes back in their pockets so that he can’t reach them. “I’ve ended up with someone else’s hand, of course. But since it’s my hand, I have to do my very best and make the most of it. Since I’m surrounded by honest people, I must tell you that, as the most dishonest person here, I’ll be doing the cheating. Keep your eye on my hand.” He picks up a pen and signs his name across the envelope. Then he places the envelope in his pocket. “Remember that you each started with an ace and three other cards. If I manage to win this game, you might think I’m lucky. But I want to do better than lucky.” He directs one of the spectators to remove his envelope, open it and look at his hand. He

has four random cards. No ace. This is repeated with the second spectator. No ace. The third spectator. Just four cards. No ace. The magician opens his coat and leans over to a spectator. “I want you to reach into my pocket and pull out the envelope. You’ll notice that it’s still signed. Please check to see if it’s still sealed.” The spectator is instructed to tear open the envelope, and pulls out all four aces. You need two duplicate decks and eight envelopes. Before the show, four envelopes are sealed. Three have four random cards. One has four aces. Alan used one stooge. Actually, the stooge’s job was pretty simple. He was quickly instructed, before the show, to play along when asked. He was given two sealed envelopes to place in an inside coat pocket. Alan instructed him that, each time he was told to place an envelope inside his coat, he would slip it on the inside of the pocket, closest to his body, then draw out an envelope on the outside, away from his body. The stooge sits opposite the magician at the table. In this way, the stooge switched two envelopes (since, according to the routine, the envelopes are placed twice in the pockets). Similarly, the magician switches two envelopes. The first is done like the stooge’s. The second envelope, with the four aces, has been prepared with a duplicate signature and is in the breast pocket of the magician’s shirt. He slides the signed envelope into his inside coat pocket, then pulls the coat open, exposing the envelope in his shirt pocket, which the spectator removes for the climax. Notice that, by moving the envelopes as in the routine (switching across the table, then moving them clockwise one move), all four envelopes have an opportunity to be switched by the magician or the stooge. The magician’s signature is just a diversion. It seems to me that it gives the routine a bit of focus at the very end, and disarms the switch. The magician should slip the envelope in his pocket as he instructs everyone else to hide their envelopes. Small letter envelops work fine, but I found that slightly smaller, pay envelopes (just a comfortable size so the cards can slide in and out) are more convenient. You might think that the use of the stooge is elaborate or even underhanded. But his role is simple and disarming. For a special occasion, there’s no doubt that this spectacle provides the perfect mystery and is, in its own way, quite a lesson in “cheating.”

THE FLY PAPER BY COLUMNIST TRINI MONTES

the face of the left-hand spread. You will now perform the reverse. Keeping the righthand cards in their spread condition, square the left-hand cards with the right fingers. As you do this, get a left pinky break beneath the top two cards of the left-hand portion (the selection, at the face, and an X card.

In magic today, it is rather difficult to invent an original effect or plot. Most of them have been invented by great cardmen such as Dai Vernon, Brother John Hamman, Ross Bertram, and of course, “The Cardician” Ed Marlo, just to name a few.

Turn these two cards over as one and flush onto the left-hand portion. With the right fingers, perform a hit technique to add the face down X card under the right-hand spread (sidejogged to the left).

What we have, now days, are various methods and added kickers for effects already created. These cardmen have paved the way for us to learn from, and to create as well.

Move the right-hand cards, including the face down X card forward; simultaneously, duck your left thumb underneath the left-hand cards, and flip the entire portion face down as you place the X card into an outjogged position on top of the left-hand cards. This action conceals the reversed selection. Now, turn the right-hand palm down, and place these cards onto the left-hand cards, and align it with the left-hand portion. Square up the cards, and push in the supposed selection.

As Brother John Hamman once told me, “Dai Vernon, Ed Marlo, Charlie Miller, Fred Kapps, and myself; you stand on our shoulders. We have given you what we know. Learn from it, for there will come a day that other magicians will stand on your shoulders.” He was correct in saying that. If it were not for these great cardmen, we would not have the wealth of knowledge we have today. As we continue to devise various ways of accomplishing effects, we sometimes stumble upon new ideas, “original Ideas” of our own, with which we can create new effects, and new plots. With this thought in mind, I give you a Triumph effect below. Thanks go to Mr. Dai Vernon for giving us such a plot to grow with. There are many different handlings created by cardmen that accomplish the same effect. What I have provided for you is not only a new way of performing Triumph, but also a new way of secretly reversing a selection. The selection can either be reversed in the center or on the bottom of the deck. In our explanation, we will be reversing the card to the bottom of the deck. What differs in this reverse from any other reverse is that the selection is made face up. Although this seems a little odd, you have a reason for having a card selected face up. This is done through your presentation. EFFECT The spectator selects a card from a face up spread. The selection is then lost in the center of the deck by the magician. To make things a little more challenging, the magician separates the deck in half, and turns one of the halves face up. He proceeds to shuffle the deck, face up into face down, and then shows the mixture of the cards. He then waves his hand over the deck; this is the magic moment. The magician spreads the deck, and now all of the cards have magically turned face down, except for one card. The only card face up in the middle of the deck is the spectator’s selected card. METHOD There are no hard moves in this effect. The reversal of the selection is rather simple. Have a spectator shuffle the deck. Spread the deck face up between your hands and have the spectator point to a card. (Your reasoning for spreading the cards face up is to show the spectator that they shuffled the deck, and that they truly have a “free” choice). After they point to their selection, break the deck at this point, leaving the selection on

SITUATION CHECK You had a spectator point to a card from a face up deck. You have apparently turned the selection face down, and lost it in the center of the deck. What you really have done is switched the selection for an X card, and in the process of losing it in the center, you have reversed the selection. The selection is now reversed on the bottom of the face down deck. Now for the face up, face down shuffle. You will perform the Tenkai Optical Move to apparently turn half of the deck face up, and the other half is face down. To wit: holding the deck in left-hand dealing grip cut off about half of the deck with the right hand. As you do this, turn your right hand palm up and your left-hand palm down. Immediately place the left-hand cards on top, but stepped to the left of the right- hand portion (four half its length). You have two options here. You can either do a tabled riffle shuffle, or an in-the-hands Faro Shuffle. If you do the Faro, you can do the effect in the hands. I will explain both. TABLE METHOD Table both halves, and perform a riffle shuffle. Let the top card of the left-hand half fall last (This is the selection). Square up, and perform a straight cut. With the right hand, lift about 2/3 of the deck and show a face up card. Replace this half back on top, and then lift at the natural back to back break, but do not show the bottom card of the right hand portion. Here you are showing some cards face down. Now, replace the cards back on top, and lift about 1/3 off the top and again show some cards face up. Replace these cards back on top, and then lift again at the natural back to back break. This time, you can show the bottom card of the right hand portion, as you state that you have some cards back to back. The spectator will see two backs. Replace the right hand half back on top, and turn the deck face down. Wave you hand over the deck for the “magic” and then spread it to finish the effect. This is inspired by the Triumph display-righting move that Dai Vernon used. IN THE HANDS METHOD Holding both portions in the hands, perform an In Faro Shuffle. This does not have to be a perfect weave, but make sure that the card on top of the left-hand cards is shuffled on top of the right-hand portion. Square the cards, and then perform a Swing Cut to centralize the selection, but keep a left pinky break between the two halves.

With the right hand, lift at the break showing some cards face down. Do not show the bottom of the right-hand half. Replace the half back on top, but keep a left pinky break between them. Lift 1/3 of the deck (above the break) to show some cards face up. Replace these cards back on top, and lift all the cards above the break, and turn the right hand palm up to show cards back to back. You have basically done the same showing of the cards being mixed as in the tabled method. Even though you show the cards at the break twice, it flies by the spectator because you are showing two different conditions. One is that some cards are face down, and the other is that some cards are back to back. All you have to do now is turn the deck face down in the hands, wave your hand above it, and spread. Alternatively, have the spectator hold the cards after you show them the face up/face down mixture. Have them wave their hand over the deck, and then let them spread the cards. All of the cards have now turned face down except for one card, which is their selection.

ANOTHER SHIFTY BY MARK ASPIAZU EFFECT As in the original effect named “Shifty” by Chris Kenner, a chosen card visibly travels to the top of the deck. NOTE As you are performing this effect, your hands are moving up and down with each rise as in the other versions. METHOD Double turnover the top two cards. Turn them down again and thumb over the top card. Take this indifferent card and insert it into the deck as close to the bottom as possible. Figure 1 shows the starting position.

ENDNOTES Although this effect seems very simple to do, it is very strong with laymen. Use it for your own creations, and, as Jon Racherbaumer says, “Keep searching for the ‘Real Work’.”

You will now perform a pop out move explained in Racherbaumer’s book, “Card Finesse II” only the deck is held longitudinally. The right index finger reaches down and lifts half of the deck and squeezes the top half inward. The index finger tip is pushed down and pressure is released. What happens is that the card that the index finger is resting on will shoot out at an angle. At the same time, the left thumb squares the lowermost outjogged card with the deck. Figure 2 shows the situation just before the pop out. Notice how the left thumb is in readiness for squaring its card. Also notice how the right index finger is bearing down on the card below it.

A MOMENT WITH ROSINI BY COLUMNIST STEVE REYNOLDS “A bigger challenge is to train yourself not to step on the moment.” -Paul Harris The analysis of small points of obvious and rudimentary elements of performance has seemingly, and often annoyingly, been over stated in print. Considering that each performer has their own experiential view, and will find out for themselves what is and what is not effective for their audiences. Any practical insights will inevitably be uncovered and substantiated in performance—it is an exclusive collaboration between the performer and his audience. But I cannot help but share my findings and interpretations -- breaking the bond between my collaborators. Might as well. They’ll never find out. Unless, of course, their holding out on me.

