11
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MilliONDOllAR CARDSECRETS
.r by
FRANKGARCIA
Edited. by George Schindler Illustrations by Al Cooper Cover Design by Paul Flayer
Published by MILLION DOLLAR PRODUCTIONS New York, New York
Affectionate/y ID
Copyright @ 1972 by Frank Garcia
dedicated
All Rights Reserved: No part of this book, text or illustrations may be reproduced in any form without permission in writing from the publisher.
FIRST EDITION
);
to my
13 year o/d son, Frank Nico/as, who makes it a// worthwhi/e.
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I CONTENTS J
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From the man who gave you:
CHOICE OPENERS Chicago Opener Double Lift Double Cut
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Eye- Mazing ...... Perplexing . Cut the Kings
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13 15 16 18 20 23
STARTUNG EFFECTS GARCIA ON SPONGEBALLS J GARCIA ON BILLIARD BALLS WILD CARD MARKED CARDS AND LOADED DICE
WildCards Danbury Delight
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Impromptu Card Rise ................................................ Three in a Million ',"""""""""""""""""""""""""'" Swi tchcraft ','" ."....... Million Dollar Transposition ,........................ Eight Card Brain-Wave "............................ Razzle
Dazzle
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21 Force Control
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Knockout
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THE AMBITIOUS CARD (Five Select Moves).
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25 28 30 32 34 35 38 40 44 45
48
FOUR ACE EFFECTS 52 , ........... Easy Aces Anytime Four Aces ................................................... 54 Hide & Seek Kings :,............................. ,;>7 TV Aces... ,. ...... 59 SELECT DISCOVERIES Quasi-Mental ........... Dual Discovery ... , ...... Clear Voyant """",,"""""""""""""""" ..................... Uncanny Revelation ................................................... ~
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64 65 67 69
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Peekaboo Revelation Miracle Stab ............... Stab-Mental ,......... Once In a Knife-time ................................................... Case Card ,.......................................................... GAMBLING PLOYS & POKER DEALS Head to Head Poker ................................................... Shoot-Out Poker " Swift Poker Deal......................................................... Poker Dream ........................ Just a "Second" ......................................................... Winnipeg False Cut ................................................... Cooper's Cut ... ... Affas-Gaffas False Cut ................................................ Gambler's Cut ...
FRANK GARCIA'S NOTEBOOK Culling the Aces Winning Aces Adding a Card Color Change
lOS
106
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Cough Cover Peek Key Control Notes on the Zarrow Shuffle Zarrow Shuffle (Method 2)
106 107 lOH 109
CARD PRODUCTIONS Million Dollar Production
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Eclipse Production
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DOING CLOSE-UP MAGIC ..........................................
MAGICIAN'S RECIPE
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Secret- Reversal Puzzling
82 84 86 88 91 93 95 97 99
102 104 """"""...
FOREWORD
71 73 75 77 79
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The essential ingredient of successful magie is simplicity. Bear in mind that anything you do must be neatly executed and appear important! It is my contention that all tricks should be presented in the most direct and simple manner possible. The average person enjoys being entertained by magie, but if the routines are complicated, the tricks will become problems instead of magie. A routine should never be cluttered with technique. As a matter of fact, if a trick requires fOUTmoves it may be too involved and "sleighty" for it to be practical and effective. If you can take away one of the moves it will be less top heavy. Eliminate another move by some clever subtlety to make it only two moves and you enter the realm of practicability. Add some misdirection and more subtlety and eliminate the last move, and you have a miracle! This book is primarily a book of subtlety and sleight of hand. The moves have been .cut down to a bare minimum. In most of the effects I strived for the "no-move" miracle effect suggested above. Some of the tricks are original. Some are adaptations of old ideas or new applications of old principles. I do not always claim originality for the basic ideas involved, but do for the final dress in whieh the tricks are presented. In buying this book you can be sure to find several ideas, tricks or routines which you will use. Even if you find only one, your investment is justified. These tricks are suttable for stage presentation, some for small audiences, some for the drawing room, and others to be done seated at a table with a few friends. It is my sincere hope that the effects, ideas and routines described here will please the many card buffs throughout the world who, like myself, have a deep love for the paste-boards.
