Syd Segal Full Metal Jacket PDF

 

FULL METAL JACKET Written by Syd Segal and JC Wagner

Cover Design by Dan and Dave Buck  Editing by Doug Brewer and Bryan Brush Crediting Help from William Goodwin

All rights reserved 2005 A G Films Production

Layout and Illustrations by RFA Productions www.rfaproductions.com

 

Table of Contents

 A Logical Lesson Lesson  Jennings Double Double Olram Subtley (Rhythm Count)

JC W Wagner agner & Syd Segal ....... 2

Very Ver y Fair Trium Triumph ph

Syd Segal............. .......................... ............... .. 5

Final Closer Ian Baxter Four Ace Production Gene Finnell Free Cut Principle Gamblers Cop

JC Wagner............ ......................... ............... .. 7

Extra Thoughts and Substitutions for Final Closer Vernon Transfer

 JC Wagner Wagner ......................................................................10 ...................................................................... 10

No Cop/Ditch Method for Final Closer 

Syd Segal ........................................... ......................................................................... ..............................11 11

T(w)oo Wild Jokers

Syd Segal............. .......................... ............. 14

Criss-Cut Force Daryl Martinez Change (Peter Duffie Handling) Gamblers Cop Open Ditch Method for T(w)oo Wild Jokers   Elmsley Count

Syd Segal ........................................... ......................................................................... ..............................16 16

Royally Wild (alternate handling for T(w)oo Wild Jokers)

Syd Segal ........................................... ......................................................................... ..............................16 16

Even More Four On The Floor  Jordan  Jor dan Count

JC Wagner............ ......................... ............. 18

Elmsley Count Wagner Displacement Count

Thank You Le Paul Chris Kenner ForFourFor Switch  John Cornielus Winter Winter Change KM Move Top Chang Changee

Syd Segal............. .......................... ............. 22

Packet Lie Detect Detector or #2

JC Wagner............ ......................... ............. 26

Interview Inter view With A Legend............. .......................... ........................... ........................... ............. 29 Credits Credi ts and Refer References ences.............. ........................... ........................... ........................... ............. 32  

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The handling for this effect came about after J.C. watched Larry Jennings do “A Logical Conclusion”, from THE CARDWRIGHT. J.C.’s revision of this effect really gives it a whole new look. One thing that J.C. was always striving for was a proper ending. He especially wanted to reveal the final two cards as the 9 and 10 of Clubs (you will understand this statement at the end of the routine). After watching J.C perform his handling, I went home and devised what we believe to be the perfect ending. We hope you enjoy performing this effect as much as we do.

Effect:  Eight cards are removed and shown to be two four-of-a-kinds. One of the sets is the four 3’s. The other is the four 7’s. The two packets are combined and a simple question is asked, “If I add 3 and 7 together, what do I get?” The spectator responds logically with “10”. The cards are counted onto the table in a very fair manner to reveal 10 cards. Next, the magician removes 2 cards from the 10 card packet and asks, “If I take 2 away from 10, what is left?” The spectator will answer “8”. The cards are then dealt to the table one-at-a-time face up. To the spectator’s amazement, the cards that are dealt out are now the Ace through Eight of Clubs! The two cards that were removed just moments earlier are also turned face up to reveal the Nine of Clubs and the Ten of Clubs bringing this lesson to a logical and successful conclusion! Setup:  Start by removing the Ace through 10 of Clubs. You will also need to remove the 3 of Hearts, 7 of Diamonds, and any 2 mates (these should be court cards). For this explanation, the court cards will be the King of Hearts and the King of Diamonds. The remainder of the deck should be face down on the table. On top of the face down deck, place the King of Hearts face up. On top of the King of Hearts, place the 7 of Diamonds face down followed by the 8 of Clubs, 6 of Clubs, 7 of Clubs, 5 of Clubs, 3 of Clubs, 4 of Clubs, 2 of Clubs, 3 of Hearts, and the Ace of Clubs. All of these cards on top of the King of Hearts should be face down. From here, turn the deck face up and place the remaining King (Diamonds) onto the face. On top of this King, place the 10 of Clubs face down followed by the 9 of Clubs. These remaining 2 Club cards should be face down on top of the King on the face of the deck. At this point, case the deck but make sure you know which side contains your preset packet of Ace through 8 of Clubs. This will be the side you spread at the beginning of the effect. Method: Spread the top ten cards of the deck, being sure to stop at the face up king of hearts. After they are spread, simply square the ten card packet and table it face down without calling attention to the number of cards. Remember, DO NOT spread past the face up king of hearts. After you have removed the 10 cards from the top of the pack, drop the remainder of the pack onto the left side of the table with the mate facing up. To the spectator, it should look like you had the cards you needed already setup on the face of the deck. If you want, before placing the pack onto the table, flash the backside. 2

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This will further prove the condition of the pack before continuing on with the routine. Call attention to the cards that you just removed. Retrieve them from the table and state that they are “two 4 of a kinds.” Casually spread them between your hands and catch a pinky break underneath the 5th face down card. Do not give the spectators too much time to count the cards. A quick spread and close will be sufficient. Re-square the cards and place

Fig. 1

them into right hand biddle grip. In the process, your break should be transferred to the right hand thumb. Drop the lower packet (cards beneath the break) to the table and transfer the packet back into your left hand. With the 5 cards in your left hand re-spread them again holding the last 2 cards as 1 to show them as four cards. Square up and catch a left hand pinky break underneath the 2nd card from f rom the top. What follows is J.C.’s handling of Larry Jennings “Rhythm Count”. With the packet being held in your left hand, pinky break under the 2nd card, execute a double turnover. This should show the 3 of Hearts. Turn the double down and deal the top card to the table. This card should be separate from the other packet on the table. The larger portion of the pack should be off to the far left. After dealing the top card to the table, thumb off the next top card in the right hand. With this card face down in the right hand fingertips, the left hand will turn palm down and flash the face of its packet . (Figure 1 is spectator’s view) The 3 of Clubs will show. Turn the left hand back palm up. As this hand turns back palm up, the right hand tilts upwards flashing the face of the card at its tips. This will show the 3 of Hearts. As the face of this card is flashed, the left hand thumbs off the top card of its face down packet on top of the single card . The card in the right tips is tilted backhand facepicks downoff and dropped nowgrip. 2 cards on the table. Remaining in the yourface leftofhand cards. Your right these 2 as 1onto into the biddle The resting right hand turns palm up to flash this are card2 (3 of Clubs). Turn your right hand back palm down and drop this double onto the 3 cards resting on the table. This count will effectively show four 3’s.

Fig. 2

Gesture down to the other small packet on the table and pick them up. The The “Rhythm Count” seque sequence nce just performed with the 3’s packet is repeated to show the four 7’s. Once this count is completed, place the “7’s” packet on top of the “3’s “3’s”” packet. This entire group is picked up and placed face down in left hand mechanics grip. Ask the spectator the following question, “3 plus 7 is what?” They will answer with “10”. Deal the cards in your left hand onto the table one at a time. It is important that they are dealt face down and that you reverse their order in the process. Counting the cards out loud as you deal you should come to the number “10”. T Too the spectator, spec tator, this should come as a surprise. The 8 cards you just showed them a moment ago have now become 10.

Gather up the 10 cards from the table and place them back into left hand mechanics grip. Next, tilt the cards so that the faces are towards you and spread them from hand to hand. You will notice that they run in perfect order. All that is required is to get rid of the 3 of Hearts and 7 of Diamonds. This is taken care in the following step. As you spread through the packet, up-jog the 3 of Hearts and the 7 of Diamonds. Strip them from the spread and place them onto the table face down. The packet in your hand is squared and also dropped to the table face down. None of the cards should be in contact with each other. Reach to the left side of the table and pick up the pack with the mate facing upwards. These cards should go in left hand mechanics grip with the King of Hearts face up on top. With your free right hand, retrieve the 3 and 7 from the table and place them face down on top of the face up mate. In one action, your left hand will table the pack and your right hand will pick up the 8 card packet (figure 2). When your left hand drops the pack to the

 

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table, it will turn it over. With the misdirection of your right hand approaching the packet on the right, your left hand simply turns palm down and places the pack on the table (figure 3). An extra subtlety here would be to spread the top few cards on top of the pack once it hits the table. When the spectator’s attention returns to the deck, everything will look as it is supposed to. What they are really seeing are the 9 and 10 of Clubs and the mate of the previous face up card (figure 4).

Fig. 3

Question the spectators again with a comment like, “If I remove 2 of the cards from the 10, what would that equal?” Again, with logic (or at least a somewhat decent education), they should answer with “8”. With the 8 card packet now retrieved and in left hand mechanics grip, deal the cards one at a time to the table face up. Count each of the cards out loud to reveal the Ace through Eight of Clubs run. This will definitely be a surprise to the spectators. To finish the routine you will reveal the 9 and 10 of Clubs. Gesture back to the pack sitting off to the side of the table and make a comment about the 2 face down cards on top of the pack. Slowly pick them off one at a time turning them face up to reveal the 9 and 10 of Clubs. When performing this for magicians, I like to pick the pack back up and turn it face down. I then casually spread the cards between the hands, hiding the reversed card at the 3rd position, to show all face Most of Ithe timeallthey arecards fooled bydown. the ending and even moredown. puzzled once show of the face

4

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Fig. 4

 

“Triumph”, a creation of Dai Vernon, is one of the best effects that can be performed with a pack of cards. In fact, the original handling in STARS OF MAGIC MAGIC is still one of the best methods around. I include my variation to this wonderful effect here on the recommendation of my good friend, J.C. Wagner.