This same sequence is repeated only the index finger must lift fewer cards to get the raising effect. Figure 3 shows the position just after the pop put and after the thumb has squared its card.

But, truly, these interpretations are purely one-sided; or are they? You can never be sure, or completely positive when dealing with laymen. Magicians claim to know the real secrets of magic; but the true secrets have elements that only laymen can understand. However, as I said, I cannot help but jot this down. Paul Rosini is said to have had a stylized manner in which to reveal a selected card. The intended purpose was to draw the diverse focus of each spectator in preparation for the climax; also, to provide a sufficient amount of suspense before the denouement. Briefly: with the selection face down on the table, its inner end is lifted until the card can be held vertically between the tip of the first finger and the top of the table. After asking the name of the card, and a momentary pause, the card was allowed to drop forward, face up onto the table. This pause, and pre-action pose offsets the tempo of the entire routine, bringing all the scattered thoughts and expectations together and to this one moment. Suspense, anticipation, release… This works. Or it can work. But if you believe in connection, then taking a dramatic stance, you risk the chance of falsifying the moment.

To finish, the index finger simply swivels out the top card as the thumb squares its card. Turn over the top card to show that the card is once again on top.

Tempo can be very illusive, because everyone is different. During a routine, and once you have set the momentum, the individual spectator takes over. Each has their inner tempo. So how can you positively evaluate and properly exploit them? You can’t, without sacrificing the impact that only they know. The only truthful alternative is to refrain from caging the moment. Allow them to cap the routine. The proper timing is only in their hands. The following is a presentational bit in regards to the revilement of a selected card.

Have a card selected, and control it to the top, and retain it there with a false shuffle.

Deal) as you supposedly deal the face-down Two onto the Three and the cards (three) above it. Briefly flash the face of the face card of the two that remain. It should appear very casual but be sure that the Two, which is the top card of the pair, does not show. Drop these two cards on the pile.

Perform a Double Turnover and name the card to show that the selection is not on top. Turn the double face down. Flash the bottom card, without naming the card, and place the deck face down into your left hand. Take the top card by its right side in a right-hand Pinch Grip. Place the deck off to the side as you tell the audience that the card is a contortionist.

5 Duplicate as exactly as possible the actions of Step 3 with the Ace and its card. The procedure is completely fair. It is worth note that there has been only one "false move" to this point. Everything you've otherwise done has been clean and precisely as you might if you were not preparing for an effect. The audience should, therefore, have a high degree of conviction that all is as it should be.

Prepare to snap the card as follows: Your left fingers grip the left side of the card in a Pinch Grip. The fingers of both hands bend their respective sides downward, bowing the card in a convex condition. Your right thumb presses downward on the back of the card. This pressure causes the right half of the card to retain a crimped condition. Note that any loosening, or shifting, of this grip will cause the center of the card to loudly snap. However, in this instance, the crimp is allowed to remain undisturbed.

6 Pick up the assembled nine card packet and square. Shake the packet or perform your favorite magical gesture. The order of the packet, from the top down, will be: Indifferent Card, Ace, Two, 5 Indifferent Cards, Three.

Call it Crackling Contortion!

NOTE The next phase, the revelation, may be handled in a number of ways. described here with the same Step numbers, as options A and B.

Two are

Point out the strange “contortion” of the card to the audience. Address the spectator who selected a card and have him use his first finger to apply upward pressure on the card’s left side edge. Counter this pressure by bearing down on the right side of the card with your left thumb.

STUD DEAL 7a Stud Second Deal the Ace and Two and Stud Bottom Deal the Three back to the table. or

This counter-active pressure will cause the card to snap. Pause for a moment to help build tension. Continue by slowly turning the card face up to display the change, and the selected card.

1 – 2 – 3 RISE BY WESLEY JAMES This routine was sparked by David Solomon's 1-2-3-4 routine on the Secret Sessions 3 video. While both effects are essentially the same in most respects, they differ in important ways in both procedure and method. I believe my treatment appears cleaner and fairer in exchange for a bit more technical challenge. I don't find effects of this type particularly well suited to use by themselves. They do, however, make an effective prelude for routines like full-deck Elevator or Marlo's Somersaulting A-2-3. In that capacity, this routine may see considerable use with me. Perhaps it can serve a similar purpose for others. 1 Openly go through the face up deck and drop the Ace, Two and Three of your favorite suit in a face-up row, from left to right, in front of you. 2 Turn the deck face down and, suiting action to word, state that you will place one card on the Ace, two cards on the Two and three cards on the Three. Place the deck aside. 3 Pick up the Three-packet. Flip the face up Three face down onto the top of the packet then deal it fairly to the table. Take the remaining three cards with your right hand, briefly flash the faces, then drop them, in a loose spread, face down onto the Three. 4 Duplicate the actions of Step 3 with the Two-packet but Bottom Deal (or Second

COVERED BOTTOM DEAL TURNOVER SWITCH 7b Count the top three cards over in a short spread, without reversing their order. In a continuing action, semi-square the left edge of the three-card spread against the packet and add the Three from the bottom, via Buckle-Out Bottom Deal, as you turn the four cards (as three) face up onto the packet, bookwise. Altman Trap the face up packet against the mound of flesh at the base of your thumb as it falls. Immediately convert this Greek break to a fourth finger break by applying slight pressure on the left front surface of the top of the four-card group. Count over the four cards as three, without reversing their order, in the same manner as when they were face down. NOTE How you proceed following Step 7 (either version) depends on what you intend to do next. Following Step 7a you are set to repeat the effect. Following Step 7b, you can separate the hands, carrying the Ace and the card secretly behind it to the left, while the Two and Three go to your right. Allow the left hand to turn palm down as the left thumb pushes the Ace face up onto the table. The left fingertips retain the rear, indifferent card. This is a sort of One-handed KM Move at the completion of this action, the Ace will be on the table and the indifferent card will be correctly oriented on top of the left hand packet. Simultaneous with the One-handed KM the right hand should carry the Two and Three to their respective positions on the table. You can then repeat the entire sequence. Alternately, the reversed card created by the Covered Bottom Deal Turnover Switch can be preserved for use in any follow-up routine where it may prove useful. ELEVATOR LEAD-IN My preferred pattern for performing this sequence is to use Method 7a the first time through. I will then repeat the sequence using Method 7b. At the completion of the

display of the face up A-2-3 with the extra face-up card hidden behind them, I turn the four cards, as three, face down and deal them to the table. This places me in an ideal situation for a three-card, full-deck Elevator routine. An Indifferent card occupies the supposed Ace position. The Ace occupies the Two position. The Two occupies the Three position. The top card of the remaining packet is the Three. I'll leave it to each individual to decide upon the details of the routine they wish to perform or see my routine, ELEVaceOR, from my 1990 book, Pasteboard Perpensions, for a suggested sequence that you can adapt. SOMERSAULTING A-2-3 LEAD-IN The segue to the Marlo's Somersaulting A-2-3 routine (New Tops, January 1969 or MINT - Volume 2) is not quite so automatic but is, nevertheless, quite straight forward. It is also, it may be argued, a cleaner way to begin this greatly under-performed routine than was originally presented. Form a fourth finger break below the top three face down cards of the packet. This is most easily accomplished before the A-2-3 are picked up, with the Ace on the face. You will need to form a second break with the right thumb between the face up cards and the top of the face down packet. Thus, the lower break will be below the upper three, face-down cards of the packet, the upper break will be below the face up A-2-3. Openly peel the face-up Ace into the left hand retaining all the other cards above the lower break in the right hand. The spectators should be aware that there are cards below the Ace when it is taken into the left hand but not how many. They should think you've drawn the Ace onto the top of the entire face-down packet. Bring the hands together simulating sliding the Ace below the Two and Three the right hand is believed to be holding. Actually you release all the cards below the lower break and peel the Two into the left hand. There should be no cards below the Two but the audience should not be aware of this. It helps the illusion to present a single edge on the left side of the right hand packet even though there should be two cards. If you jog the cards your right hand steals back under the Three to the right, only a single edge will be seen on the left side.

Three is face down, deposit it on top of the left hand packet and spread over the top three cards from the left hand packet in a short spread. Immediately take them with your right hand. It should appear that you've spread over the three cards you just turned over. NOTE This Under-Count Turnover Switch is a novel concept that I believe is original with me. I'm introducing it here for the first time. It is both subtle and bold and, I believe, it has many applications to other effects and situations. The audience should believe that the three cards in your right hand are the A-2-3. In fact, the situation is that the left hand packet, from the top down, consists of a face down indifferent card, a face up Ace, 3 face down indifferent cards, the face up Two. The right hand spread will contain, all face down: the Three and 2 Indifferent cards. The audience would reason that the Three is the bottom card of the spread while it is actually the top card. This situation must be corrected. Place the left hand packet on top of the balance of the deck, freeing your left hand. Perform a variation of the Victor E-Y-E Count on the three card packet as follows: Take the top card into your left hand on the count of "One." Exchange the two cards in your right hand for the single card in your left on the count of "Two." Take the final single card into the left hand on the count of "Three." This count is purely for displacement purposes. The packet will be in Three, Indifferent card, Indifferent card order. The Three occupies the top position as would be expected. Spread the three cards face down on the table, from left to right, so they don't overlap. Pick up the deck and cut about a third from the bottom to the top. You're set to begin Marlo's Somersaulting A-2-3. If you use the Fake Pick-up sequence from the original routine you should have set up a reversed card second from the bottom of the deck before the 1-2-3 Rise routine began. A Pull-Down Cut, maintaining at least the lower two cards in position when you cut the lower third of the deck to the top, will preserve your set up. You are ready to proceed with the Marlo routine. 1 - 2- 3 - 4 Rise will appear in issue three.