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I would like to thank per~onally George Schindier, to whom I owe a heavy debt of gratitude for his many fine suggestions, ideas and the editing that makys this a clear and more comprehensive work. I also want to thank Al Cooper, without whom this book would have been sadly incomplete. His expressive and dear illustrations will make YOUflearning a great deal easier. AI's technieal ability with a deck of cards is rapidly becoming recognized. The belief that arduous practiee and exceptional skill is necessary in the performance of dose-up magie is erroneous. In fact, some of the deverest and most bewildering tricks are made possible through the use of subtle principles and unique methods that can easily be learned by anyone with a fair amount of practice. Such are the methods in this book. Frank Garcia February,1972
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INTRODUCTION
I
am proud to say that Frank Gareia has been my friend for more than twenty years. We originally met and 1ater worked together at Max Ho1den's magie shop in New York around 1950. It was there that I first saw the talent of the man who 1ater beeame the "Man with the Million Dollar Hands." He is probably best known as a Gambling Expert. I prefer to think of hitp as an entertainer. His sparkling sense of humor and eherubie smile enhanee everything he touches. Frank's genius for analyzing moves and ereating subtleties has never eeased to amaze me. From stage manipulator to close-up performer, his versatility seems end1ess. I am grateful far the eneouragement and adviee he gave me when I needed the gent1e "push" in the right direetion as I went into show business. In editing this book I found out what makes hirn so sueeessful. He is eommercial and entertaining at the same time. Every move is an important one. Every trick has a powerful effeet on the audienee. I'm sure you'll agree that this book is a va1uab1eaddition to your library. George Sehindler
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Gearge Sehind1er
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In all my years in Magie, I h~ve never met anyone who eou1d present all phases of magie with the ability and ingenuity of Frank Garcia.
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In writing this book Garda has let us in on his closely guarded pet seerets. I am sure that the lovers of eard magie will find this an inva1uab1eeornueopia of sleights, routines and tricks for his collection. Not on1y do I reeommend the book, but I find it a MUST for all magieians.
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Mike Tannen February,1972
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Chicago
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Opener
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CHOICE
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OPENERS
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This is one of my favorite openers. I learned this many years ago in Chicago. It is a strong effect and one that always leaves the audience bewitched and bewildered. The action is fast and it will establish you as a great card manipulator. All you'll need is a "stranger" card with a contrasting back (red card in a blue deck, etc.). I always prefer to use a court card such as the King of Diam.onds. Place the real King of Diamonds on the bottom of the deck. Now add the "stranger" underneath the real King. (You now have the two Kings on the bottom.) Ask the spectator to take a card from the center of the pack. He does so and you begin to "hindu shuffle" as you talk. The selected card is now placed on top of the left hand group of cards. Add the right hand "stranger" pack. Merely drop it on top and square the deck. This insures that the "stranger" goes on top of the selected card. Both are now in the center of the deck. "Y our card is the most interesting card in the deck. " As you patter, loosely spread the cards so that the "odd" backed card is visible in the center. Cut the deck .at that point so that the "odd" card is on top of the deck. This brings the duplicate King to the bottom and the selected card second from the top. 'Tm not going to ask you to name your card, but if this were your card, would you agree that this is a
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1Ii..8 miracle. . .? Double lift and turn the two top cards face up on the deck as one. "Is this your card?" After he agrees, turn both face down and deal off the "stranger," leaving it face down on the table. "Let's see i[ we can accomplish a double miracle!" Begin to hindu shuffle and ask the spectator to say "stop" at any time. When he does this, you turn up the bottom card of the right hand stack. This will be the duplicate King of Diamonds. "We stopped at this card, the King o[ Diamonds. I[ my miracle worked tor the (name the first card selected), it should also work tor the King. " Drop the face up King on the table. Use it to scoop up the tabled card. Neatly square both of them, rub them together and very slowly expose both cards, showing them to be the same. Re-read this effect with a deck in hand and you'll find that once you try it, it will become your favorite too.
Double Lift There are many variations of this sleight. I feel that I should inc1ude this method since it is used in many of the effects in this book. The Double-Lift allows you to turn two cards face up on top of the deck as though they were only a single card. The most important part of the action is in keeping the two cards aligned. )
Hold the pack in the left hand, neatly squared. The right hand lifts the back of the top two cards with the edge of the thumb. The left pinky keeps a small break under both cards. This is a set-up motion. Pause to talk before doing the rest of the move. The right forefinger goes into the break under the two cards, atthe right inner corner of the pack. The right thumb grips the two cards and, exerting a bit of pressure, they bend slightly upward. Slide the two cards together to the right of the deck in a gentle sweeping motion. As you reach the edge of the deck, bring them a bit toward the body and allow both to fall face-up on top of the deck. A fraction of the two cards will protrude from the back of the deck. To turn the cards face-down again merely grip the protruding edge and sweep both cards to the right again as before. Turn them face down. The move is really quite simple and should be done in an offhand or "matter-of-fact" way so as not to create suspidon.