Effect: A selection is removed from the pack and signed by a spectator. The selection, after noted by all, is returned to the pack and lost. Half of the cards are turned face up and dropped to the table. T The he other half is left face down and also dropped to the table. These two halves are legitimately shuffled together face-up into face-down. With the pack in this condition, the magician snaps his fingers and spreads the cards. To everyone’s amazement, the entire pack has straightened itself out to one direction (face up) except for one card, the signed selection!

Setup: None Method:  Start by handing the pack out for shuffling or simply shuffling the cards between your hands. It is very important to instill the fact that all of the cards face one direction prior to the beginning of the effect. Once Once the cards are shuffled, spread them between your hands (face down) and ask for a card to be selected. Have the card shown around and signed if you like. The signature, while not necessary, does “add” to the effect and leaves the spectator with a nice souvenir. Put the face down deck into righton hand cutremaining a little lesshalf thanofhalf the in deck into your awaiting Have the selection replaced top biddle of thisgrip. half. Swing Place the the of cards your right hand on topleft of hand. the selection (and cards) in your left hand. When replacing this half, your left hand pinky maintains a break between the 2 halves. With their selection beneath your break near the center of the pack, spread the cards from left to right. While spreading, it is an easy task to keep your left little finger break separating the two halves . As you get through about half of the cards above your break, stop spreading. Break off these cards and flip them face up onto the top of the pack. You should still be holding the pinky break above the selection. Immediately after the face-up cards come into contact with the face-down pack, your right hand comes over and picks off all of the cards above the break being held with your pinky. These cards are dropped to the right side of the table. These actions should simply look as if you spread through the pack, turned some cards face up, and then dropped them to the table. In reality, you have just dropped a packet to the table that consists of half face-up/half facedown cards. With the remaining cards in your right hand, spread them to show that they are all face-down. After the display, square them, and drop them to the left side of the table. With both of these packets on the table, arrange them in preparation for a standard tabled riffle shuffle.

 

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Begin to shuffle the 2 packets together, but in the following manner: Start riffling off the face down cards in your left hand (figure 1). After you have dropped 7 or 8 cards, begin to drop cards from your right hand. Both packets are now being shuffled into each other. Eventually, the packet in your left hand will begin to run short on cards. Also, the packet in your right hand will run out of face down cards. When you feel that the right hand packet is running low on face down cards, drop all of the cards in your left hand except for the top card (figure 2). After the cards in your left hand have been depleted (except for the selection), your right hand will start to drop face up cards. About half way through the face up run, drop the remaining face down card in your left hand. This is the selection and will be shuffled into the center of the face up cards. Make sure to keep your shuffle “tight” so that your spectators don’t see the reality of this shuffle. After the cards are interweaved, slowly push them together. It is important to keep this entire sequence very fair. After the cards have been pushed flush, retrieve the pack from the table and place it into your left hand. The situation of the pack should have 20 or so face up cards on top of the pack, the selection face down in the center of those 20 face up cards, and the further remainder of the face down beneath the face cards. To prove the pack face up/face down condition andup straighten out the mess, pick a few cards off the top of the pack into right hand biddle grip. Be careful not to cut to the selection. Rotate your right hand palm up and deliver the line, “Some cards face up…” Return your right hand palm down and replace its packet back on top of the packet in your left hand. Reach over the pack again with your right hand and cut off another packet of cards. This This packet of cards will be all of the face f ace up cards (with selection). This should be easily accomplished due to the natural break created by the back-to-back cards. With this packet in right hand biddle grip, rotate your right hand palm up and deliver the line, ”Some cards back-to-back…” Rotate your right hand palm down and use its packet to flip the packet in your left hand face up (figure 3). While gesturing, use your left hand pinky to obtain a break about 10 or 15 cards down in the packet in your left hand. Keep this break “open” and feed the cards in your right hand directly into this break (figure 4). This straightens out the entire pack (face up) and places the selection face down approximately approxim ately in the center of the pack. From here, all that is required to do is build up the effect. Ask the spectator if he wants his card “face up or face down”. If they answer “face down”, simply spread the cards on the table to show the one face down card in the center. If they name “face up”, turn Fig. 4 the pack over and spread the cards on the table. This will reveal the selection face up in the center. Even though you did nothing more in the handling, revealing their selected card in the orientation “they named” is very strong. 6

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Fig. 1

Fig. 2

Fig. 3

 

This is the re-worked, re-vamped handling of my “Super Closer” routine from COMMERCIAL MAGIC. This handling takes care of every discrepancy within the original routine. I have also eliminated the spelling sequence to produce the Kings. I myself prefer this method by far over the original. I think you will too.

Effect: The four Aces are magically produced from a pack that has been shuffled by two different spectators. Each Ace is now freely cut into a separate part of the pack by spectators. The Aces are now found by spelling the name of each from the top of the pack. Next, after the Aces have been found, the magician is left with a small packet of cards. These are turned over to reveal the four Kings. In dealing for the Aces, four piles of cards have been made. These piles are turned face up to display that the entire deck has been magically separated into the four suits. Setup: Remove the four Aces, the four Kings, and then separate the rest of the pack into four suits. Now assemble the pack in the following order from the face: Any two Aces, the Heart run, the Spade run, ten Club cards, the remaining two Aces, the King of Clubs, the remaining Club card, the King of Hearts, the King of Diamonds, the King of Spades, and finally the Diamond run. This entire setup is shown in Figure 1.

Fig. 1

Method: Start by giving the pack a few false cuts and false shuffles. I use the Zarrow shuffle and an up-the-ladder type cut. Any that work for you should suffice. After you supposedly mix the cards, pick them up and spread them faces towards you. You will now break the pack into four packets. Start by thumbing off all of the Heart cards (with Aces) into your right hand. The right hand tables these face down at the far right. Continue to spread the cards from left to right until you come to the end of the Spades run. Break these cards off into the right hand and table them face down to the left of the

 

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first packet. With the remaining half in your hands, spread until you come to the end of the Clubs. Break these cards off into the right hand and place them to the left of the Spades packet. The remaining cards in your hands are the Diamonds (plus 4 Kings, 2 Aces, and Club card). These are dropped to the left of the Clubs packet or the furthest left.

Fig. 2

Once the pack is separated, you will now call upon 2 spectators for shuffling. Turn to somebody on your left and hand them the 2 nd pile. This will be the 10 Club cards. Instruct them to give it a casual overhand st

Fig. 3

shuffle. As you give them this pack, you will pick up the 1  pile of cards. This is the pile of Diamonds, Kings, Aces, and Club card. While they shuffle, you will shuffle your packet. With your packet in hand, start to give it a standard overhand shuffle but make sure that you run at least the last 7 cards singly. This will bring the Aces, Kings, and Club card to the top of this packet but will reverse their order. After you are finished shuffling, drop your packet back to its original spot on the table. Retrieve the packet of cards from the spectator on your left and replace them at their original spot on the table also. Repeat the above actions with the 3 rd and 4th packets on the table. Hand a spectator on your right the 3 rd packet (all Spades). Instruct them to give it atoshuffle (gesturing an overhand shuffle). Pick the sure last packet, your right, and begin to overhand shuffle it. up Make that youfurthest shuffle the final 2 cards (Aces) singly on top of the packet. Once the shuffling is over, retrieve the packet back from the spectator on the right and put it back in the 3rd position. Your packet is also dropped back to the table to the far right.

Fig. 4

Fig. 5

Fig. 6

8

What follows next an idea of Ian Baxter and one that I used in the original handling. The situation of the packets on the table is as follows: On your far left, you have 2 Aces on top of the packet, followed by the KC, Club, KH, KD, KS, and the Diamonds. The two center packets contain Clubs and Spades and the packet on your far right contains the 2 Aces on top followed by the Hearts. With them in this row, your left hand approaches the packet on the far left and picks off the top card of the packet. Simultaneously the right hand approaches the far right packet and picks off its top card. These two cards are placed IN FRONT of the center 2 packets (Figure 2). The left and right hands then re-approach the outer packets to pick them up. They are picked up and dropped onto the packets directly next to them, the 2 center packets. This creates 2 large packets on the table with 2 single cards (Aces) sitting directly in front of them. Next, move the combined packets back to the outer sides of the table. They will occupy the same space that the 1 st and 4th packets did just a moment ago. After the move, simultaneously remove the top card of each packet and place them directly behind the single cards in the center of the table. The 4 Aces are now in a square in the center of the table and the 2 large packets rest on the outside (Figure 3). Build up the fact that the spectator shuffled the cards themselves and reveal the 4 Aces.