The audience is intended to believe that the Ace and Three remains in the right hand and that the left hand holds all the face-down cards with the Two on top so don't dawdle through this phase of the display, neither should you rush. This is a somewhat bold technique but it flies by unchallenged because the bold aspect of the technique is not at issue at the point when it is vulnerable. Bring the hands together one last time, simulating sliding the Two below what are believed to be the Ace and Three. In fact you release all the breaks except under the Three that continues to be held by the right hand but keep your hands close together and the cards in each hand squared. As the hands separate slightly, place your right first finger on the face (upper surface) of the right hand card (the Three) and allow the rear edge to slip under the thumb's grip. At the same time, your second, third and fourth fingers move downward and inward. This should turn the card face down, end for end, and trap it between your thumb above and fingers below. This action isn't difficult but it is a bit unusual. In any event, as you turn over this card, as though it were all three cards, move the left thumb to the left on the top of the left hand packet in preparation for a push off. As soon as the

SITUATIONAL MAGIC AN ARTICLE BY NATHAN W. KRANZO What is Situational Magic? Well I don’t think there is one simple answer. Here’s one. Magic that is meaningful due to its direct regard it has on the situation in which it is performed. In essence, magic that fits the moment. Here are a few variations that I’ve stumbled upon: The effect only plays because of the present situation and surroundings. The method of the effect is only possible due to the situation. Someone or something creates a situation, in which you capitalize on to achieve the effect. There are more subtle variations of this theme, but lets focus on these for now. A good friend of mine named Jack Koopmans relayed to me a great story regarding situational magic. He was at a very young age when he started magic, but was lucky enough to have a sick sense of strong magic. He was about eleven years old and standing in his back yard on a summer evening when his parents mentioned to their guests that young Jack had taken up magic. Curious, they asked Jack if he could perform a “trick.” Jack just happened to have a thumbtip in his pocket. He proceeded to pluck a leaf from a nearby tree, and mimed tossing it back at the tree, the leaf de-materializing at his fingertips. In their eyes, Jack had plucked a leaf off of the tree, and then made it sprout back up on a nearby limb. All thanks to a thumbtip, and the perfect effect for the situation. This is a perfect example of situational magic. But, as I mentioned before, I believe there are different versions of this. For instance, Jack’s effect was seemingly impromptu to the onlookers. Not only that, but it was also environmental in that he didn’t have to introduce something to conjure with. Jack simply used an object that was there, part of the natural surroundings. Another form of Situational Magic is magic that could only be performed in that situation. You could pull a leaf out of your pocket at a restaurant and vanish it, and it would still be a good trick, but it wouldn’t have the impact, or the logic. Once, while attending a party at a friend’s house (I wasn’t there to perform, just to hang out) I was asked by the host’s girlfriend if I could “show her a trick.” I was standing there casually drinking a beer, attired in shorts, and bare feet (it was in the summer). I was also holding the bottle cap from the beer bottle in my hand, which she was unaware of. I answered her saying, “hmmmm… I don’t know… I’m not really prepared to perform anything.” This was just a ruse used to let her guard down, while I stole a jumbo coin out of my pocket. I proceeded to reach over and produce the giant coin from behind her ear, she grinned. I brought my hands together (remember I’m still holding a beer in my left hand with a bottle cap Finger Palmed) there was a “clank” as I brought the coin in

contact with the bottle. The coin fell to the ground, or so it seemed. When she looked at the ground all she saw was the bottle cap. Her eyes had followed the motion of the falling object, which she thought was the giant coin. I was calmly standing there holding the bottle with my right hand, at the same time naturally hiding the coin in Tenkai palm of the same hand. I lifted up my feet to show that I wasn’t standing on the giant coin. Now for the visual climax, I stepped on the cap and kicked it up into my right hand where it visually changed into the giant coin. Well, needless to say, she was dumbfounded, which added brilliantly to her beer buzz. The coolest part of the routine was accomplished due to my situation. The first aspect being that I was barefoot, and lucky for me the bottle cap landed with the sharp ends up. This situation enabled me to step on the cap and “kick” upwards, while the bottle cap actually stuck to the bottom of my foot, and out of play. While my foot was stepping on the bottle cap I was smoothly transferring the bottle into my left hand, so I could produce the giant coin at my fingertips. That’s what happened, and how I did it. But more importantly, is the reason why I did it. I didn’t have to introduce anything into the situation. I performed the effect that I did because it allowed me to utilize items that were part of my person, and/or the environment. My beer bottle, bottle cap, me bare feet, etc. While I did produce the giant coin, which wasn’t part of the natural surroundings, it was used with objects that I just happened to be holding. Now that I think about it, it would have been much more natural to have reached out and produced a beer coaster, rather than a giant coin. But that’s neither here nor there. The routine wasn’t the purest form of Situational Magic. I say this because I didn’t have a real reason for what I did, other than the girl asking me to “show her a trick.” It does fit into the category though, because the modus relied on the situation. You might be thinking, “what’s the difference between Jazz Magic, and Situational Magic?” Well, there is a fine line. The routine that I did at the party was both. I didn’t know what I was going to do, until I did it. I had never done it before. But, if I’m ever in the same situation (and have been) I can perform the routine again. In essence, the first time I performed it I was Jazzing Situational Magic, but every time I perform it after that it will be elegantly planned Situational Magic. There are other forms and variations of Situational Magic, and I will touch on them at another time. For now, I hope this gets you thinking. I have just scratched the surface on this subject. I’d love to hear your thoughts.

SIDEWAYS STAB BY COLUMNIST JAMIE BADMAN EFFECT Two cards are selected, remembered and then returned to the deck. A third card is selected and a spectator pushes it anywhere into the deck. The two cards either side of the third card are removed and found to be the first two selections. SETUP No setup required. METHOD First have a card selected and remembered. Take the card back and push it into the center of the deck, executing Juan Tamariz’ ‘Perpendicular Control’ on the card. Briefly, you push the deck into the front of the deck and as you do so, you angle it to the left so that the near right corner protrudes from the near right side of the deck (as if beginning a Diagonal Palm Shift). Now in a squaring motion the left thumb runs down the left side of the deck, pulling with it the far left corner, right down to the near left corner. After this movement is complete, the selection should be at right angles to the other cards, poking out of the right hand side of the deck (covered by the right hand). Spread the cards for the second selection, the right fingers contacting the first selection and keeping it in place as the cards are spread to the left – effectively dragging the card out of position. When the second card is indicated, have it looked at and replaced and as you square the cards, the first selection is moved above the second selection. Keep a break between the two selections – and perform a pass. This will position the two selections to the top and bottom of the deck. Have a third card selected. This card can be shown – it is going to be used to find the other two cards. Call it ‘The Magnetic Card’ if you like! Have a spectator push the card, face down, anywhere into the deck, leaving it protruding by half of its length. Say how it’d be clearer if the card were face up – perform Bill Simon’s ‘Business Card Prophecy’ move: Spread the cards until you come to the protruding card. Take all cards above it into the right hand, turn the right hand face down and grasp the protruding card, clipping in beneath the held cards. Turn the right hand face up again – effectively turning the card face up too. Place the left hand cards on top. It appears that you have simply turned the selection over but in fact you have cut the cards around it. To finish, snap your fingers or whatever then spread the cards face down across the table. Carefully and fairly separate the cards either side of the face up card from the deck and turn them over to reveal the two selections.

EDITORIAL BY AARON SMITH First, I would like to welcome our 2500 readers. Want to be fussy? That makes Mr. Gadfly the third largest independent magazine for magicians! In the near future, we will be upgrading the size, print quality, and distribution. I expected more chatter on our web site forum – but was mistaken. Hardly a word since the magazine hit the shelf, even though thousands of people are reading the posts – no one is saying anything. Card magic is a great topic and very diverse, you would think that when a majority of card magicians are corralled together, they would have something to say. Congratulations to Doug Conn, who, with his wife Angela and two daughters Sydney, eleven, and Kaitlyn, eight, welcomed the birth of Emily. I have seen pictures of the new love, and she is a beautiful baby. Mr. Gadfly is currently producing a spin off journal for beginners, called, Gadfly JR. This magazine, issued four times a year, is scheduled for first publication near September. This magazine will need it’s own contributors, columnists, and reviewer. If you feel you are qualified, contact me. Gadfly JR will only be available in magic stores – there will not be subscriptions. Two friends of mine, Jerry Camaro and Ben Stone, past away recently. Jerry taught me his bottom deal in about five minutes, and though I learned it quickly, I forgot to practice it, but I will not forget him. He called me several times when I was sick to cheer me up. He and I shared a mutual love for Hamman, and often taught each other our variations and handlings. Ben Stone owned Mr. E’s Magic, in Springfield Missouri. He would send me tricks with no gimmicks and gimmicks without instructions. In fact, my first thumb tip – bought from him – was chrome; he had scraped all the paint off a tiny metal tip. Ben taught me about sleight of hand and what it meant to be a magician. He welcomed me into the backrooms of his shop, and taught me how to respect magic. I am trying to promote magic shops through our ads without contact information and by mentioning products that are distributed to magic shops. It seems that too many magicians have access to the manufacturer this day and age. Perhaps it was always this way – but if it continues, more magic shops will turn in. True, this may ‘weed’ out the good shops from the bad, but it will also destroy healthy competition. It is sometimes hard to support the shops when the temptation of purchasing direct is so strong. Those who open magic shops have put a lot of risk into your loyalty to help them grow. Merchants are not making a great deal of profit on the one or two items they sell each day. Our generation can be a role model to future magicians if we continue to support those who decide to take their family through these risks.