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.1. Double
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Cut
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Dai Vernon introduced the Doub1e-Cut to the magie fraternity in the 1ate forties. The move is so va1uab1ethat it has made the use of the classie "pass" practically outmoded. Since it is used in many of my favorite effects, I have decided to describe my own handling.
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A card has been se1ected. The cards are now spread between both hands for rep1acement. When it has been inserted in the deck, the 1eft pinky takes a break on top of the se1ected card. The deck is squared and the break is held. (This has been exaggerated here.) The right hand comes over to the pack with the thumb in the back and fingers in front of the deck. At this point the break is transferred and held by the right thumb. Both packets are now in the right hand. The 1eft hand now cuts off half of the bottom section in the right hand.
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bottom section the break is now into the 1eft hand is thumb gripped cut to the top.
This brings the se1ected card to the top of the pack. The action cuts two sections from the bottom to the top ,and is done naturally as 'though you were just cutting to lose the card.
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The beneath dropped where it again and
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The 1eft thumb clips the inner 1eft corner of the packet and adds it to the top of the deck.
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Eye-Mazing This particular routine is an eye-popper and a good introduction to aseries of card tricks. Preparation: Stack the deck as follows, from the top card down. Any Indifferent Card; Four Kings; the Four of Clubs, face up; the Ace of Spades. Place the Four of Spades on the bottom of the deck. Insert the other three Aces in various parts of the deck about ten cards apart. Performance: Explain that you are going to do a trick with the four Aces. Start spreading the cards in your hands and slowly run through the deck face up looking for the Aces. When you come to the first Ace, push it up so that it juts out of the deck about half way. Continue running the cards until you come to the second Ace. Push this one up in the same manner and do the same with the third Ace. Continue slowly until you reach the Ace of Spades. Push up the entire block of seven cards as though it were on~ card and move it up behind the other Aces. At the same time, "buckle" the last card of the block and bring it down behind the Ace. Hold the deck tightly in the left hand. The right hand now comes up and takes the four Aces (along with the rest of the block behind the Spadc Ace). Pinch them together, pull them out of the deck and turn them a!l face down on the face of the pack. (This is all done with one move.) The bottom card (FOUTof Spades) is now covered. Square the pack and deal four cards onto the table. (These are actually Kings--thc bottom card now showing is a Four of Clubs -which hidos four reversed Aces.)
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Cut the deck, complete the cut and set it on the table away from the four cards. Now move the four cards around on the table. Ask the spectator to guess which card is the Ace of Spades. No matter what he guesses, you turn up the card to expose a King. Turn up the others to show four Kings. Ribbon spread the cards on the table and show the four Aces reversed in the center of the deck. This is a deceptive and startling change setting the mood for tricks to come.
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Perplexing
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I would highly recommend this perplexing effect as an "opener." It is particularly strong and requires a simple set-up.
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Set up the stack from left to right as follows (top to bottom): Ace of Spades face up, followed by three Aces; one indifferent card face up; four Kings beginning with the King of Spades, face down. The stack is now placed of the deck with the Kings topmost.
(still face down) dir~ct1y behind the single card on the table. Patter: "If aU four cards matched, it would be a terrific trick, wouldn't it?" Slowly turn over one of the three face down cards and 'show it to be a King. Place this face up on the deck you are holding, calling the name as you do so. Repeat the action with the next two cards. The three cards are now face up on the deck as in Illustration 1.'
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You are now stacked and ready for a comedy of To start the routine, remove the cards from the ca' holding the deck in dealing position. Approach th spectator, asking him to say "stop" as you riffle th of the cards in an upward direction with your righ When he has called "stop" turn the packet in th hand face up and lay it flush on top of the bottom of cards in the left hand. Spreading the face up c: your right, drop a few onto the table, face down that you will use the first "face-down" card you co As you reach this card, set it down in front spectator (face down). Pick up the discards and piaci under the cards in your left hand. You have just "f, the Ace of Spades. Don't show this just yet. Square the deck and repeat the riffle motion, the second spectator to call "stop." Repeat the first of turning the riffled pack face up on the dec removing the face up cards and .dropping them to the face down. When you come to the face down port: the deck you announce, "We'll use the first thre, down cards we come to." Place these cards on the
20
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Push the Kings together. As you square them up, pick up the block below (comprised of three face up Aces and the indifferent card with the King of Spades face down). You will note that you ha.ve a natural break enabling you to do this neatly and quite casually. Holding the block of eight cards; you now turn it over face down on top of the deck. Deal off the three top cards, calling them "Kings" - "/'ve shown you the King of Hearts, Diamonds and Clubs, so logically this card should be the King of Spades" - Point to the tabled card. Turn this over and reveal the Ace of Spades. Act a bit surprised and place it face up on top of the deck in your left hand. Tripie Hft and pick up the three cards.