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Replace the Aces onto the table but in a specific order. They should run from your left to right in CHaSeD order. Simply put, the Club should be on your left followed by the Heart, Spade, and finally the Diamond. Once the Aces are in this order on the table, retrieve the large packet on your left. Spread those cards face up in your hands so that only you can see them. Break the packet in half where the Clubs meet the Diamonds. The Diamonds (plus King packet) will go into your left hand while the Clubs remain in your right hand. Turn both of these packets face down onto the

Fig. 7

table. The packet in your left hand (Diamonds) will go behind the Ace of Clubs and the packet in your right hand (Clubs) will go behind the Ace of Hearts. Repeat these same actions with the remaining packet on your far right. Spread them between your hands. Separate where the Hearts meet the Spades. The Hearts are placed face down behind the Ace of Spades and the Spades packet is placed behind the Ace of Diamonds (Figure 4). The next sequence utilizes a wonderful principle in magic. This is, of course, Gene Finnell’s Free Cut Principle. Reach down to the table and pick up the Ace of Clubs. Place this card face up onto the face down packet resting behind it. It is important to leave the card up-jogged for half of its length. Instruct any spectator to reach over to the 2nd pile (packet that rests

Fig. 8

behind thethey Ace do, of Hearts) andplace pluckthese off any amount theyofwould like. Once have them cards on topofofcards the Ace Clubs. Next, place the Ace of Hearts onto the packet resting behind it. Any amount of cards can be cut off of the packet behind the Ace of Spades and placed onto the Ace of Hearts packet. Next is the Ace of Spades. This is placed onto the packet resting behind it and a portion of cards from the packet behind the Ace of Diamonds are placed on top of it. Last is the Ace of Diamonds. This is placed onto the cards resting behind it (Figure 5). At this point, there isn’t another packet to take any cards from. That is ok. Here is how you will cover it. Without burying the Ace of Diamonds into the packet, gather up the packets starting at the far right. The first person I saw use this technique of not burying the final Ace was Scotty York. Place the Ace of Diamonds packet onto the Ace of Spades packet. This combined packet is then placed onto the Ace of Hearts packet and then finally the entire portion dropped onto the Ace of Clubs packet. Square up all of the Aces and explain that they are lost in the pack. To illustrate this fact, spread the cards between your hands face down. This will show face up Aces evenly distributed throughout the pack except for the Ace of Diamonds. As you reach the bottom of the spread you will notice the face up Ace of Clubs. Spread the Ace of Clubs into your right hand followed by 3 more face down cards (Figure 6).

Fig. 9 Fig. 10

Fig. 11

Before you square up, catch a break beneath that 3rd face down card. This card is the King of Diamonds. With a break held at this position you will apparently loose the Ace of Diamonds into the pack. To loose the Ace,

 

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double undercut all of the cards beneath the break to the top of the pack. This will position the Ace of Diamonds in the correct position. If you do not want to do a double undercut, simply place a strong crimp into the King of Hearts prior to the effect. When it comes to this point in the routine simply cut your crimped card to the bottom of the pack. This will effectively place the Ace of Diamonds in the correct position.

Fig. 12

After completing the Free Cut sequence, the Aces are now ready to be spelled to. With the pack face down in your left hand, begin to spell “Ace of Diamonds”. rd

Start by dealing the first 2 letters onto the table. On the 3  letter (“E” of Ace), deal that card slightly to the left of the first 2 cards. It is not dealt separately from the first 2, just slightly to the left but still in contact. The remaining cards are then dealt directly on top of the 3 rd card. The Ace of Diamonds will be revealed on the card AFTER the “s”. Deal the face up Ace onto the dealt out packet on the table (Figure 7). Table the packet in your hand to the right side and pick up the just dealt out packet. When you pick it up, using your left pinky, pull down on the 2 side-jogged cards on the bottom of the packet and get a break above them. These were the first 2 cards that were dealt out on “A” and “C”. With a pinky break being held, deal the face up Ace of Diamonds onto the table. Next, place the packet in your hand onto the Ace of Diamonds but before you do, Gambler’s Cop out those bottom 2 cards of the packet (Figure

Fig. 13

8). the cards Do are in thethe right hand small ontotothe AceOnce of Diamonds. notCop, cover entire faceplaces of thethis Ace. Youpacket will want leave at least half of its face showing. Your right hand immediately retrieves the larger packet from the right side of the table and adds it to the Copped out cards in your left hand (Figure 9). The remaining Aces will be dealt out sleight free. The 2 nd Ace to be revealed will be the Ace of Spades. Start dealing one card to the table for every letter until you are finished dealing “Ace of Spades”. The Ace will become visible following the final “s”. Deal this Ace onto the packet just dealt. Drop the packet in your hand off to the right and retrieve the packet that has the face up Ace of Spades on top of it. Deal the Spade onto the table and drop the packet in your hands on top of it. Retrieve the larger portion of the pack and replace it into your left hand. It is very important that you make all of these actions look similar to the dealing actions of the first Ace. The next Ace is the Heart. Deal one card to the table for every letter in the words “Ace of Hearts”. The Ace of Hearts will arrive on the card following the “s”. Repeat all of the actions as above keeping them as copasetic as possible. Spell out the final Ace, the “Ace of Clubs” in identical fashion to the Spades and Hearts. Make sure to complete all of the dealing procedures and to make them look similar to what has already taken place three times before it. After the final deal out to find the Ace of Clubs, you should be left with a small packet of cards on the table. To be exact, there are 5 cards there. These cards are the 4 Kings and the Club card. Retrieve them from the table and place them into your left hand face down. Casually spread over the upper 3 cards, without reversing their order (Figure 10). Hold the last 2 cards as 1 in your left hand. This will display “four cards”. Square the cards back up and catch a break beneath the 2nd card from the top. Turn over the top card of the packet to show the King of Clubs. Pick off the King of Clubs and the card beneath it as one. Picking off this double should be easily achieved due to the fact that you were holding a break. This back to back double is dropped onto the face down pile resting on top of the Ace of Clubs (Figure 11). As the right hand drops this double on top of this packet it simultaneously applies downward pressure. Your right hand is then moved back towards yourself and spreads the packet (Figure 12). This move is completely motivated and unloads 10

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that extra Club card where it needs to be. Turn over the new top card of the packet in your hands to reveal the King of Hearts. This is dropped onto the packet resting behind the Ace of Hearts and the packet spread. Turn over the next card to reveal the King of Spades and drop it onto the packet behind the Ace of Spades. Again spread this packet. The final card in your hand is the Kind of Diamonds. Drop this card onto the packet resting behind the Ace of Diamonds and spread them. The last thing to do in the routine is build it up and reveal the separated suits. Using the face up Kings resting at the back of the face down spread, scoop up the face down cards and turn them face up (Figure 13). Re-spread them in the same fashion as before back towards yourself. This will leave you with a great climax and beautiful display of separated suits (Figure 14).

Fig. 14

EXTRA THOUGHTS & SUBSTITUTIONS Some of you reading this routine may be afraid of the Gambler’s Cop involved. For that, I will include a version that uses the Vernon Addition in substitution of the Cop. The first changed involved is in the setup. This new setup from the face goes like this: 2 Aces, Heart run, 9 Spade cards, 10 Club cards, 2 Aces, King of Clubs, Remaining Club card, King of Hearts, King of Spades, King of Diamonds, Remaining 2 Spade cards, and the Diamond run. If you notice, the only real difference to the setup is the 2 Spade cards now resting above your Kings/Club/Aces stack and the swap of the King of Spades and King of Diamonds. Begin the routine as normal with the division and shuffling sequence. Produce the Aces using the Baxter idea. Continue on with the division of the packets behind the face up Aces on the table. Complete the Free Cut sequence supposedly loosing the Aces into the pack. Here is where it differs slightly. Instead of catching a break 3 cards beneath the face up Ace of Clubs, grab your break 5 cards beneath the Ace of Clubs. This 5 th card that you have a break beneath should be the of Diamonds. Undercut the pack to lose thethe Acespelling of Diamonds. In reality, you have just cut the King 2 Spade cards to theDouble top of the face down pack at andthat setpoint yourself up for sequence.

 

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Start your spell the same as before, side-stepping those first 2 letters spelled out. Again deal through until the Ace of Diamonds appears. Deal it onto the small packet Fig. 15 on the table, drop the large pack in your hands directly in front of you, and pick up the Ace of Diamonds (and packet) into your left hand. Get that same break as before with your left pinky and transfer the cards into right hand biddle grip. The break from the pinky will be transferred to your right thumb (Figure 15). With the cards in this position, the left hand will approach the bottom of the packet. The left pinky will kick those 2 cards at the bottom of the packet over into the right hand. The cards will not be palmed but gripped by the right pinky and thumb (Figure 16). Those two fingers should have a hold of the 2 cards by the indexed corners. The next movement is very important. Simultaneously, the packet in your right hand will be placed back into your left hand. At the same time, your right hand drops naturally to the large packet sitting directly in front of you. The 2 cards that were gripped between the pinky and thumb go along for the ride and land back on top of the face down pack (Figure 17). The reasoning for your hand to drop to the pack on the table is to move it out of the way. You should slide it off to the far right side. If your movement of the right hand is straight downward onto the pack, the addition will go unnoticed. It is important not to distant the large packet on the table. The further you have to travel to unload those 2 cards, the more it will be noticeable.