The ads in Mr. Gadfly, while not expensive, are proof of integrity, if you will. The manufacturers that choose to advertise here take the extra risk because of the lack of contact information. What this shows me, is that these people share the same goal – to promote magic shops and solidify continued healthy competition.

YOUR LETTERS GOODBYE FRIEND I remember whenever I first communicated with Mike. It has probably been over a year now, but it seems just like yesterday. I had posted a sleeving routine that I developed, on a newsgroup, and he thoughtfully responded telling me how creative of a routine it was. I had never really given the routine a name until now; I dedicate the routine by respectively naming it Mike's Money. He was such a generous person. I will never forget all of the stuff Mike did for me, whether it was just simply carrying on e-mail conversations, doing an interview for my site, sending me pictures and articles, or by sending me a free set of his miniature baseballs for my cups and balls routine... Mike was always friendly and really seemed to enjoy helping in anyway he could. If there's one thing I would regret not doing, was the fact that I didn't thank him enough for all of his generosity. Mike, you will be missed by many, and never forgotten. Goodbye friend! -Adam Allred CORRECTIONS In Brother John Hamman's effect, am I reading the following incorrectly, or should this direction be amended somewhat? “Now, even if you don’t care, no matter how close you stare, the black ace is over here, and the red Ace is over there.” The right card is flipped face up to show the ace of Clubs and the left card is turned face up to display the ace of Hearts.

PSEUDO SELECTIONS BY JOHN H. ZANDER EFFECT Two selections are made by two spectators and lost in the pack. The magician states that he will find one of the selections by cutting that pack, but is not sure which one. The pack is cut face down and the top card is found to be one of the selections. The selection is placed on the table, or spectator’s hand face down. The magician then states that he will cut the cards again, but this time, face up. The cards are cut, the spectator noticing the top card, says that it is NOT their card. The magician says “Oh, I didn’t say that would be your card... your card is here” Spreading through the deck, one card is seen to be face down. The spectator is asked to name their card, but when the card is turned over it is seen to be the first spectator’s card. The tabled card is then reveled and is seen to be the second selection. THE WORK Have two cards selected by two different spectators and control them to the top, either together or one at a time. Explain that you will attempt to cut to one of the selections. Any in the hands false cut will work here as long as the selections remain on top of the deck. Perform a double lift to reveal one of the selections. Turn the card (cards) back over, face down on the pack but keep a break and perform a KM Move placing the unseen selection face down onto the table, or onto the spectator’s hand.

Seems to need either a spectator reference, or a magician's point of view reference. -Randy Campbell FROM THE EDITOR: I read the effect over and over to try to see a discrepancy. The effect, patter, and method should read exactly as it appears above.

The deck is now face up in your hand. Cut the cards, stating that you will cut to the other selection with the cards face up, which places the face down selection in the middle of pack. Wait for the spectator to tell you that the top card is not their selection. Then spread the deck to show one card face down. Outjog the card and ask the spectator to name their selection, turn the card over revealing it to be the first selection saying, “I thought that was your (pointing to the first spectator) card?

Read the online first issue, liked it very much. Just a correction. Jason England’s reference to The Mind Mirror is Jack McMillen's concept not Jack Merlin. -Barry Mink

Then your card (pointing to the second spectator) must be......... turn over the tabled selection.

NICE TOUCH I thought the interview with Fearson was a nice touch. -Jeffery S. This Interactive section is really a great idea. This truly gives support to the magazine itself. Good work Aaron! –Pierre The first issue of Mr. Gadfly is excellent! Thanks Aaron. Hamman’s effect is incredible. Brother John's methods of psychological warfare are something to behold. I hope Aaron releases more of Brother John's unpublished material. I'm looking forward to this new publication and message board. -Vernon Almond

CONTINUING A CLASSIC BY COLUMNIST AARON SHIELDS This effect is continued from Issue one. Given the previous guidelines, I submit my current handling. I admit, this handling is nothing new in the way of Triumph routines; rather it is just an example of the finished product of a line of thinking. “Just say stop as I drop the cards.” Dribble the cards from hand to hand to have a card selected. I believe that dribbling the cards to have a card selected is the most casual and insignificant looking way, possibly because the dribble results in an undefined shape. The purpose of wanting a casual selection method is to place as little emphasis on the selection as possible so that the performance can focus on the main effect, that of cards righting themselves. Also notice that instead of saying dribble I use the word drop. This is primarily a result of the fact that the word dribble does not mean much, if anything, to laypeople, excluding the context of sporting events. “People tend to perform certain actions in a routine manner. When we shake hands, we don’t think too much about it. We’re very used to doing it.” On the word “actions” start to triple cut the deck to the table, bringing the selection to the top. Notice that the patter changes from the very general “people” to the more specific “we.” This shift from general to more specific also occurs in the two actions described, handshaking and card shuffling (see the next paragraph). “Routine actions can be specific to certain types of people. Card players really don’t think too much about the way they shuffle, unless of course they’re cheating. People who play casually might shuffle like this. If you watch people play bridge they usually weave the cards together. In casinos, in order to make sure no cards flash and that the cards are thoroughly mixed, they always shuffle on the table.” While talking about the first shuffle, perform an overhand shuffle, in-jogging the first card. During the second shuffle, perform a Faro shuffle, cutting at the in-jog to bring the selected card to the top. Finally, execute a tabled riffle shuffle. I believe the wording in this section is important. If you do not believe that every detail counts, then you can skip to the next paragraph. Only during the first shuffle do you make a direct connection between the action you are performing and what you are describing. This connection is achieved through the word “this.” This primarily serves to let the audience be fully aware that what you are saying correlates to what you are doing. In the last shuffle, especially, by not saying “this” and by stating that a tabled shuffle mixes the cards well, you are indirectly telling the audience that what you are doing is really mixing the cards without focusing too much attention on the procedure.

“When we perform routine actions, we often don’t think and mistakes occur. Continuing with the premise of shuffling, someone might accidentally shuffle cards face-up and face-down. Believe me, this has happened to me be several times, and the spectators weren’t even drunk. It was just the result of not focusing. Now, we’ve got a bit of a mess…Cards face-up, face-down, and every which way but loose.” Undercut the bottom half of the deck to the left and turn it face-up. Slightly spread both halves to emphasize the face-up and face-down nature of the halves. Shuffle the halves together as follows: Drop a block on the right, shuffle normally, finally dropping a single card on the right, making sure it is separated from the other face-down cards by a few face-up cards. In general, I would suggest using a strip-out with a block transfer such as the one described by Darwin Ortiz on page 68 of Darwin Ortiz At The Card Table. In this case, due to a display I use, I believe it is the best option to use the handling from the original. Push the halves together so that they angle into each other. In other words, after riffle shuffling the corners together, do not align the packets with their edges parallel; rather leave only the corners riffled together. Push the hands towards each other and slightly forward, causing the packets to form a X. Spread the deck on the table emphasizing the mixed condition. The purpose of this display rather than the usual elongated spread display is that I believe it is more effective to display the cards mixed at a point when they are closest to being square as possible. Close up the spread retaining the X condition. With the second fingers of each hand, push on the corners of the X farthest away from you, causing the long edges to run parallel and a small portion of the short edges to still visibly protrude. The outward motivation is that you’re trying to square the deck but did not get it all. Execute the “Vernon Block Transfer,” moving everything under the top facedown card to the right, hidden by the right hand. Tapping the left edge of the elongated deck with the left hand while the right index finger applies light pressure to the top card causes this. The reason that I use the Vernon procedure here is that you’re just casually finishing the squaring action you already almost completed, rather than performing it as part of the overall squaring action as you would if the display was absent. As you say “mess” strip out the right-jogged portion, imitating the motion of an up the ladder cut, which you will perform shortly and slap it on top, punctuating the word mess. Retain a break between the halves as you slap the cards down. Undercut half the cards below the thumb break to the top saying “face-up,” also mimicking the motions. Undercut the rest of the cards below the break, and place them side-jogged to the right slightly as you say “face-down.” As you say “every which way but loose” execute the action of the up the ladder cut. That is undercut the bottom section of the sidejogged portion and slap it on top, square with the deck. Remove the rest of the rightjogged cards and slap them square on top. The adaptation of the up-the ladder sequence to display a mix of face-down and faceup cards was originally published by Martin Nash on page 81 of Ever So Slightly by Stephen Minch. Paul Cummins later independently devised and published the display seven years later, not knowing of Nash’s previous publication, on page 684 of

Apocalypse, Vol. 5, No. 9 by Harry Lorayne. The deck should now read: face-down selection, face-up block, and face-down block. Continue by cutting at the natural break with the right hand and turning the right hand palm-up showing a back. The left hand picks up the tabled packet and turns palm up, as the right hand turns palm down and replaces its half on the table. Follow up, without pausing, by taking the half in the palm-up left hand and dropping it face-up on top of the tabled deck. While I have not positively been able to determine the origination of the above procedure, I first came across it on pages 15 and 16 of Exclusive Card Secrets by Frank Garcia. I use this method due to the fact that it leaves the deck face-up with the selection face-down, which is the way I spread at the end. This procedure saves the movement of turning the deck face-up that would occur if the conventional method of righting the deck were used. “Now if I were to go through this deck and separate the deck into face-down and faceup cards and then reassemble the deck, it would take about how long?" The above lines are said as you gesture toward the deck on the table and wait for a response. “Exactly…but I paid attention. So, I know where each and every face-down card is so I can just go down rip out the face-down cards flip them over and push them in before I finish this sentence...” The above patter is said fairly rapidly as you motion ripping cards out of the deck and shoving them back in, finishing just before you end your sentence. “Making the cards look something like this…Oh I missed a card…or perhaps I was paying more attention than you thought.” This should be played not to make it look like you messed up and end up triumphant, but rather that you knew what was happening all along and are just harmlessly toying with the spectators. Remember to slowly turn the card over, first towards yourself and then towards the audience, in order to ensure maximum impact. FINAL NOTES The purpose of this piece was an answer to a long-standing dislike of mine. This dislike being the fact that many versions of a plot appear in magic publications, many not different from what is already released. In many versions, it is not apparent why the creator likes this version other than perhaps he wanted to be able to put material in print. As a result, when an effect is not immediately apparent as any form of advancement, I suggest the author make it clear why the effect is so. If there is no reason and the effect has nothing new to offer, it is probably best that the creator take the more valiant path and choose not to publish the effect. I originally planned to include this article in an in-progress book I am working on with fellow magician and columnist Steve Reynolds. At the moment, I do not see it fitting well into the book, being that I already have another original effect/method which develops the process of reasoning throughout the development of several methods for an effect, each improving upon the previous one according to my line of reasoning. As a result, I decided to submit it for publication in this magazine.