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The left thumb puBs off the face up Ace onto the deck and the right hand is left holding two cards which appear to be one (these are face to face). Push the face down card in the right hand onto the face up Ace and in a continuing action puB back the actual top card. This will effect a visual change from Ace to King of Spades. Bury the extra card in the deck. Double lift and turn the top cards face down. Slide the topmost card off the deck and, using it as apointer, explain, "This card now matches those. " Drop the pointer card and turn the others face up to expose Aces. The surprise usually gets a laugh. Turn up the last card and show the Ace of Spades. After the effect has registered, pick up the four cards and casually drop them on top of the deck face down. You are now ready for phase two of this routine. The effect actually ends here, but you can keep the momentum by proceeding to the next trick.
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Cut
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the Kings The deck is now set with four Aces on top and four Kings beneath them. False shuffle the deck, making sure that the top stock is not disturbed. Hand the deck to the spectator and instruct him to begin dealing the cards into two piles of cards on the table. When he gets to almost half of the deck, suggest that he stop whenever he wishes. Each pile now has two Aces and two Kings on the bottom. Instruct the spectator to pick up one of the piles and deal that one into two even piles. He does this and you ask him to repeat with the last pile so that you end up with four packets. Pick up the packet at your left and double lift to show a King. Turn it down and deal it onto the table (actually dealing out an Ace). Pick up the second packet and add it to the cards in your hand. Now again double lift and show the second King. Turn it face down and toss it onto the table (actually the topmost card which is an Ace). Repeat the action until the four Kings have been shown. The spectator is commended for finding the Kings in so unusual a manner. After his bow, ask.him to place his hand on the cards. Make a pass, and mysteriously he has changed the Kings to Aces. Have hirn take another bow.
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Wild Cards I know this book would be incomplete without at least one routine on the "Wild Cards." I had no idea back in 1962 that this would take off as it did tOIbecome the "best close-up card trick" for that year. I know that it is still selling quite weH in one form or another throughout the world. Here is my own routine, one that I favor on my trade shows. I first show eight (8) blank faced cards and I do the regular opening of placing them face up and face down. The last card (ninth) has my signature on its face. I hand this out for examination. I then patter about how I have developed a new electro-static printing process which will put Xerox out of business. The printing is done by "magie." I then proceed to print duplicates of my signature card On the blank cards. Upon completion of the triek, I hand out a few as souvenirs.
ST ARTUNG
EFFECTS
Handling: Four of the nine cards are blank on one side with your signature or name imprinted on the reverse side. The remaining five cards all have back designs with your imprint on the face side of the card. To Prepare: Take the five regular cards with your imprint and spread them face up in front of you. Next take the four double blanks and intersperse them (every other card) into the five on the table. Make sure that the imprint portion is on the underside. The topmost card should be blank, with an extra "backed card" on the bottom. When squared, the pack is set. The cards are held in "glide" position. 25
.Show the first blank card, turn the deck face down and "glide," pulling the second card out and placing it face down on the table. Turn up the left packet and~show another blank. This time slide it off the face of the deck and place it on top of the face down card on the table. Turn the deck face down again and repeat the action until four sets are on the table. Turn each face up card sideways to form an "X" or "cross" design. This leaves the ninth card in your hand face up. So far the spectators have seen only blanks. The one with your imprint is your "wild" card. Pick up any face down card, place it face to face with the "wild" card and explain that you are now magically printing a duplicate. Show both printed cards. Take either card and scoop up the blank card. Turn both of them over and leave them on the tab1e. Repeat the printing procedure with the remaining three sets, doing exact1y as before.
Thl.!Iaution is repeated until all the remaining packets IIIIVl1hc,un pl"inted. You have apparently shown all the 111l'~Hlind
1111
the backs of each card. Upon completion of
thc' 1'011 tinu, hand out one or two of the "backed" cards as MOIlVl\nirs.Just remember to replenish your supply. For C'OI\l IIwl'ciu1 use, you can have your sponsor's product pktlll'ccI on the cards or his advertising message. This I'olilinu has gotten me repeat business.