Fig. 16

After youAce have the packonto to the deal the of slid Diamonds theright, table. The small packet now in your left hand is placed on top of the Ace of Diamonds, just like in the above handling. The remainder of the method is identical to that already explained before. Hopefully one of these two methods are satisfactory for your needs. If not, check out this no cop/no switch method by Syd Segal. Here is the explanation in his words. Fig. 17

NO COP/NO SWITCH METHOD by Syd Segal To accomplish this effect without a switch prepare the pack in the following order. Starting at the face you should have 2 Aces, Heart run, Spade run, 10 Club cards, King of Clubs, Remaining Club card, King of Hearts, King of Spades, King of Diamonds, 2 Jokers, and the Diamond run. This setup is nearly identical to that of the Vernon Addition method. The difference being that instead of having the 2 Spades above your Kings/Club/Aces stack, you have the 2 Jokers. As for the method, everything is identical to that of the Vernon Addition method except for the side-stepping of Ace of Diamond packet. No side-step is needed due to the fact that you will not need to transfer any cards. The first 2 cards dealt down in the opening spell (Ace of Diamonds) will be the 2 Jokers. The addition of these 2 Jokers will offset the spelling sequence so that no cards need to be added back to the pack to spell correctly to another Ace. After you are legitimately finished spelling out the 4 Aces, produce the 4 Kings as described in the “Final Closer”. While this method has eliminated the above mentioned sleights, there still is a little work to not expose the Jokers. Jokers. This work is accomplished when revealing the suit separation. Using the King of Diamonds to scoop up the face down Diamonds, turn over the whole block face up and spread them back towards yourself. As you spread the face up 12

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Fig. 18

Diamond packet to reveal the climax, spread only 9 or 10. Keep at least the last 3 cards (2  Jokers  Jok ers and King of Diamo Diamonds) nds) co complete mpletely ly squar squaree (Fi (Figure gure 18). This will eeffectivel ffectivelyy hide tthe he  Jokers  Jok ers und underneat erneathh the K King ing on th thee face. Contin Continue ue on with the oth other er packets packets and reveal tthat hat the other suits have also separated. Do not worry about those Jokers being hidden. If for some reason one or both are exposed in the spread, simply throw in the line, “Well, Jokers always loved Diamonds!” and continue on as if they were supposed to be there.

 

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This four of a kind production is very visual and acts as a perfect opener to any four of a kind routine. The highlight of the routine is the face up color change which was originally a creation of Daryl’s. I happen to use an alternate handling created by Peter Duffie which he has been gracious enough to let me include here. Enjoy!

Effect:  The deck is mixed and offered to a spectator. The spectator cuts to a face down card which remains a mystery for a moment. The performer removes the card box and dumps out its contents. Inside are 3 “wild” Jokers. According to the performer, they can change into any cards they wish. The box is put away and the mystery card that was just cut to is turnedinto faceaup. It isAshown be the Diamonds. With a brush ofand theitthumb, the first up The Jokerfinal visibly changes King. secondtoJoker is King gentlyofrubbed against the selection too changes to aface King. Joker, which lays face down between the just produced Kings, is removed by the spectator and changes into the final King!

Setup:  You will need a deck of 52 playing cards as well as the 2 Jokers. While it is not necessary, I prefer to have 2 identical  Jokers  Jok ers in tthe he deck for this effect. Start bbyy remo removing ving the 4 K Kings ings and pplacing lacing one on top of the fac facee down deck. It is important to remember what King this is. For our example, let’s say this is the King of Diamonds. Next, remove the 2 identical Jokers and put them on the table face up. Beneath these Jokers will go the remaining 3 Kings with the mate of the selection going last. The order of the Joker packet from the face to back should be: Joker, Joker, Black King, Black King, King of Hearts. This packet is placed into the card box with the faces towards the half moon cut out. The box can be in your pocket or on the table before you start. Method: Fig. 1

 Start by giving the deck a few cuts or shuffles retaining the position of the top card. You will now perform the Criss Cut force to force the King of Diamonds on the spectator. Place the deck on the table and instruct a spectator to cut off a packet of cards and have them table it. Pick up the remaining packet on the table and place it on top of the packet they just cut off. It is important, when placing your packet on top of theirs that you angle your packet about 45 degrees . While doing this above action, deliver the line that you are “marking the place at which they cut”. After completing the cut sequence, reach into your pocket or onto the table and retrieve the card box. Open the flap and remove the 5 card packet from within. This packet should be face down in left hand

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mechanics grip. Table the box off to the left side so that the half moon cut out faces upwards and the flap is open. Next, you will show to the audience that you are holding 3 Jokers. With your left thumb, execute a block push off of the upper 4 cards turning this block face up to display a Joker. Turn the block face down and thumb off a single card into the right fingertips. Execute another block push off turning over a triple with the right fingertips, while holding a card in the right hand. This will show another Joker (figure 1). Turn Turn the triple down back onto the packet. Follow

Fig. 2

up by dropping the single card in your right hand on top of the packet. With your free right hand, turn the packet in your left hand face up and show the bottom Joker as “3” . As a nnice ice subtlety, thumb-off the Joker on the face when you count it as “3”. This will show another Joker beneath it. When pulling the 3 rd Joker back onto the packet, catch a left pinky break beneath it.

Fig. 3

At this point, you will ditch one of the 2 Jokers. This is done when you reveal the selected card on the table. With your free right hand, reach forward and remove the top card of the lower half. This was originally the top card of the deck (King of Diamonds). Two actions will now happen at once: As the right hand removes the leftbox hand drops up to the table card box selection, (figure 2).the The is picked flush withand theretrieves packet inthe your left hand while the left hand pinky maintains the break. After the selection is removed and turned face up, the right hand goes back to the left hand and removes everything above the pinky break. The box and selection hidden underneath are taken as one and pocketed. This effectively ditches one of the two JJokers. okers. K Keep eep in mind the action of turning over the selected card is performed at the exact time the Joker is loaded on the card box. It is completely natural for your right hand to return the left and remove the box. No one should suspect any covert action during these procedures.

Fig. 4

Explain that one at aselection. time theTurn “wild the Jokers” willinchange intohand cards more similar to the packet your left face down and thumb off the top card. Using this card, flip the packet in your left hand face up. With your left pinky, pull down the bottom card of the packet (or buckle the bottom card, your choice). Insert the face down card in your right hand into the break but leave it injogged for an inch. With your right hand, push the injogged card flush with the packet. As the card goes flush, push down with the right thumb and catch a left pinky break under the top 2 cards of the packet. At this point, you are ready to start changing the Jokers. For the first change, we will use Peter Duffie’s handling of a Daryl Martinez change published in the New York York Magic Symposium. The right hand approaches the packet in the left hand and picks off the 2 cards above the break as one card. This double should be held by the inner right indexed

Fig. 5

 

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corner, first and middle fingers below and thumb on top. Brush the face of the double a few times with the thumb of the left hand being careful they don’t split. On the 3rd or 4th brush, the left fingers open slightly and the card on the face of the right hands double is pushed off and under the left hands cards (figure 3). The push off by the right-hand thumb is completely covered by the brushing of the left thumb. Even after the change has taken place, brush the face of the card a few more times. If you are having problems understanding how this move should look, email me at [email protected] for a short video clip. After the change, a black King should be face up in your right fingertips. With your left hand, pinky pull down (or buckle) the bottom card of the packet. With your right hand, take the 2 cards above the break as one. These cards should be taken beneath the single face up King but slightly side-jogged to the left (figure 4). A face-up Joker should now be displayed in the left hand. This was the Joker wiped under the packet during the Duffie Change. With your left hand, turn your hand palm down and tap the Joker against the King selection on the table. Turn your left hand palm up and act surprised that the change did not happen. Place the side-jogged double held by the right hand onto the face-up Joker in your left hand. Immediately, as if you had another idea, slide the top card of the packet in your left hand just slig slightly htly to the right. Just enough to allow the right hand to take the card under the single card already there. As this card is placed beneath the King in your right hand, the left hand immediately turns palm down to again tap the selection on the table (figure 5 sideview). This wrist kill is important because you do not want to flash the King on the face of the double now held in your left hand. Tap the double against the selected King on the table and again turn your left hand palm up. This time the second (?) Joker has changed into the other black King, matching the selection. Replace the 2 single cards in your right hand on top of the double in your left outjogging the face-down red King between the face-up Kings (the leftmost Kingturn is a double). a spectator reach forward the As remaining face downblack card in the center. Have them the card Have face up to reveal the final changeand intoremove a red King. they are turning the card face up, Gambler’s Cop the bottom card ( Joker) of the packet into the left hhand. and. This is the remaining Joker. Toss the Kings to the table and leave everything for examination.