RED & BLEW BY ROB JAMES EFFECT A civilian is asked to touch the face of any playing card that they desire. This card is found to be the only card with a red back in the blue backed deck. Immediately, this situation is reversed and the back of every card becomes red with the exception of the now blue backed selection. This routine can be performed surrounded, without a table and instantly resets. Consider this for a moment: The magician removes a deck of cards from the case and begins to Hindu shuffle them. If he is performing to an audience of his peers, then each and every one of them know that there is something awry. A second situation might be the magician who riffle shuffles the deck throughout his performance and then begins to use the Hindu shuffle. A moderately attentive audience will note this difference, if only on a subconscious level, and suspect trickery. Unless one is going to use a Hindu shuffle as one’s ‘shuffle of choice’ throughout the entire duration of a performance, it should not be used at all. Thus, I would suggest that you do not deploy one when performing this routine: instead, routine the effect into your performance so that you can switch the deck of cards that you have been working with for the deck of cards set up to perform this effect. Now, you are able to rely on subtlety rather than extraneous ‘proving’ techniques and be safe in the knowledge that the audience has no reason to believe that the deck of cards that you hold in your hands now is not the one that you were holding five minutes ago. SETUP A red deck of cards - on the top is a red/blue double-backed card with the blue back showing. Remove the cards from the box and turn them face up. Begin to slowly spread through the cards one at a time. Ask your civilian of choice to touch the face of any card. Emphasize the fair nature of their choice as they are being allowed to see the face of the card before they take it. Remove the chosen card and place it on the outstretched hand of your helper. Square the deck in your left hand and turn it over so that the blue backed double-backer is showing at the top of deck. If you are feeling particularly inclined, you may wish to ask the spectator to concentrate on the card and ‘imagine it physically changing.’ Either way, ask them to slowly turn their card over: this is the first time that a red backed card has been seen since you have began your performance and thus will get a strong reaction. Direct all attention to the fact that the selected card has changed rather than the deck has remained the same. The audience will probably assume that the effect has finished, so the next couple of actions should be done fairly swiftly. Turn the deck over so that it is face up once again. Cut the cards and complete the cut thus sending the double-backed card to the center of the deck. ‘Try this...” Place the selected card face up on to the bottom of the deck. In reality, you are placing it on to the top of the deck. Slowly, turn over the deck and show the red back that is on top. This is the back of the selected card, but this doesn't matter. Spread through about ten-fifteen cards showing that they all have red backs. Block past the center of the deck -about twenty cards or so- therefore hiding the blue back that would otherwise be revealed. Show the backs of the bottom cards

and then turn your hands a little so that the audience can see that the cards aren't simply red on one side and blue on the other. That was climax number two. For climax number three, immediately spread to the center of the deck, revealing the blue backed card. Remove this card from the deck and place it face down on the top. The audience knows what is going to happen at this point. Ask what the chosen card was as you secure a break under the top two cards. Perform a double lift to show that the blue backed card is in fact their chosen card. You are done. Turn the double face down, replace the cards in the box and you are reset. If you wish to end clean, leave the double face up on top of the deck and then deal the selected card on to the hand of an audience member. The red side of the double-backed card will be showing now. Remark that the card started off with a blue back (a fib, but don’t feel bad), then changed to red (another fib), and then to blue (and another). Allow your spectator to turn over their card to reveal the red back using this misdirection to either palm the double-backer and dispose of it in your pocket or simply thumb it into your left hand jacket pocket. Drop the deck on the table - you are clean. You don't have to get rid of the double-backer at this point, of course. You can leave it where it is and perform another effect, disposing of the double-backer at your leisure. If you finish this way, you will find that audiences will happily embellish what happened in their own minds; they will remember that they held their selected card when it was both red and blue backed. NOTES This effect is loosely based on Harry Lorayne’s Colour Changing Deck routine that can be found in ‘The Magic Book.’ The question that I am inevitably asked whenever I perform this effect is, ‘Can you change them back to blue?’ For this reason, when I have some spare pocket space, I carry around a green-backed deck of Bicycle cards in my right jacket pocket, which I immediately switch the red cards for at the end of the effect before I am asked this question. You can fill in the rest.

UNDER EXAMINATION, PRODUCT REVIEWS BY AARON SMITH David Solomon’s Four Flusher Written by David Regal. Photos and Cover by Akemi Yoshida. Produced by Meir Yedid. P.O Box 2566, Fair Lawn, NJ 07410. PLOT A poker hand changes from a poor hand to four Aces and then to a Royal Flush. PRESENTATION A straightforward script is provided throughout the routine. The routine opens with “Ever wonder where the expression “Four Flusher’ came from? Well I am going to tell you anyhow. “Four Flusher” comes from the poker table. It was coined to describe low-class cheaters who try to pawn off four clubs and a spade, for example, as a flush. Some of ‘em got away with it, too, but most were shot. The better cheaters actually switched cards out to make a better hand for themselves.” INSTRUCTIONS The instructions are an 8.5’ 11’ glossy page folded in half, like most of Meir Yedid’s productions. Four Flusher includes 18 photographs, concise (though detailed) explanations, and an “Extra for Experts” section that includes tips and variations. PRACTICALITY These gaffs are printed (by USPC co.) very well, which is unusual for these types of printing. I believe that Meir was conscious of this and was determined to make a better version. Because of his insight, the finished product works very well. VENUE This can be both a horizontal and vertical plane card trick – thus the places to perform Four Flusher are numerous. ORIGINALITY The plot has been around for some time, but this method simplifies it and makes it easy to repeat. SKILL LEVEL The method is very easy. RETAIL APPEAL If your magic shop does not have the Meir Yedid line of products, it is missing something – beautiful packaging, great instructions, and an eye for detail. This package looks like all his others, however, I particularly like the cover illustration, of the cards in a desert, by Akemi Yoshida. QUALITY Four Flusher is printed on a glossy page for easy reading and crisp pictures. The cards, I cannot stress enough, are excellent. Even if you know how this works – try to get the cards and see what a quality gaff looks like.

Joe Silkie’s Silky Smooth Prediction Produced by Meir Yedid. P.O Box 2566, Fair Lawn, NJ 07410. PLOT The result of the spectator dealing two piles of cards matches a prediction card previously laid on the table. The ‘silky smooth’ part of all of this – is that the cards are chosen in what appears to be a completely fair method. PRESENTATION This is purely a ‘guts’ script – no vocal presentation is enclosed. INSTRUCTIONS The lack of patter is made up in the detailed systematic description of the effect. PRACTICALITY The method is an easy one without a lot of room for error. VENUE The effect requires a surface and would not be advisable for stage, but parlor and walk around are ideal. ORIGINALITY This is not an original plot, nor is the method original, however, the construction of the routine is. The beauty of this effect is it’s concise method with extreme fairness. SKILL LEVEL A beginner can do it and a full time magician can use it. RETAIL APPEAL My previous statement regarding Meir Yedid stands true on this product as well. Your customers will spot your ‘Yedid’ section very quickly. QUALITY Could not ask for more, your choice of Silky-Slick-Printed gimmicks in every package! ADDITIONAL COMMENTS These gaffs come in handy. I use the exact same thing for several other effects – so this routine could easily fit in my repertoire. Acme Portable Hole By John Michael Talbot. Distributed by Magic City - Paramount, CA. PLOT The card a spectator is only thinking of is shown to have a hole in it that was previously thrown into the deck. Read my additional comments regarding the second plot. PRESENTATION A separate part of the instructions is dedicated to the patter, which includes the story about Wile E. Coyote and the Road Runner.

INSTRUCTIONS The illustrations and instructions, while an obvious Xerox copy, have a fun layout and are complete. You won’t put these down thinking that something was missing. PRACTICALITY The method works very well. I was indeed surprised with how much room you have to move around inside the method, so to speak. There are options and variety that are not inherently obvious. VENUE The hole that is in the card is about the size of a quarter, so it is visible from some distance. Stage probably isn’t the best, but with this two-second reset Acme Portable Hole is ideal for most venues. ORIGINALITY There are technically two plots included with this effect, both are original – and the story is something people can relate with, regardless of age. SKILL LEVEL This could be your first trick. I do not want to discourage full time magicians, however. I think this is an excellent opener. RETAIL APPEAL Color front, big read letters that say “-ACME-” and a funny-looking cartoon hand. IT definitely stands out. A yellow box at the lower right corner has a quote by David Acer that says, “Totally amazing! We are fortunate that John tinkers with our minds purely for non-evil purposes.” The back of the package has a picture of a mustache and hat clad man with a magnet in a rocket style car. QUALITY The package contains a deck, a marker, and the fun instructions. The included gimmick is very well constructed and, without giving too much away, the coating must have been discovered through trial and error – as this finished product works very well. ADDITIONAL COMMENTS The second plot is guised as a “Bonus Mentalist Routine.” A funny gag-trick can be done with the same gimmick. The effect seems trivial at first – however, it is a very good idea. In construct, the spectator is asked to think of a card, and in their mind remember the whole card. Later, the selection is found to be the ‘hole’ card, a nice twist.