When all four face down cards have been printed, take the "wild" card in your right hand and holding it face up, scoop up the first set of two cards on the table. Square the cards and turn them aver, end for end on the left hand. You. are now holding the block of three cards in dealing position. Apply pressure with the left thumb and push off the two top cards as "one" (this action will happen almost automatically). Turn these two cards as one, face up onto the card in the left hand (also face up). Casually toss the top card (double-facer) onto the table (imprint is up). Show and turn the next card and toss it onto thetable. The last card is shown and is used to scoop up the next set of two cards.
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Danbury Delight
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There have been many versions of this .now"c1assic" effect. I prefer this method because of the ease in handling. Begin by placing any "three-spot" card to the third position from the top of the deck. Have a card selected and, as it is being shown, undercut the bottom half of the deck. The selected card is replaced on top Qf the packet coritaining the "three-spot." Now cover this with the top packet, but retain a break. Double-Cut the deck, bringing the selected card back to the top. (The "three-spot" is now three cards away from the selected top card.) Explain that you will give the deck two shuffles. Begin by running six cards from the top in overhand shuffle fashion. These are then placed back on top of the deck. Now shuffle again, this time running only live cards into the left hand. Drop the rest of the deck on top of these, but keep a break above the five cards. Transfer the deck to the right hand, but maintain the "break." The left hand now cuts a portion of the top stock to the left. (The right index finger can peel off a small section and toss it to the left hand.) The left thumb now pushes the top card of its pack to theright. The right hand uses its packet to help turn the card face up. This card will be the selected card. 00 not call attention to this, but continue to turn it face down on the left packet, still using the right packet to assist. As it is being turned face down, the right thumb releases the pressure and drops the five cards under the break. (These cards fall on top of the selected card.)
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Using the left thumb, slide the top card of the left packet onto the table. Turn up the next card of the left hand packet, using all the same moves as before. Turn it face down and top it onto the table next to the first card. Now place the right hand packet under the left hand stock. Explain that you have invented a system to disc1ose the selected card in an interesting manner. (The spectator believes his card is on the table.) Give the deck a false cut. Turn up the top card and show the "three." "This card is an indicator. It tells us that your card is three cards [rom the top. " Deal three cards and set aside the third card. The spectator will be smiling at this point, but you now turn the two other cards face up. The smile becomes surprise. Now allow the spectator to turn up the last card, and you take your bow. This is a cute sucker effect. NOTE: To use an indicator other than a three spot, here is the forinula. The indicator must always be third from the top. Example 1: A "Five-Spot" - Place it third from the top. Add 3 to the number o[ spots. (3+5=8) Shuffle this amount (8) and place back on top. Now shuffle one card less (7), drop the top stock and keep the bottom break. Example 2: "Four-Spot" placed third from top of deck. (3+4=7) Shuffle 7 cards and add to the top. Now shuffle six cards and keep under break on bottom, etc.
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Impromptu Card Rise Here is my own handling of the "Plunger" card rise. It is always a mysterious interlude for the layman. The selected card is brought to the top of the deck. Do a "triple-lift" and show the card. "Is this your card? No?" Turn the three cards face down on the pack. Lift the top card by the lower right hand corner, pul1it back and use it to help turn the next card face up. (Do not expose it since it is the selected card.) "What about this next card? Not yours?" Now casual1y toss the two cards face down onto the table. Plunge the finger into the center of the pack and take out any random card. "How about this one?" Toss it face down on top of the other two cards on the table. You have now sandwiched the selected card between two others. Make apressure fan and insert the top card into the fan, al1owing it to protrude from the deck. Pick up the middle card and set it a card apart as you would for the regular "plunger" method. The third card is placed a card away from that and the fan is closed.
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SELEOlONIN CENTER
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Three cards now protrude. Square them neatly. Borrow a handkerchief or cloth napkin and wrap the front of the deck (bottom portion). This will hide the actions to follow. Hold the deck in the left hand and push the protruding cards into the deck. This action forces two cards to come out from the bottom. Transfer the deck to the right hand. The thumb is on one side, the fingers on the other, and the right pinky underneath the two extended cards. The deck is held so that the faces are seen by the spectator. Slowly start lifting the pinky and, as you push upward, ask for the name of the selected card. It is seen to rise slowly from the deck. When it has risen about an inch and a half, grip the deck tightly with the right hand. The left index finger pushes into the deck against the rising card. Show the spectator that the card is actual1y coming from the center of the pack. As you do this, the right hand should gently strip out the two protruding cards from the bottom of the deck. You will hear a slight "click" as they disengage the selected card.