EXTRA THOUGHTS AND SUBSTITUTIONS When I originally created this effect, I ditched the Joker at the beginning in a much different way. I thought I would go over my original handling for this as well as give you a different possible revelation. OPEN DITCH METHOD For starters, I originally showed that the packet in the box contained 4 Jokers, not 3. To do this have the packet in the box stacked as follows starting at the face: Joker, Joker, Black King, Black King, King of Hearts, Joker. Remove the packet as before but this time give it an Elmsley Count face up and display 4 Jokers. As the 3rd Joker is counted catch a little finger break. The final Joker in the count is placed on top of the packet (now a pinky break is held beneath the top 2 cards). At this point, the right hand picks off the cards above the break (2 Jokers), masking them as a single Joker and simply box them using the excuse that “I only needed 3 wild Jokers for this next effect.” While this isn’t bad, it wasn’t the best and later I changed it to the handling written above. ROYALLY WILD (or WHY I CHANNEL MARLO LATE AT NIGHT) Here is an idea if you are going to go with the “Open Ditch Method”. Start by having the packet in the box in the following order from the face: Joker, Joker, 10 of Spades, Jack of Spades, Queen of Spades, Joker, Ace of Spades. It is also important that the cellophane wrapper is still intact and secured around the card box. On top of the deck, have the King of Spades.

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Start the routine as before with the selection process. Remove the box and open it. Reach in and pull out all of the cards except the Ace of Spades. Your fingers simply push this card back into the box as the remainder of the packet is brought out. The box is tabled half moon side down. Continue with the “No Ditch Method” and remove the double from the face of the packet. Using your left hand, pick up the card box from the table. Your right hand will now put the 2 Jokers directly into the space between the cellophane wrapper and the box (figure 6). This preceding action should look identical to how it would look if you were putting the Jokers into the

Fig. 6

card box. After the Jokers have been loaded into the cellophane space, the box is tabled and the remainder of the routine is the same. After the final change, make a comment that one more card is necessary to complete the royal flush. Make a gesture back to the box and comment on the remaining  Joker  Joker inside inside.. Ope Openn the car cardd box aand nd let th thee Ac Acee of Spad Spades es fall from within to conclude the routine.

 

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This effect was originally shown to Paul Green about 30 years ago. Paul has since published his version on a recent DVD. My version has been updated over the years and now includes a nice move not in the original routine. Do not overlook this effect. The method, while simple, produces one of the strongest reactions possible from my spectators.

Effect: A card is selected, shown around, and returned to the pack. Once lost in the mix, the performer runs through the pack face up and removes four cards. The deck is set aside and no longer used in the effect. One of the four cards is turned face up, the packet given shake, shown that allpacket four cards have face turned faceand up.shown Next, two down cards are that sandwiched between twoaface up and cards. The entire is turned down againface (after some magic) all four cards face the same direction, face down. Once last time, the top card of the packet is turned face up. With a snap of the fingers, all of the cards within the packet turn face up. To conclude, each card is shown and dropped onto the ground. The question, “Have you seen your selection?” is asked to the spectator as each card is dropped to the floor. They answer with a definite “No”. They are then asked to place a foot on top of any of the four cards. The card they touch is turned over to show that it has changed into the selection!

Setup: None Method: From a shuffled pack, have any card selected and shown around. Once the spectators have committed its identity to memory, have it returned. Control it to the top using your favorite method. The method I use is explained in “Packet Lie Detector #2”. After it is controlled, turn the pack so that the faces are towards you. Do a wide spread and catch a glimpse of the selection resting on top of the pack. Once you know what the selection is, square the pack and drop the cards back to waist level. Cut about 10 cards from the face to the back of the pack. This will bury the selection down about 10 or so cards from the top of the pack. Again, bring the cards back to your eye level and spread through the pack. You will now remove the selection and 3 contrasting cards.

Fig. 1

For example, if the glimpsed selection is the 4 of Hearts, you will remove a black Jack, black Queen, black King, and the selection. The suits of the “opposite” cards should be a mix, not just spades or clubs. Say the selection is a King of Spades. In this case, you will remove a red Three, red Four, red Five, and the selection. Again, remove both diamonds and hearts for the contrasting cards. The order of the cards is also very 18

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important. The order they need to be in, after they are removed, will be the selection at the face followed by the opposite cards. The setup is quite easy to accomplish without drawing undue attention to your actions. More than likely, the selection will be the last card removed from the pack. Use this to scoop up the 3 cards already removed on the table (Figure 1). This will put you in the proper starting position. After you have removed the four cards from the pack, place them in left hand mechanics grip. The packet should be face down. Obtain a break above the bottom card in preparation for a triple lift. A break can be created from either a first finger buckle or a pinky pull down. If you prefer not to get a break, simply do a block push-off of the upper 3 cards when doing the triple. Anyway, Fig. 2 after your break is obtained, execute a triple lift. Explain that if you turn “one card face up, they all turn face up”. After delivering this line, execute a Jordan Count. This will display 4 face-up court or number cards. The selection will not be seen. If you are unfamiliar with the Jordan Count, here is a brief description: Your right hand grasps the right long side of the packet between thumb (above) and first and second fingers (beneath). Your left thumb peels the top card onto your left palm. Peel the next card onto the first one. As your left hand returns back to take the third card it aligns the first two cards beneath the original packet. Your right thumb immediately pushes all the cards above the bottom card to the left as a block. These are taken by the left hand as you pretend to take the third card. Simply place the last single card held by your right hand on top of the cards in your left hand. After showing the 4 cards face up, thumb off the top card of the packet and use it to flip over the 3 card packet in your hand. Place this card face Fig. 3 up but up-jogged for half its length on top of the packet in your hand (Figure 2). Reach under the packet with your right hand and remove the bottom card of the packet. Turn this card face up and replace it back to the bottom of the packet. This card is left in-jogged for about half of its length (Figure 3). Explain that you will sandwich 2 face up cards between 2 face down cards. Square up the entire packet and flip it face down. Perform an Elmsley Count to display that all of the cards have now turned face down. If you are unfamiliar with the Elmsley Count, here is a brief description:

Fig. 4

Your right hand grasps the right long side of the packet between thumb (above) and first and second fingers (beneath). Your left thumb peels the top card onto your left palm. Next, using the right thumb, push over all of the cards above the bottom card of the packet. The left hand comes back to retrieve this block. Two actions now happen at once. First, your left hand clips the block from the right hand. Second, the left hand replaces its single card back onto the bottom of the packet (really only one card) now in your right hand. Finish the count by simply peeling off the remaining two cards from the right to the left hand. While executing the Elmsley Count to show the 4 face down cards, be sure to catch a break after the 3 rd card is counted. After the Elmsley, 4 cards should have been shown face down and you now have a break beneath the

 

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Fig. 5

second card from the top. Execute a double lift, turning supposedly one card face up. Execute another Elmsley Count to show 4 cards now face up. At no point during all of these counting procedures have you even mentioned their selection. You do not need to. After every count the spectators are seeing that their selected card is not there. We are slowly leading them down the garden path… To continue, after the Elmsley Count is used to show 4 face up cards, thumb off the top 2 cards of the packet into your right hand. Place these to the

bottom of the packet in your left hand and turn the entire packet over. The next sequence will show the faces of 4 cards, none of which is their selection. It also uses a sequence of moves, using a reverse finger action that I previously published on my “Queen’s Debate” videotape call called ed the W Wagner agner Displacement Count Count.. With the packet face down in your left hand, turn the top card of the packet face up. Next, get a break above the bottom card in preparation for a triple turnover. Again, if you want, simply do a block push-off. Execute a triple lift to turn the card face down. Immediately, after the triple has landed face down, catch a natural break between the 2nd and 3rd  cards in the packet. These 2 cards are back-to-back so getting this break should not be a problem. The next move will reverse the 2 nd card in the

Fig. 6

packet. What it should look like to the spectators is that you snap the top card of the pack and drop it to the ground. With your break under the top 2 cards, the right hand will grasp the right side of the double and slide it across the top of the packet (Figure 4). The drag is equivalent to the opening action when turning over a double. As the 2 cards come to the far right edge of the packet, the cards in the left hand are tilted into a perpendicular position to the double being held at the right hand fingertips (Figure 5). In one quick brush upwards, the bottom card of the double held at the right fingertips is re-deposited onto the packet in the left hand (but face down). To accomplish this, extend your fingers contacting the face of this card (Figure 6). This will cause the card to turn back face down. At the same time the bottom card is replaced onto the packet, the left hand thumb gives the back of the face down card in the right hand a snap. The audible sound of this snap will cover any sound the lower card makes as it falls back onto the packet. After the snap, the card is immediately dropped to the ground. This card is the selection. This above sequence very confusing on paper, but withthese the help of the illustrations it should take time at all to master. Ifsounds you continue to have trouble visualizing moves, email Syd Segalprovided, at [email protected] forno a short video clip explanation. After the first card is dealt down onto the ground, turn over the next card in the packet. This will show a completely different card. This This is a nice touch that the previous previo us sequence leaves you in. Turn this card face down and drop it to the ground. It is very important to duplicate the actions that you used previously for the first card. Do not simply drop the card to the ground without giving it that audible snap. Also, make sure to drop this card to the right or left of the selection on the ground. You will want the cards completely separated for the finale to the routine. For the third card, reach under the 2 cards left in your hand and pull out the bottom card. Turn this card face up onto the remaining card in your left hand. Turn it down, give it the snap, and deal it off to the ground. This too needs to fall to the right or left of the selected card. What you are aiming for is a straight row of cards with the selected card falling at either the 2nd or 3rd position in the row.