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OUT-STRIP BY J.K. HARTMAN The following is a packet switch on the order of Strip-out Addition, except that maximum separation is maintained between packet and deck. I.e., it appears that the performer transfers the designated cards directly to the table or to the spectator instead of placing them on the deck and dealing them off.

In fact, you release the lowermost block and drag off nothing, the left thumb sweeping across the deck as the hands separate but not drawing off the top card. At the same time, apply minimal downward pressure with the right hand to create the appropriate slipping, swishing sound. The released block lands slightly forward of, but with sides aligned with, the outjogs below it, as if it were the fourth card. Its thickness, if in any way visible, blends in sufficiently with the other outjogged cards to obscure it, although it is really not discernible in its brief exposure.

The procedure, in fact, outwardly seems more impeccable than that of a Strip-out Addition, and does not involve even the slightest deviation from the legitimate action it replicates. It is only applicable, however, if you are removing and switching face-down cards. As a practical matter, accordingly, indifferent cards can be switched for Aces, but Aces can’t be switched for indifferent cards.

As soon as this fourth deal is complete, return with the right hand, and set the deck directly onto and squared with the left-hand section-proper, the natural overhang of the thumb contacting its inner end. At that precise instant, engage the outer ends of the three lower outjogged cards and push them flush into the deck, the right thumb in perfect position to block a plunger action.

The exact outward effect is as follows. The performer holds the deck with the right hand from above, and begins drawing off cards into the left hand. The spectator says ‘stop’ when he wishes, at which point the next card is drawn off in an outjogged position. The performer resumes dealing in this manner, and a second card is decided on and outjogged. The process is repeated two more times. The performer replaces the deck proper on top of all, leaving the selections outjogged. He then pivotstrips them free and immediately hands them to the spectator or spreads them on the table. They are the force cards.

From the spectator’s perspective, the scene is as it should be – the selections protruding from the deck. Pause for a second, then contact the left side of the protruding block with the inside of the right hand, and pivot it rightward, end for end and free, the left second finger at the right side of the deck the pivot point. Spread the packet on the table or hand it to the spectator as is required.

The sleight is quite easy to perform. One aspect may appear dubious. It isn’t – it is a total deception. The only preparation is to have the force cards on the bottom of the deck – say, the four Aces – with a break above them. Take the deck with the right hand from above, the thumb assuming the break. As is natural, a small portion of the thumb overhangs the bottom of the deck. A reverse bevel of the deck (by pressing leftward with the left fingers, curled around the right side) will provide a bit more cover for the break from a vantage point to your left. Explain that the spectator is to select four cards. Saying that you would like him to stop you at four different points as you deal, begin to draw cards off the deck with the left thumb. In doing so, receive them deeper in the left hand than normal, their outer ends more or less aligned with the left forefinger (As you work through the description, the requirements will be clear to you, and you can adjust the positioning to suit your own hand size). When the spectator says ‘stop,’ say, “O.K., you stopped me on this card.” At the same time drag off the card next on top of the deck, outjogging it for a third of its length (a bit less than half its length). Resume dealing, and similarly outjog a second, then a third card. When he says ‘stop’ the fourth time, the necessary maneuver takes place. As before, carry the deck proper over the left-hand cards into the left thumb crotch, the left thumb across the deck in “dragging” position. In this case, however, the deck is somewhat more forward, so that if you dragged off the next card, it would be outjogged for half its length – somewhat in advance of the prior selections.

The false deal is the Biddle Bottom, an exceptionally visually deceptive move. Note that it does not need to be performed rapidly or even in rhythm, so by all means take the necessary half-second to position the deck properly before executing the deal, focusing mentally on what you want to accomplish. Specifically, the released packet must land so that its sides are aligned with the outjogged cards below it. Be conscious of aligning the deck with the outjogs, delivering it well into the left thumb crotch as the false deal begins. Additionally, as you withdraw the deck, exerting downward pressure to produce the requisite sound replication, do so with the slightest right wrist turn, assuring that your right fingertips don’t accidentally engage and disarrange the released packet. NOTE The Biddle Bottom has been applied in other ways by Ed Marlo and Randy Wakeman. See also Peel Peal, Card Craft, p. 58 for a quite different four-card switch using it, and “A Fitting Conclusion,” MAGIC September 2000 (Jon Racherbaumer’s Inside Out column), p. 73.

“YOU CAN DO IT” BY ASSOCIATE EDITOR BILL WHITE EFFECT A spectator is given a lesson on how to be a magician. The spectator has a card chosen by another audience member. Then it seems that the magician-for-a-day is actually doing magical things that keep the audience, and the real magician, more than surprised. METHOD You will need a one way forcing deck. Place four indifferent cards on top and five on bottom. Place a loop of duct tape on the back of a duplicate card matching your forcing deck. Place it in your left coat pocket, leaning out so it doesn’t stick to your coat. Tape should be on the inside closest your body. Select a spectator. As he comes up, search your pockets for the deck of cards, which is actually in your right coat pocket. While bringing out the deck, also bring the taped card out in your left palm and drop your hand casually by your side. When the spectator reaches you, have him stand on your left side. Hand him the deck and shake his free hand in a grand gesture while leaning closer to ask his name. As you give him a big introduction, secretly place the card on his back. The rest of the presentation is up to you at this point. Here are a few proven ideas. Have him call up any volunteer he likes. Tell him to follow your directions exactly and he will no doubt be a successful magician. You are going to show him the proper way to have a card freely selected. Thumb some cards, (no more than four), face up off the top and say, “You don’t want to deal cards like this... And, (turn the deck face up) you certainly would never have them select a card like this...(thumb off some cards...no more than the five) if you did it that way, they wouldn’t be impressed at all. So just spread out the cards so they can take one freely from deep center.” Give them the deck to have a card selected. Have the card shown to the audience. Take the deck back and have the card returned yourself. Tell the student he is going to learn to read minds. While the spectator looks into the spectator’s eyes to read the person’s mind, simply switch the forcing deck with a normal deck from your right coat pocket. This deck is pre-stacked with a blank face card on top, which has the word “nothing” printed on it. Also, the card matching the selection has been removed. Instruct your student to think of any card but tell them to use the law of probability. Tell them that 80% of cards chosen are face cards so just use their inner feelings and name the first one that comes to mind. This of course prevents them from accidentally naming the chosen card as your forcing deck is a number. Or vice versa if your deck is a face card. Regardless, throughout the routine you tell them, “You can do it.” After he names the wrong card, apologize and say you forgot to test his natural magical ability first. Take the deck out of the box and get ready for a double lift. Instruct the audience not to forget the original selection, that this is just a test. Turn

the double over to show an indifferent card. Turn it down and deal the card onto the table, or the spectator’s hand. Instruct the real spectator to cover it with their hand and that your student will make it vanish. Tell the student that after their command, nothing will be left under the person’s hand. Milk this for all you can. Have the card turned to reveal the “nothing.” You need to be as surprised as the others are. Make a comment such as, “oh, a ringer huh?” or “oh, a wise guy eh?” Tell the spectator that the student has passed the test and will now make the chosen selection vanish. Have the card named and have the student go through the deck and show that the card is no longer there. Tell the student that he did a wonderful job and to give the spectator their card now. Ignore all objections and continue right on informing the student that tradition dictates that he give the card away as a souvenir. Finally give in and question how the student did such a great job but managed to loose the card. Thank them and ask them to return to their seat. As they go, as an after thought, ask them to come back to recap what could have gone wrong. The audience will see the card, but ignore it as long as possible while you go through the steps that had taken place. After all is done, leave the card on the student’s back and thank them once again. Someone always takes the card from their back for them. This is a great routine for a group of friends or larger venues. The key is simply to instruct the student very clearly to prevent them from turning around pre-maturely. TIPS The fact that you are forcing a spectator to force a card (a forced force) from what is seen later to be an ordinary deck is stronger than you might imagine. Then having the student magician succeed wonderfully by actually doing magic, apparently on their own volition, is equally as strong. This is a perfect routine for any group setting, regardless of age or venue. I have gotten just as strong of response from small school shows to a filled one thousand seat Theatre. Feel free and email me for other tips and proven possibilities to help you customize this routine to suit you.