2 one card
two cards
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Keeping the cards held in the left hand, the right pinky again pushes upwards and the selected card will coritinue to rise and come out of the deck completely. It is now being pushed by the two "stripped" cards. The card final1y fal1s out of the deck - a feat which also amazes the fel1ows "in the know."
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Three .
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In a
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Million
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The title here is justified. I've been doing it for thirty years and it never fails to confound both laymen and magicians. Save it for that "special" occasion.
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Use. two ordinary decks of contrasting backs. The decks are brought forth and the spectator asked to select one pack. He is now told to pick up his cards and follow the same actions as the magician. Shuffle your pack. (He does the same.) As you do this, glimpse the bottom card of your own pack. Shuffle it to the top. Now you exchange packs with the spectator. (Your key is now his top card.) Pul1 a card from the center of the pack, look at it, remember it, and place it on top of the deck. Cut the deck in half and complete the cut. (You need not actual1y remember your chosen card.) "Just look through the deck to make sure your card is still there." Both of you look through your cards. The magician looks far the duplicate of the "key" card and gets it to the top of his pack. (Let us say it is the Two of Clubs. You then will find a matching card (Deuce of Spades) and place it on the bottom of your pack.) You both ascertain that your cards are still in the deck.
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Now you exchange packs again. Ask the spectator to fan the cards and pull out only his card. He is to place it on the table. While he is doing this, you fUn through the cards he just gave you and look for your "key" (Deuce of Clubs). The card to the left of it will be the selected card. Pull this out and place it on the table, only after leaving the Club Deuce (key) on top and finding the Spade Deuce and placing that on the bottom. You have plenty of time to do this openly as you pretend to look for your card. Now you have two cards on the table (his and yours). Ask him to cut a smal1 packet from the top. Try to estimate how many cards he cut and cut the same amount. "Let's see i[ we both have the same amount o[ cards. " Have hirn count them onto the table, reversing the order. You do the same. (lf you have the same amount, it's an extra plus; if you estimated a card more or less, either discard the top card or add one from the deck.) Leave both small pac~s on the table next to the selected card. The balance of the deck is set down next to the other piles. You have three piles - a full pack, a smaller pack and a single card. Begin by explaining that it would be one-in-a-million if the bottom cards of both decks matched. Turn both larger stacks face up to show that this has happened. Now do the same with the smaller packs and again they match. "And, o[ course, it's nearly impossib(e tor the random cards to match, isn't it?" Turn up the selected cards for a tripie mirac1e. Three in a million.
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Switchcraft The following is a good example of an excellent card trick that can be done under test conditions. While it appears to utilize difficult sleight-of-hand, it is a very direct effect and easy to do. This is a variation of a transposition done by Ted Anneman who never took chances. His effects had to be foolproof. You will need one duplicate card. I use an Ace of Spades for dramatic effect. The deck is set with a picture card between the two duplicate Aces on top of the pack. Picture will be second from the top. You are ready to begin. False shuffle the deck retaining the three top cards. Double lift the top card, showing it to be the picture card. Turn it face down again and deal it on the table. Place a drin king glass over it. Call it. "This is the King 01 Diamonds." You have actually placed an Ace. You can false shuffle again (keeping the top two cards). Double lift again, this time show a face up Ace. "Here is the Ace 01 Spades." Turn it face down and place it on top of the glass. "Ace on top, King on bottom... Watch!" Snap your fingers and reveal the two cards which have now changed places. 'The duplicate card can be palmed off the top as the spectator is asked to turn up the card under the glass. This one is a reputation builder.
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Million Dollar Transposition Ellect: A wallet is borrowed. A deck of cards is introduced. The top card is shown and placed into the wallet. An envelope is borrowed. The deck is cut while face up. The card at the cut is placed into the envelope. Magician and spectator both initial the envelope. The envelope is opened to reveal that the cards have changed places. The card in the wallet has been transposed with the one in the envelope. Method: The secret agent is our old triend the DOUBLE-F ACER. Use two cards of contrasting nature, either black and red, picture or spot card, etc. Remove the two cards from the deck which match the gimmick. (Example: A Seven and an Ace) The Seven is on top of the deck with the ace being the second card ofthe deck. The Double-Facer is placed with the Seven side Face Up in the Face up pack. (About half way into the pack.) Deck is in its case. Borrow a wallet. Open it and leave it in full view on the table. Remove the cards from the case. False cut or shuffle if you like, and execute a double lift (picking up the two top cards as one). Show the Ace. Turn the cards over again on top of the pack and slide the top card into the center of the open wallet. (This is actually the Seven.)