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To show the final card, my right hand simply picks it up, flashes the face and drops it to the ground. This was the first card shown in the sequence but enough time has passed that the spectator will not remember it. When I drop the card to the ground, I also make sure it falls to the proper position that I need it. If the selection was on my far left and the other 2 cards were to the right of it, I would need this final card to go the left of the selection. This would place it in that 2 nd  position in the row (from left to right). After the row is set (selection in one of the 2 middle positions), I ask the spectator to place their foot on top of any of the cards on the ground. Most of the time, they will put their foot on top of the selection. This happens close to 90% of the time. If they do, build the effect up as much as possible then reveal the change. There will be times that they do not put their foot on top of the selection. From here, some simple Magician Force techniques can be applied to arrive at your final destination. Here are a few thoughts on which position to place the selection. As I have mentioned above, it must fall at one of the center positions. If the spectator is standing to my left, I will drop the selection in the 2 nd position (from my left). If they are standing more on my right side, then the selection goes to the 3rd position (from my left). If you follow this simple tip, more often then not, they will place their foot on the selected card.

 

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This is simply my handling of an effect in “The Card Magic of Le Paul”. The original effect, “4 Ace Transposition”, had a repetitive feel to it. I changed the handling to fit my style as well as made each change more “impossible”.

Effect: The four Aces are shown and dropped to the table. The pack is mixed and four more indifferent cards are removed. The Aces are lost into four separate parts in the pack and the magician claims that he will try to make the “indifferent cards switch places with the Aces.” One at a time, the indifferent cards change places with the Aces with the final change happening in the spectator’s hand!

Setup: None Method: Start by having the Aces produced or taken from the pack. To produce them, I would suggest “T(w)oo Wild Jokers” elsewhere in this book. Either way, have the Aces on the table for examination. With the pack face down in your left hand, retrieve a break beneath the upper 3 cards. Make sure that the tip of the left pinky is actually in the break. Retrieve the Aces face up from the spectators and execute Chris Kenner’s ForFourFor ForF ourFor switch. Here’s how: how : With the Aces spread face up in your Fig. 1 right hand fingertips they are brought over the top of the pack. The left pinky finger is extended outwards. This causes the cards above the break to “open” like a book. This is covered by the spread of aces in the right hand. As the Aces are displayed, the right hand fingers (underneath the Aces) contact the 3 cards that were just “opened” (Figure 1). The right hand fingers grasp those cards adding them to the back of the 4 Aces. The entire 7 card packet is then turned face down on top of the pack. This will effectively switch out 3 of the Aces. For a brief video clip explanation of this move, please contact Syd Segal at [email protected] After you have completed the switch, the Aces should be at the 4 th, 5th, 6th, and 7th positions in the pack. Spread over the top 4 cards, square them and drop them to the left side face up. The spectators should believe that these are the 4 Aces. In fact, they are 3 indifferent cards and 1 Ace. Next, give the pack a few shuffles and false cuts retaining the 3 Aces on top of the pack. After you have done this, spread over the top 4 cards of the pack, square them and drop them to the right 22

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Fig. 2

side of the table face up. Refer to these as “indifferent cards”. These are really 3 Aces and 1 indifferent card. At this point, you will loose the supposed Aces into four separate spots in the pack. Retrieve the packet on the left side of the table (3 indifferent cards and 1 Ace) turning them face down in the process. Refer to these cards as “Aces” “Aces” and have them face down in your left hand. Y Your our right hand moves the deck so that it sits directly in front of you on the table horizontally. Thumb off the top card of the 4-card packet into your right

hand. Your left hand, with cards, approaches the pack on the table and lifts 3/4 of the pack off the table. To do this, your left hand must turn palm down (Figure 2). The face of the packet in your hands will flash that Ace on the face. This is a brilliant subtlety that Le Paul incorporated into his original routine. Place that first face down card into this spot in the pack. Replace the larger portion of the pack onto the tabled packet but leave the card just placed outjogged for half of its length. Repeat the above actions for the next 2 cards each time burying them a little higher up in the pack. With the last card, the only Ace, your left hand simply lifts off the top 2 cards of the pack on the table and the Ace is inserted 3 rd from the top. It is important to make it look very normal and non-rehearsed. If they think you are placing this last Ace in a specific spot, the effect is lost. At this point, these 4 cards are still sticking out of the pack in four separate locations. Slowly and deliberately push them flush with the pack. To the spectators, the “Aces” are completely lost. Pick up the deck and place it into your left hand face down.

Fig. 4

Fig. 3

Next, focus all of your attention on the face up packet on the right side of the table. To the spectators, these should be the “indifferent” cards. W With ith your ri right ght hand hand,, turn this packet face down on the table and pick up the top card of the packet. As your reach forward to retrieve this card, your left hand will push over the top card of the deck and get a break under it. Place the face down card in your right hand on top of the deck and immediately execute a Double Turnover Turnover to display an indifferent card. T Turn urn the double face

down At andthis thumb offinvoke the topthecard of the(Ipack intotwirl yourthe awaiting hand. point, “magic” usually card onright my extended finger) and turn the card face up to reveal the change. Drop this Ace off to the right side of the table. Most of the time your spectators will immediately jump for that card to see if they can “find” the secret. If they do look at the card, that’s great. If not, instruct them to take a look at the card. While they are examining the Ace, slip cut the top card (the indifferent card you just showed) into the center of the pack. Briefly, with the deck in left hand mechanics grip, your right hand approaches the deck from above with thumb at the back and fingers in the front. Your right thumb riffles up the back of the pack to about the center. The left thumb contacts the top card of the pack and applies downward pressure. In one quick action, the upper half of the pack is separated and swept to the right by the right hand. Simultaneously, the left hand thumb drags that top card of the pack into the center. This shouldn’t look like a “move” and should be done on the off-beat. Once they are finished examining the Ace, your right hand retrieves the next face down card from the packet on the table. Again, obtain a break underneath the top card of the deck. The same technique as before can be used. Place the card

 

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Fig. 5

in the right hand on top of the pack maintaining that break. Execute another Double Turnover Turnover to display yet another indifferent card. W With ith the double face up on top of the pack you will execute John Cornelius ’ Winter Change. To do this change, get a left hand pinky break underneath the face up double on top of the deck. With the deck in your left hand, right hand above, your left fingers will extend and push out the lowermost card (Ace) of the double (Figure 3 with right hand missing). As this card exits from beneath the faceup indifferent card, it is fed into the right hand palm. The card is not actually palmed, but is being held against the right hand palm by the up-wards pressure

of the left hands fingertips (Figure 4 under view). The positioning of the card in the right hand palm is also very important. The right-hand fingertips should be able to spread apart and have the card completely hidden. After the card is freed from the deck and resting against your right hand palm, begin to move your right hand (with card) back across the face of the pack. Your left thumb drops onto the face of the pack and the right hand palm and card are slid across the face. The left thumb keeps the card from dropping onto the face of the pack prematurely. Continue moving across the face of the pack, using your left thumb and wrist to keep the card in contact with your right hand palm (Figure 5 with right hand missing). Move your right hand back to the right, back across the face of the pack and deposit the Ace onto the face. Make sure to remove your left thumb from the face of the pack before your right hand makes the journey back across to deposit the card. This is a very visual change and can be devastating when performed properly. If interested, email me for a short video clip explanation of this move. After the change is completed, you will need to clean up your situation. To clean up, you will need to execute the KM Move. With the double still face Fig. 6 up on top of the pack, left hand pinky break beneath it, your right hand grasps the right edge of the double. The right hand now drags the double to the right edge of the deck. Simultaneously, the left hand begins to turn palm down and the left edge of the double cards pivot against the right edge of the deck and begin to close book-fashion. The right fingers extend pushing the indifferent card of the double against the top of the deck (Figure 6). The double cards are “wiped” against the top of the deck as the indifferent card is left on top of the deck and the Ace snaps away, still held by the at the fingertips. The KM Move should be done under the guise of a gesture by the left hand against the just-produced Ace. After the KM Move is done, the face up Ace in your right hand is immediately used to scoop up the first Ace on the right side of the table. This larger action of scooping up the Ace will cover the KM Move completely. After the scoop, you should now be holding 2 face-up Aces in the right hand, and the deck in the left. Drop these Aces to the left side of the table and ask a different spectator to fully examine them. While these Aces are being looked over, do another slip cut with the top card of the pack. This is the final slip cut in the routine. So far, the changes have escalated in their “impossibility” with every phase. The first card was changed face down, the second face up, and now the third will be changed “without even touching it”. With the pack in your left hand, use your right hand to riffle the front edges of the pack towards the remaining 2 face down cards on the table. Act as if some magic has taken place and slowly approach the top card of the 2 on the table. Turn this card face up to reveal the 3 rd Ace. This Ace is then dropped with the other 2 already revealed. The final Ace, in my experience, has the strongest affect on your laymen audience. The card on the table really is an indifferent card and the final Ace should be resting on top of the face down pack. This puts you in a perfect position to 24

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Fig. 7

Fig. 8

do a Top Top Change. T Turn urn over the final face down card on the table and act surprised at the fact that it hasn’t changed into the final Ace. Pick the card up in your right hand and gesture to a spectator to hold out their hand palm up. When all attention is focused on the spectator following your directions, execute a Top Change with the card in your right hand. Here’s how: The left hand gestures with the deck toward the spectator, then moves back toward the body body.. At this point in the left hand movement, the card held by the right hand is exchanged for the top card of the deck. Basically the left thumb slides the top card of the deck over, while the right-hand card slides over and almost completely aligns with this side-jogged card (Figure 7). The right hand thumb pushes the top card toward the deck while the fingers below drag the bottom card into the right hand fingertips. There is a very soft, push-pull movement here on the two cards as they are exchanged over the top of the deck (Figure 8). Immediately after the change is made the left hand moves away and gestures toward the spectator. The top change is most effective when it is part of the larger body movement of pointing or gesturing at something or someone. The right hand should not move as the gesturing and change is made. After the card is switched out, immediately drop the deck to one side of the table. Next, place the single face down card into the awaiting palm of the spectator. Have them “cast a shadow” or do anything magical. Conclude by having them turn over the card in their hand to reveal the final change.