MMM… TASTY BY COLUMNIST ANDI GLADWIN Those who were with us last time will remember that I shared one of my two deck switches along with some thoughts on when to perform certain sleights and discrepancies. However, in this issue I want to discuss a little on the correct time to perform not only the sleights, but magic in general. We all feel warm and fuzzy in our hearts when we hear about Max Malini and his wonderful exploits and I believe that his philosophy gave us a lot to learn, let me explain why I have been considering this. The routine that I am about to describe will not be suitable for everyone, as a matter of fact; nothing in this world is suitable for everyone. David Acer is a fantastic performer, but I can’t help but think that given the wrong audience, his humor may not be looked upon as funny and neither will his magic. I mean not to single out David, but I believe he is at the extreme of the scale – to one audience he is the best thing since Dai Vernon (this is the end which I stand upon), to another, although such a small minority

he could seem worse than a retired actor attempting to host a quiz show. The following effect is very similar - although it pushes no profane limits (just like David), given the wrong audience it could become looked upon the wrong way. Given the right audience, not only will you have a devilishly funny routine, but an extraordinary strong one too. So, live your dream, be like Max Malini, find the moment, and pounce upon those poor creatures! EFFECT A spectator selects a card from the park and signs it upon the magician’s request. She then returns it to the pack, which is replaced back into the card case. “If you ask anyone who knows me I live, eat and sleep magic. This may seem a little weird but lately I have been too busy to sit down and eat a meal. So, during a show I normally try to grab a bite to eat, please, don’t mind me for a few seconds.” Our performer proceeds to tip the cards from the case, into his mouth and chews them to pieces – the spectators actually see the cards being eaten! “Of course, it isn’t really professional for a magician to stop and eat during a performance, so I better bring this moment into a trick.” The performer mumbles as he finishes off the last few cards. He suddenly starts to choke, and brings up the spectator’s signed card from his mouth. And, yes, it really does come from his mouth!

plenty of room for some crazy and entertaining acting that you would not normally find in a card routine. This move is very similar to a move by my good friend, Jarrett Butler. Jarrett’s Mouth Load With Aid Of Case is published in Ken Simmon’s Onyx #12 as part of his great routine Manifestation In The Mouth. When you are at the stage that the entire deck appears to be in your mouth, puff up your checks and start to chew (remember that a deck of cards would be very tough to eat, so this needs a lot of action). Every few chews open your mouth and move the spectator’s card around as this gives the visual illusion that you are actually eating the pack. Make one big gulp and pause, your meal is now complete. As you start to bring your hands up to chest height (to signal the completion of the effect) act as if you are choking and bring the folded card into view. You can display the card to end then world’s most disgusting magic effect! AFTERTHOUGHTS This routine isn’t suitable for all performers; it is up to you to decide if it will suit your personality and style. With most tricks it is important to sculpture the effect to your personality, this is especially true here, but it is also important for you to decide if it would actually suit your personality as well as the venue where you are performing. As I mentioned earlier, there is absolutely nothing wrong with this trick, I just think the minority will not find it funny - if it loses its comedic impact, the magic will also be lost. You may notice that the comedy is sculpted into the routine, thus it in no way weakens the magic and this is something you may want to consider when performing it.

METHOD I told you this was a wacky effect! It’s pretty easy though. Place an empty card case in your right jacket pocket and you are all set and have a normal deck in your hands, with the box on the table. Have a spectator select a card and control it to the bottom of the deck. As you patter about your hunger perform a Mercury Card Fold on the bottom card of the pack and using your right fingers push the folded card into left hand Finger Palm.

I sometimes use this routine to aid a running gag throughout my entire act. Every now and again I start to choke, under this misdirection I palm some cards from the deck and pull them from my mouth. This is a move from Tarbell Three and has recently been popularized by Bill Malone. Those who wanted less work for the routine could use an un-signed card and have a duplicate folded into the card box, which is switched in, but where is the fun in that?

Place the deck back into its box and perform your favorite deck switch – failing that, you could use The Relaxing Deck Switch as described in the last issue, switching the full card case for the empty one. At all times you must keep the folded card hidden in Finger Palm, again, this will take a few attempts but is actually quite simple. Take the empty card case with your left hand and press the folded selection against the case.

NEW WAVE TIDAL WAVE BY CHRISTOPHER FARIA

As you say this move the card and case so that the card is gripped between the index finger and thumb of each hand. Bring the card and box up to your mouth and with the cover of the card case, load the card into your mouth. Your notion here is that you want to eat the card case (I know, it’s bizarre!) but you have second thoughts, so you bring the card case back down, with the card successfully loaded in your mouth.

EFFECT The magician removes a blue deck from it's case and has a spectator peek at a card. The deck is replaced in its case and returned to the magician's inner breast coat pocket. A red deck is removed from another pocket and handed to the spectator. He is instructed to remove the cards from the case and to spread them face down on the table. Face up in the center of the deck is one card: a perfect match to the spectator's previous selection.

Without saying a word, bring the card case back up to your mouth (make sure the lid is open) and apparently tip the contents into your mouth. This is a fun part of the effect that requires a lot of pantomime; it’s a very nice piece of visual comedy. Without going into too much detail, it is the bizarreness that make the audience giggle, so this gives

Credits: In Apocalypse Vol.6, #5, Lorayne, Krenzel and Anonymous published a one deck "brainwave" effect, entitled, "Tidal Wave." The effect is as above. I didn't like the idea of fussing with putting a deck down one's sleeve. In Magick, #343 Bob Cassidy and Sandy Kross have a similar idea but add the kicker idea of using a shell case

“I’m so hungry I could eat the whole lot, the case as well.”

around the cards and a topit style pocket. Their effect uses an ESP deck. While I used to do this with a topit, I've eliminated that entirely. Note: The spectator NEVER announces their card, there is no fussing with calculations, and the spectator removes the red deck from the case and spreads the deck. PREPARATION You will need to construct a blue card case shell to fit over the top of the blue case. Basically, using a bicycle deck, cut off the side that resembles the playing card, leaving the long sides and bottom (with the UPC code), along with the two small mini flaps. Cut off the large flap as well. Reinforce the two small bottom flaps with a spot of glue to give it a bit of strength. Next take four double back cards: red on one side, blue on the other. Place the double backers, blue side up on top of a red back face down deck. Place this deck face down into the red case. Ensure that the red case is showing the playing card side, flap up, half moon cut out face up. Place the blue shell directly over the top of this. Place this in your inner left coat pocket (I normally perform in a tux or business suit). METHOD Remove the cards and case from your coat pocket. Take the cards out of the case (the back bicycle trademark should be showing, flap is up). NOTE The flap printing is red. Place the case, and case shell, flap end away from the audience, on the table, the deck going face down into the left hand. With the left thumb spread the top three cards slightly to the right as if you were going to have a spectator select a card. Without saying so, you have implied that you are using a blue deck. Don't call attention to the deck color! I remark, "Most card magic has you 'pick' a card. But I just want you to pick one with your mind." Raise the cards to the standard "peek" position for the spectator to note a card. Riffle up the right until they say stop. Insert the left little finger into the break. Perform Marlo's Center Reverse. Briefly, as the cards are brought from a face up vertical position, the card is somewhat side-slipped by the fingers of the left hand until the right side of the selection makes contact between the third and fourth finger. The bottom half of the deck is lowered, while the top half remains stationary, as in a cover pass. You will find that the selection almost 'pop's vertically for it's length, the face of the card pointing to your right. The left fingers simply push gently on the face of the selection so that it levers back onto the deck face up into the break. This happens simultaneously with you bringing your hands to waist level. SITUATION CHECK You have a face down red deck with a face up selection in the middle. On top are four blue facedown double backers. Thumb Count (or Pinky Count) the top four cards of the deck, obtaining a little finger break below the fourth double backer. Turn the deck face up but doing Ken Krenzel's mechanical reverse. Full descriptions can be found in the Classic Magic of Larry

Jennings, Card Classics of Ken Krenzel, and the Krenzel tapes, Volume three. Briefly, lever the deck face up in your left hand with the right, while maintaining the break. Remark that the spectator could have had a free choice of any of the cards, spreading the now face up top three or four cards. As you close this small spread, the deck is resituated back into the mechanics grip while levering the four double backers "face down,” i.e., you reverse the doubles so their red side is now on top (on top if you were to turn the deck face down- they are now on the bottom of the face up deck). Pick up the card case with the left hand and insert the cards into the case, face up. Open the jacket with the left hand fingers at the lapel. (This dumping sequence is inspired by the Next to Impossible Card to Wallet effect, by Marlo/Korem, in Card Finesse by Jon Racherbaumer). The right hand thumb is on the bottom (trademark) flat side of the red card case (the side away from the audience). The four fingers are on the top flat side of the blue card case shell. When the case(s) reach the left hand inner breast pocket, pull with the right thumb and push with the fingers. You will see that the case slides off into the pocket. The left hand maintains its grip on the lapel because as the right hand begins to come out of the coat the (now) red case/cards are gripped by the left hand, the right hand feeding the case long-ways (vertically) into the four fingers of the left hand. This isn't a "move": just set the case on the tips of the left hand fingers, which are inside the jacket. As the right hand moves back the left hand immediately moves to the right behind the right hand/arm with case in hand and appears to dip into the right hand inner jacket pocket, removing the red case. Again, this is not so much a move as it is putting one card case away and getting another out. Hand the deck to the spectator and instruct them to remove the case. At this point, ask them to remember their card (they don't have to announce it). Then they spread the deck face down… Their card is face up in the middle. Gather up the deck to end.