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8=8 Borrow an envelope. Have it examined and place it on the table, with the flap side up. Turn the deck face up on the table. From left to right you now have a wallet with card in it, deck face up, envelope with open flap. elose the wallet and set it aside or have the spectator put it in his pocket. Call the name of the card agam, "Ace is in the Wallet. "
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Cut the deck, approximately half way down. You should cut to the Double Facer since a "stranger" card will form a natural "air break" in an ordinary deck. You have cut to the Seven. Have the spectator feel the card as you pick it off the deck. "To make sure we have only one card." 00 not expose' the underside.
"We placed an Ace in your wallet. We have a Seven in this envelope. " Now you open the envelope with the side showing the spectator's initials. Tear the end off and allow the card to slide onto the table. Since thls is the underside, will show.
Slip the card into the open envelope. Leave more than half the card protruding to make sure he remembers this card.
the Ace
Hand the envelope to the spectator for hirn to keep as a souvenir. Take the Ace of Clubs and place it on top of the face up deck you are now holding in your left hand. Request that the spectator remove the card from the wallet. Much to his amazement, he will find the Seven!
Push the card into the envelope and seal it. Initial the flap. Turn the envelope over and have the spectator also initia~ the back. Reiterate what hashappened.
While the spectator is busy removing the card from the wallet, you have perfect misdirection. You slip the bottom card to the top of the deck, using a c1assic.color change move. No change is realized since both cards are alike. Turn the deck face down and from the bottom peel off the Ace. Throw it on the table for examination. Bottom palm the gimmick, reach into your pocket for a cigarette and lose it.
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Practice the routine, for it is well worth thy time.
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.. Eight Card Brain-Wave
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Here's a fun trick using only eight cards (four red back, four blue backs). These are the cards I use. The Red backs are Ten of Diamonds, Joker, King of Diamonds and Ace of Spades. The Blue backed cards are the Seven of Spades, Deuce of Spades, Four of Clubs and Queen of Clubs. Alternate the cards so that red and blue backs are interspersed. 'Also, tear a small piece from the edge of the Queen. You are ready to begin. Place the cards in your pocket or in a small coin envelope. Remove the cards from your pocket or envelope without exposing the backs. "These cards are used in a psychological experiment. They have been selected specially as you will see. Please look them over and carefully deäde on one card. You may change your mind as many times as you wish.
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Spread the cards face up on the table without changing the order and allow hirn to think of any one card. Now pick them up again and hold them in the left hand face up. Remove the cards from the face one at a time, placing them to the bottom of the pack. '~s we go through these cards, please stop me when we get to your chosen card.
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When the specta tor calls "stop ", place his card face up on tho table. Now the left hand pushes the top face card into tho right hand. This exposes two cards. Turn both hands over and you have shown two backs. Do not call attention to their color as yet. Now deal the top card of the left hand packet onto the table, at the same time dropping the card in the right hand.
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Repeat the move with the next two cards, each time turning the hand over so that the spectator sees the backs. You are actually showing the same back all the time on the left hand packet.
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When all the cards have been shown, you point out that you knew the spectator would select his particular card because it was the only one in the deck with a different color back. This miracle works best on the ladies, who claim a special intuition of their own. If you'd like to explain it psychologically, you can patter about why they didn 't select the cards you are showing. Each card was too obvious. Ace of Spades, {'everyone picks", Queen has a piece missing, Deuce the lowest card, Four the only Club, etc. You can make up a reasonable story with this arrangement. IMPORTANT NOTE: Since the Queen has a piece missing, it must not be placed at the bottom of the left hand set. Merely cut the pack if it happens to be {here.
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this has been done, square the deck and place it face down on the table. Ask someone to cut the deck into two portions and have the selected card returned on top o[ the original top o[ the deck, Now ask someone to complete the cut by placing the balance of the deck on top of the other half on the table, thus burying the selected card somewhere in the middle of the packet. Ask the spectator to square the pack. Nothing could be fairer than this. It is direct and simple, but sure.
Hazzle Dazzle The plot is simple and the working easy, making this a startling effect. The gimmick is an ingenious one made up as follows:
With the pack still face down, run the cards from the left into the right hand without di~turbing their order. To cover this action, you say, 'Tm sure that you 'll agree with me that I cannot have the slightest idea o[ just where the
Cut a hole in the face of any court card the size of a half dollar. Use a half dollar for a guide and cut the hole exactly with a razor blade. Make sure it is a sharp and neat cut so that the half dollar will pass through the hole easily. You will also need a "short" card. Shave a fraction ofthe top edge of any card and round the corners with a nail clipper or scissor.