 

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This effect came about after reading through an old issue of Apocalypse. The original effect titled Spel(l)egant (Vol. 20, Issue #4, April April 1997) used an idea from Jim Steinmeyer Steinmeyer.. After playing with this method, I worked out a handling in i n which I was able to show the “question” cards as being correct. I was also able to work out a way, where at the end, the spectators could name ANY card and spelling that card would reveal their selection. This is something I have done now for quite sometime and it never lets me down. T Try ry it out, I think you will agree.

Effect: A cardtoisuse selected a spectator spectator, , returned to the pack and lost shuffling. T The heare magician removes a small packet cards as a liebydetector. A series of questions regarding thethrough spectator’ s selection asked and the spectator is givenof the option of lying or telling the truth. No matter the answer answer,, the small packet reveals whether they have lied or told the truth. After After 3 questions are asked, the selected card is determined but not yet found. T The he spectator is aasked sked to name ANY card (could even be the selection). The magician spells out the named card with the small packet and at the end of this proceduree finds the selected card! procedur

Setup: None

Method: From a completely shuffled pack, spread the cards between the hands and have a card selected. Have the card noted by the spectators and replaced replaced in the pack. Contr Control ol this card to the top of the pack via your favorite method. I use a variant on the double undercut undercut which goes like thi this. s. Swing cut the upper half of the deck into your awaiting left hand. The selection is replaced on top of this packet. The remaining cards in your right hand are placed on top of the cards in your left hand and a left pinky break is maintained. A subtlety I usually throw in here is to simply riffle the front edge of the pack. T This his will reinforce that no breaks are being held, even though one is. With the cards in thi thiss position, your right hand approac approaches hes the deck and picks off a small packet of cards off the top. These cards are dropped to the table. These actions are repeated 2 or 3 times more until you have only a few cards left above your break. When you get to this position, simply remove all of the cards ABOVE the break and place them onto the table. Remaining in your hand is about half of the pack with the selection on top of it. T This his packet is taken from your left hand by your right and dropped in its entirety on top of the half that is already on the table. T This his will bring the selection back to the top. Im Immediately mediately from here, do a normal riffle shuffle keeping the selection on top of the pack. After the spectators are sure that their selection is really lost, pick the deck up and spread the cards faces towards you. What you are looking for is the spectator’s selection, which just so happens to be on top of the pack. Spread the cards out 26

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wide and glimpse their selection (Figure 1). Fo Forr this write up, imagine the selection to be the 4 of Diamonds. T Their heir selection will determine which 12 cards you will now remove. This 12 card packet will be your “lie detector”.

Fig. 1

The order of this packet is essential. The order from the face of the packet to the rear is: Any Card Same Color as Selected Same Suit as Selected Same Color as Selected Any Card, Selected Card Same Value as Selected but Opposite Color 4 Same Suit Cards as Selected Any Card.

Fig. 2

  This 12 card packet is i s removed in two steps. After glimpsing the selection, cut about 10 or so cards from the face of the pack to the back. This This will bury the selection about 10 cards from the top. Now, spread through and remove the first 6 cards for the “lie detector” packet. These 6 cards are removed in this order: An Anyy Card, Same Color as Selected, Same Suit as Selected, Same Color as Selected, Any Card, and the Selected Card (Figure 2). Once these 6 are up-jogged in the spread, strip them out and place them on the table face down. Next, after the first 6 are removed, spread the pack again and up-jog the final 6 cards. They are: Same Value as Selected but Opposite Color,, 4 Cards with the Same Suit as Selected, and Any Card Color (Figure 3). Again, strip these 6 out and place them face down on top of the 6 already on the table. The deck is dropped to one side of the table and is no longer used in the effect.

Fig. 3

With the 12 cards in hand, face down, explain to the spectator that you will ask him 3 questions regarding his selection. With each question, the spectator can either e ither lie or tell the truth. The first question that is asked is, “Was your card a Number Card or a Court Card?” If they answer with “Number”, deal one card to the table for each letter. When you reach the letter “R”, you will deal that card in front of the others already dealt. If the spectator names “Court”, the procedure is slightly different. Start Start dealing the cards face down onto the table up to the letter “T “T”. ”. The card following the “T “T”” in “Court” will be the card that is placed in front of the dealt out packet. Either way, whether they name “Court” or “Number”, the 6th card down is always dealt to the front of the others (Figure 4). This card should be dealt face up.

Fig. 4

When finished with the dealing procedure procedure,, drop the remaining cards in your on top of the the dealtsingle out cards. Pickout up the now of 11all card pointhand attention towards card dealt in front thepacket others.and

 

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Depending on whether they lied li ed or told the truth will determine your patter patter.. In this example, since the card was the Four of Diamonds, the card dealt will be a number card with the same value but opposite color. The next question you ask the spectator will be if their card was “Red or Black?” This time, no matter the answer, you will deal one card for each letter and place the final letter’s card in front of all others (Figure 5). Again, drop the packet in your hands onto the small packet on the table. Again, comment on whether they lied or told the truth and continue on. T This his card by the way will be one of Same

Fig. 5

Color as the Selected Card. The final question asked will determine which suit the selected card is. Ask, “Was your card a Club, Heart, Spade or Diamond?” Again, deal a card onto the table for every letter of the suit they name. Make sure you do not make the suits plural. At the end of the deal, on the last letter of the suit named, place that card in front of the rest (Figure 6). T This his card should match the suit. A few cards will be left in your hand, a few on the table, and one in front of the rest. Instead of dropping the cards in your hand onto the dealt out packet like before, catch a break between the 2nd and 3rd cards from the bottom. You can do this by simply spreading the packet in your hands. Once the break is maintained, cut all of the cards above the break Fig. 6 to the packet on the table. Follow Follow this by placing the remaining 2 cards in your hand onto the packet on the table. T This his positions the selection 2nd from the top of the face down packet. To reveal the selection, make a gesture back to the cards that are face up on the table. T There here should be 3 of them. Mention that if combine the card on your left and the card on your right you will have the selection. While While this iiss amazing, you have still not found the selected card. What What they do not know is that it rests 2nd from the top of the small packet resting in your hand. To find it, you can spell the selection or ANY other card in i n the pack. Make this choice up to your spectator. No matter their answer, here is the proceduree to correctly reveal their selection. procedur The process process is identical for 3 of the suits, the Clubs, Hearts, an andd Spades. I will go over these 3 possibilities first. Say the spectator says “4 of Clubs”. First, spell out the word “four”, one card for each letter onto the table. After the spell, drop the cards in your hand onto the packet on the table. Pick the packet back up and spell out the word “of “of ”, again one card for each letter. letter. W When hen finished with this word, dr drop op the packet in your hand on top of the packet on the table and pick them up. Last, you will spell the word “Clubs”. This time, no matter the suit, the suit itself will be made plural. After you deal out the 5 cards for the word “Clubs “Clubs”, ”, turn over the top card of the packet in your hand to reveal their selection. Now, what if they name a “Spade” or “Heart”? No problem. Everything is the same as above except for which card to turn over. For the “Spades” and “Hearts”, you must turn over the card dealt out on the letter “s”. This will reveal the selected card. The tricky suit is the “Diamond”. T The he dealing procedure differs slightly but not in an obvious manner. Instead of only spelling the t he value on the first dea deal,l, you will combine both tthe he value word and the word “of “of”” on the first deal. That That is to say, if the spectator names the “King of Diamonds”, yyou ou will deal out 6 cards (4 cards for the word “King” an andd 2 for the word “o “off ”) on thethe first deal.on After out them thoseup particular cards,toproceed before drop the remaining in on your hand onto packet the dealing table. Pick and proceed deal outasthe wordand “Diamonds”. Turn overpacket the card the “S” of “Diamonds” to reveal the selection. 28

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Q.