SIX CARD ROYAL BY COLUMNIST DOUG EDWARDS I out and out asked Harry Lorayne what effect he liked most of all the effects I’ve contributed (literally dozens!) to his Apocalypse magazine. His answer was almost immediate. “Six Card Royal is the best!!” Well dear readers of Mr. Gadfly – see if you agree that it’s an easy and most direct method/effect of this genre. Ed Marlo liked it also!! And for the record, this was published in May 1990 issue. Used here with permission. SIX CARD ROYAL Do this right and you’ll fool all, including magicians. It’s quick and it’s interesting. It’s also a bit illogical; but impressive. Set the Royal Flush in spades to top of the deck in this order: AS, 10s, QS, JS, KS. Easy to remember – set from Ace down to ten normally then transpose the ten and the king. The AS is the top card. (You can set these five cards in any order if you don’t care if the show in correct order at the end. I do; so I set as I’ve just explained.) You need to be able to Tilt a card, and you to do a couple of Elmsley Counts. TO PERFORM Shuffle the deck, keeping the top five cards intact. Hand to hand spread and let your

spectator point to any card he likes (except one of the top five, of course). Take out that card with your right hand and show it to the spectator, asking him (or her) to note and remember it. The squared deck is in your left hand as you do this – and as you do it, your left fingers prepare the top card of the deck for Tilt. Apparently insert the selected card into the center of the deck, really doing Tilt. Doug likes to tilt his hand with the deck to flash the ‘partially’ tilted card, as in fig 1. I believe this is Ken Krenzel’s idea – it’s a convincer. It’s a quick flash, then back to position to complete the tilting maneuver. No shuffling here. As you say that you use any four cards, spread off the top four and then another two. Square, keeping a momentary break beneath the six cards. Immediately remove the six-card block. Table the deck proper. Now – what follows is a quick “four-card repeat” kind of action. Fill in your own patter as needed. Count the in-hand cards as four cards by doing an Elmsley Count. Place the top card onto the table. Magical Gesture (if you like) and do another Elmsley Count to show (count aloud) four cards. Deal the top card onto the first tabled card. Magical gesture and do a straight reverse count (you’re really holding four cards now). Deal the top card onto the two already tabled cards. Magical Gesture’ Elmsley Count the three in-hand cards as four. Get your left little fingertip under the last two cards as you complete the count. Place the two cards, as one, onto the three already-tabled cards. Hold the one in-hand card as if you were holding more than one card. Ask your spectator to name the card he selected. When he does, magical gesture over the in-hand card – then, slap your right hand down on it. Dramatically turn over the one card to show that it’s his selected card! Apparently, two cards have disappeared. Now, bring attention to the tabled cards. This is the illogical part – the tabled cards turn into a royal flush. But it is impressive, and – I’ve made it as logical as possible. As soon as I reveal the selection, I toss it aside as I say, “That’s when I’m doing magic. If I were playing poker, I’d do this…” I snap my fingers over the tabled cards, pick them up and square them – and turn them over to reveal the flush, in correct sequence. AFTERTHOUGHTS Try it. You’ll be surprised at its effectiveness. And, if you prefer to do the Elmsley Count all the way (that is, do the Elmsley count when you’re really holding four court cards, before tabling the third card – no real reverse count) set the flush 10, k, ace, q, J – the 10S is the top card. The flush will show in correct sequence at the end. If you don’t care about correct sequence, get the five high spades on top in any order.

TRIBUTE TO JOHN EVERNDEN BY REN GAUDREAU The battle was hard, The battle was long, But the magic in your heart, Will take care of you now. -Mona Santow On June second, the magic community lost a true friend. John Evernden, affectionately known as ‘Olde Rabbit’ and ‘OR’ to the online community, passed away after a battle with cancer. OR was the type of fellow who was not afraid to reach out and help others, without expecting anything in return. In 1998, I slowly pondered coming back to magic. I had always been interested in magic as a child but had never really gotten involved. As I scoured the Internet, trying to soak-up everything magic-related I could find, I came upon alt.magic. I posted a question, and in true alt.magic form, got many sarcastic responses telling me how I could better spend my time. It was at this point that I received an email from OR telling me to ignore the sarcasm and retorts on alt.magic and to visit another Internet board, which happens to still run quite efficiently. He also took me under his wing and guided me back to performing magic as a hobby. Besides leaving behind family and friends, John will also be remembered by dozens of online friends with whom he spoke or chatted since he joined the online community. OR referred to the magicians he helped as his “bunnies.” He really had a passion for helping beginners reach their magical goals. Often beginners are shunned in the online magic community as being secret-seekers. However, many of them are sincerely interested in magic. Sometimes the way they ask their questions may come out wrong and they come off looking as punks. John went beyond that. He took the time to email these beginners. He would listen to what they had to say. He would judge where their skill level was and make recommendations based on that. He always took the time to help as best he could. One of the pleasures that John had discovered in the past year was the joy of performing for others. He had the pleasure of performing kid shows in and around the Seattle area. Those who saw his shows were surely entertained, as much thought and planning was put into each of his routines. Of course, John, playing the role of Olderabbit, wore his customary top hat, with glued-on rabbit ears. From what he told me, the kids really got a kick out of the hat. When John learned he would be entering the hospice for cancer treatment, he was really worried about how his “bunnies” would react. He emailed those of us he was closest to and asked us to keep an eye out for the beginners out there in cyberspace and to take care of them.

This is a legacy that John hoped would live on, but this is not a one-person job. We all have to do out part. This is actually something each of us can do. Let’s all work together and help the kids who are looking to becoming the magicians of tomorrow. Instead of shunning that teenager at the next club meeting, spend some time with him, talk to him, and help him with his sleights. This is what John would have done. This is what he would want US to do. Take these kids under your wing and act as a mentor. Let’s strive to be leaders for these kids. Among the famous magicians of today, many of them started as pimple-faced little kids, showing up at club meetings and trying to melt into the corner to not be seen or heard. These kids need our guidance. When someone dies at such a young age, they leave behind much unfinished business. About two or three weeks before John died, he emailed me and told me he was preparing an article to send to the MAGIC MENU. He had received some copies of the MAGIC MENU to read while he was in the hospice. He did not get into details about what he was going to write. In one of the emails John sent me about two years ago, I remember him talking about how he used to practice his cups and balls routine for his cat. The cat, as he explained, was not at all frazzled by misdirection. He did note however, that his pet was not at all happy about having the small red crocheted ball disappear from under the cups. Somehow, I doubt that John’s big discovery had to do with the use of misdirection on family pets. John leaves some big shoes to fill in the magic community. Those he left behind in the real world, as well as the cyber world will sorely miss him. When news of John’s death was announced at magictalk.com, dozens of contributors left messages of tribute. Words like gentleman, wonderful soul, and true friend kept being posted over and over. John lived a wonderful life. He now gets a chance to sit at the big magic table in the sky and chat with such greats as Houdini and Vernon. I’m sure he has many questions to ask them. I’m sure he’ll also learn many things. But deep down I know that John will be making friends with the shy guy sitting in the corner. That’s just how he was... helpful till the very end.

NOT FORGOTTEN BEN STONE Springfield magician and former magic store owner, Ben D. Stone, 80, passed away at 8 a.m. Monday, June 11, 2001, in Cox Medical Center. Mr. Stone was a member of Order of Merlin, Excalibur, International Brotherhood of Magicians and a member of Ring 132 (the Ben D. Stone Ring) In Springfield. After retiring from the post office, he resumed a youthful hobby of designing and building magic. He founded Delben Company to produce magical illusions. He opened Mr. E’s Magic Shop in Springfield in 1984. He was preceded in death by his parents, Ben J. and Grace Davis Stone, Texarkana,

Texas; and one brother, James, Jackson Hole, Wyoming. He is survived by his wife, Devene A. Stone, Springfield; two sons, John W. Stone and James R. Stone, Joplin; two granddaughters, Jennifer S. Stone, Springfield, and Mariam Adele Stone, Webb City; two grandsons, Geoffrey M. Stone, Kansas City, MO. And James Ben Stone, Webb City; seven great-grandchildren; and two brothers, Hillard, Irving, Texas, and William, Phoenix, Ariz. Funeral services were held at Gorman-Sharpf Brentwood Chapel with the revered Alf Halvorson. Mr. Stone was buried in Missouri Veterans’ Cemetery. MICHAEL ROGERS Michael Rogers, 62, of Escondido, California, died June 11, 2001. Mike Rogers was born in Lander, Wyoming on September 19, 1938. His father, who past away when Mike was twelve, was a doctor and his mother was a nurse. The first magician Mike saw was Duke Montague who inspired his interest in magic. Mike was doing shows before he was out of grade school, for money if he could get it, for fun if he could not. Mike joined the Navy when he got out of high school. When asked why, he joked, "I guess I liked the uniform." He met fellow sailor Kent Richards who showed him the world of magic shops, conventions, and other magicians. Mike began to enter contests and winning. Sam Aaronson and Walt Rollins broadened his magic education and Bob Snodell revealed to Mike that magic was able to produce a very good living. Eddie Tullock taught Mike that entertainment was paramount and Mike's second career was waiting when he retired from the Navy with the rank of Warrant Officer in 1976. Mike had articles in The Linking Ring, Genii, Epoptica and in M-U-M had a column, "Table Time," that ran ten years (and was the basis of his book The Complete Mike Rogers published by Magic Inc). Mike was the first to produce sculpted sponge rabbits and he manufactured miniature leather-covered baseballs for the Cups and Balls and Chop Cup and handmade die cups for stacking. His wife of 43 years, Betty, and a daughter Lea Ann survives Mike. He was a member of the Order Of Merlin. JERRY CAMARO Jerry Camaro, 54, of Santa Rosa, California, died May 8, 2001. Jerry was a full-time magician, working mostly as a bar magician in Florida and Georgia, for over 30 years. In the last eight years, he performed in venues in Northern California and was booked in family events by Rick Allen in the last two years. At the time of his death, L&L Publishing had released the instructional video on his Bottom Deal. Jerry was often at L&L, performing, taping sessions, tending bar, and

even cooking – his second favorite pastime. Jerry was a good friend and performer for Dick Cavett, Sylvester Stallone, Blackstone, JR., Doug Henning, Penn and Teller, etc. Jerry leaves his wife, Bernice; his twelve-year-old daughter, Jerry Ann, and a grown daughter, Rose, of Florida. His parents reside in Bridgeport, Connecticut.