 A. Q.  A.  Q.  A. Q.   A. 

Explain briefly, when and how did you get into magic? I got started in magic when I was about 8 years old. I was originally fascinated with magic after seeing a magician at an elementary school Halloween carnival. Who were some of your mentors coming up in magic? Some ooff my mentors included Don Alan, Harry Lorayne (mor (moree specifically “Close U Upp Card Magic”) and of course Dai Vernon. At what point in your magic career did you decide to go behind the bar and why? It was 1969 that I decided to get into bar magic. At the time I was a hurting for cash and needed a job.

You were close friends with magicians like Michael Skinner, Larry Jennings, and Dai Vernon. Out of all of your time spent with them, what do you feel was the best advice they ever gave you? Each one of those greats gave me advice I still go by today. With Vernon, he emphasized naturalness. Keeping it natural and simple are two guidelines I live by. Jennings would always tell me to “pull down” when getting breaks. He never liked “lifting up”. Skinner loved effects with surprise endings. One bit of advice he gave me was to construct effects with endings that the spectators wouldn’t see coming. Overall though, each of them told me something that has proven true for the last 36 years. That is to AL ALW WAYS include a “classic” in your repertoire.

Q.   A. 

Tell me a great story from either your early experiences at the Castle or at yyour our oown wn Magic Lounge. Well let’s see. At the Magic Lounge, after doing a dice stacking routine, I would always produce a shot glass. This particular shot glass would be filled with watered down coke and give the impression that it was alcohol. After producing it I would always drink it. One night, John Kovarovic, Mike Stilwell and Terry Lunceford switched out that shot glass for one that was filled with 151 Rum. I produced it as normal and drank it. I almost fell right on my ass not expecting the kick it was gonna have. I coughed for a few moments and just stood there while everyone laughed.

 

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Q.  A. 

 

Q.   A.  Q.  A.  Q.   A. 

At the Castle, my most memorable times were spent with the great Francis Carlyle. He and I became good friends and I will always remember the finer points on misdirection and the top change that he gave me. At one point in your magic career, you took somewhat of a break. If you can, why did you take that break and what persuaded you to come back? After my lecture tour in 1990, I had felt that all of the goals I had set out had been accomplished. My goals were very simple and included becoming an author, publishing a book, doing a national lecture tour, owning my own bar and most importantly, teaching the fraternity. Another driving point to my break was to spend time with my family. I decided to come back after realizing that I had been missed by my friends. Bob Sheets and Terry Lunceford would attend conventions and would come back to me and say people would come up to them asking if I was “ok” or where had I been. There were even rumors that I had died. I realized that I still had a lot to teach and wanted to be apart of the community once more. Out of all of the effects that yyou ou have created, which do you like most performing? Which “gets you the fucking money” so to speak? My favorite effect would be the original Torn and Restored card from “7 Secrets”. Another favorite is the glorpy handkerchief trick also from “7 Secrets” (Spectral Silk). In your spare time, when you are not working, do you practice? Of course I still practice daily. I try to dedicate at least 3 hours working out new ideas. Are you currently lecturing? Yes I try to lecture whenever possible. In fact, in June 2005 I will be lecturing in Minnesota at their local Convention. I will also be appearing in September at the “Magic In The Rockies” Convention. Lectures are really my favorite thing to do because I love giving back to the community.

Q.   A. 

If someone was inter interested ested in bringing you in for a lecture or cconvention, onvention, ho how w ccould ould they contact yyou? ou? I can be contacted through my website: www.jcwagnersmagic.com

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Questions That Didn’t Quite Cut It… by Anthony Miller

Q.  If people could only know one thing about you, other than magic, would it have anything to do with your adventures in that Mexican prison?

 A. Q.

No… just the Diego from Diego. Hottest MARRIED babe in magic... A- Hannah Ammar B- Alison Martinez C- Jinger (of Mark Kalin &  Jinger)... P  Jinger)... Please lease exp explain lain why why...Y ...Your our ow ownn wife or girlfriend is NOT eeligible... ligible... U Unless nless she perfor performs ms regular regularly ly at a gentlemans club... If so provide pictures.

 A. Q.  A. Q.  A. Q.   A. Q.   A. Q. 

All of the above could come into my bar anytime and I would show them the handkerchief trick. If you could have any card in the deck permanently removed from all decks, what would it be? (This question was selected from many asked on The Magic Cafe) 2 of Clubs Boxers or briefs? Briefs As a magic bartender, would you use your powers ffor or evil? If the money was “right”? I do it ALL the time… ha ha. If Dai Vernon and Ed Marlo were revived as flesh eating zombies, would you still try and session with them? Sure, I love eating flesh. If you were a betting man who would you put your money on in a all out fight between David Copperfield and David Blaine?

 A. Q.   A. Q.   A.

David Blaine For a large sum of m money oney,, would you arm wrestle Rene Lavand? Yeah but I would probably loose. Between Lee Asher or P Paul aul Harris, who would you trust more with your girlfriend on a deserted island for a week? Probably Paul Harris. Knowing him, he would never put his deck down.

 

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CREDITS AND REFERENCES  A LOGICAL LESSON LESSON The original routine, “A Logical Conclusion”, was published by Larry Jennings in A Visit With Larry Jennings (1982). It was later re-printed in The Cardwright. Cardwright. Jennings (1982) where it is referred to as a “Double Olram Subtlety.” There Rhythm Count - This first appeared in A Visit With Larry Jennings (1982) are two handlings in the notes. The first appears in the effect “Uni-Flection” and the second in the effect “A Logical Conclusion.” The second handling is what appears in Classic Magic where Magic where it was first christened the Rhythm Count.

VERY FAIR TRIUMPH The “Triumph” plot was created by Dai Vernon and published in Stars of Magic. Magic.

FINAL CLOSER This original handling for this routine was published in JC Wagner’s Commercial Magic. Magic. The name of that routine is “Super Closer” and can be found on page 23.  One Man Parade(1969) or in JC’s “Commercial Magic” Ian Baxter Four Ace Production – This can be found in Baxter’s Linking Ring  One (page 24) Gene Finnell Free-Cut Principle - First appeared in John P. Hamilton’s marketed effect, “Eyes Of The Gods” (1948). Finnell later named it the Free-Cut Principle. Gambler’s Cop – While the origin of this move is unknown, a great write up discussing its details can be found in Roberto Giobbi’s Card College Volume 3.

EXTRA THOUGHTS AND SUBSTITUTIONS FOR FINAL CLOSER Vernon Transfer - This is a gambler’s move that Vernon introduced to magicians in Ten Card Ca rd Problems (1932). Problems  (1932).

T(W)OO WILD JOKERS The “Wild Card” premise was created by Peter Kane and was published under the title “Watch The Ace!” in Hugards Magic Monthly (April 1962). Criss-Cut Force - Max Holden. According to Roberto Giobbi it first appeared in the effect “The New Knife and Selected Cards” in the July 1925 issue of The Magical Monthly. Monthly. Daryl Martinez Change – This change was originally published in Jon Racherbaumer’s M-U-M Column under the title “Jack Flash Transpo”. It was later reprinted in the first New York Magic Symposium under the title “Passing The Sandwich”. Peter Duffie’s addition to this change was to use the “taken” card as cover for the bottom of a small packet. This is demonstrated in the “T(w)oo Wild Jokers” routine as well as in unpublished routine by Duffie himself. Gambler’s Cop – See FINAL CLOSER 

OPEN DITCH METHOD FOR T(W)OO WILD JOKERS Elmsley Count – Alex Elmsley. Appeared in the marketed effect, “The Four-Card Trick” (1959).

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EVEN MORE FOUR ON THE FLOOR This original routine was shown to Paul Green and later published in his notes. JC’s newer method eliminates any discrepancies but uses Paul’s idea of dropping the cards onto the ground.  Charles Jordan. Appeared in the effect “The Phantom Aces” in Thirty Card Mysteries (1919). Mysteries (1919).  Jordan Count Count –  – Charles Elmsley Count – See OPEN DITCH METHOD FOR T(W)OO WILD JOKERS Wagner Displacement Count – This was originally published on JC Wagner “Queens Debate” video tape.

THANK YOU LE PAUL The original handling for this effect can be found in Paul Le Paul’s wonderful book, The Card Magic of Le Paul under the title “4 Ace Transposition”. Chris Kenner ForFourFor Switch - Kenner had this in both The Right Stuff  (1985)  (1985) and The Magic Man Examiner One (1991). One  (1991). It appears the basic idea goes back to Marlo (Expert (Expert Card Conjuring , 1968, p. 37).  John Cornelius Cornelius Winter Winter Change – Originally appeared in Harry Lorayne’s Apocalypse Issue 9. KM Move - Tony Kardyro, Edward Marlo (The (The K.M. Move, Move, Marlo, 1962). Top Change – Another move whose origin is unknown. A great write up on the exact mechanics can be found in Roberto Giobbi’s Card College Volume College Volume 1.

PACKET LIE DETECTOR  JC’s inspiration inspiration for this this routine came after after reading Jim Jim Steinmeyer’ Steinmeyer’s “Spel(l)egant” “Spel(l)egant” in an old Apocalypse Apocalypse (Vol.  (Vol. 20, Issue #4, April 1997). The “Lie Detector” plot dates back to Martin Gardener.

 

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