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gentleman placed his card." As you go on pattering, riffle the deck upward until you come to the short card. This is cut to the top. This will automatically bring the "holed" card to the bottom o[the deck. IMPORTANT: Remember
Set-Up o[ the Pack: Holding the pack of cards face down, the cards read: Top Card of the Deck-Any card; 2nd Card of the Deck-The "Holed" card; 3rd Card-The "Short" Card; then the rest of the pack. You are now set to perform the mirac1e.
the "holed" qrd should be at the end of the pack nearest your body. Square up the deck and place it on the table face down. Borrow a half dollar and have it marked with a pencil, knife or a sticker. Show the coin, calling attention to the mark and place it on the table to your right (this is important). Pick up the pack, holding it with the fingers at one side and th~mb at the other side. This is exact1y the same position as you use to do the "glide." The hole should be at the end of the pack nearest the thumb. With the right hand, remove the top card (Short Card), and show the face, asking '1s this your card?" The answer will, of course, be "No" so you push the card anywhere into the center of the pack. '1s your card on the bottom?" Saying this, your right hand second finger reaches under the pack and draws out what the spectator believes to be
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1 eC:DOO<~~ Presentation: Turn pack of cards face up and casually run the cards from hand to hand, to show that they are all different (which they are!). Take care not to expose the "HOLED" card. If you wish, at this point the deck can be shuffled, but you must retain the top' three cards in doing so. Have your card selected and signed if you wish. When 40
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8=11 the bottom card. What really happens is that you actually place your finger through the hole and draw out the card underneath. Show this (supposedly the bottom card) and push it anywhere into the center of the deck.
way tlnd lift the cards in the left hand upward and place them on top of those that remain in the right fingers. Keep pressure on until the coin is covered and keep the pack level so that the coin will not slip out of position.
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The above action will automatically bring the selected card directly above the one with the hole in it (bottom card). Cards are still face down in the left hand; position of the hole is nearest the palm. With the right hand pick up the coin again, calling attention to the fact that it has been borrowed and marked. Bring the left hand and pack up at the same time, right hand holding the coin, moving it over to meet the pack and place the coin into the hole. The moment that you have done this, drop the position of the le(t hand, so that the pack is face up before you with the coin on the face card (Court Card) (actually over the "hole"). Now you must call attention to the position, name the card on the face upon which the coin rests and let it be clearly seen.
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Now square the pack neatly and ask someone to name thc selected card. Hold the pack in the right hand and give it a slight shake. Cut the pack at the break caused by the coin. This cut will be automatie, as you will see when you try it with the cards in your hand. This action will cause the coin to go through the "holed" card and come to rest on the face of the select((d card. Call attention to it and to the marked coin. This one is areal puzzier. Here is an alternate method for discovering the card. Instead of cutting the deck in your hands, p!ace it on the table. The pa~k is face up with the coin resting in the hole on top. You must beseated for this method. Both hands approach the deck and cover it momentarily. The action is repeated three times. At the end gf the second approach, the spectatbr is asked to name his card. At that time the right hand picks up the "Holed" card in the "Tenkai" palm position, thus leaving the selected card now face up on the deck. The palmed card is "lapped" and both hands shown empty. The left hand always gives the right hand the shade for the "palrn."
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You now cut the pack so that the coin goes to the center of the deck as it is cut. It is very important that the fingers take the correct position for the cut. Reach over with the right hand. The tip of the index finger presses lightly on the face "holed" card, just above the coin. The thumb is at the rear of the pack. The other three fingers are at the far end. Now: You must keep the face card while the cut is made. Cut the pack about half
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Control Knockout
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Force
The following is a new method for controlling a card after it has been replaced. This is a novel routine and has been tested by experts who gave it unanimous approval. Here's an interesting idea for a force or a card revelation. The force card is the twenty-first card from the top of the deck. False shuffle and cut so that you maintain the upper half of the deck. Allow the spectator to cut off about a quarter of the top section. He holds these cards as you start to deal the cards onto the table from right to left. Each card overlaps the next one so that half of the card is showing. Deal twenty cards onto the table. Now ask the spectator to count the number of cards in his hand. (Example: He cut 12 cards from the top.) Beginning from the left side of the spread, count twelve cards to the right. Tht;:card you stop at will be the force card. To use this as a revelation, just make sure that the selected card is replaced at the 21st position in the deck. The system works all by itself.
Have a card selected. Spread the deck with both hands and have the selected card replaced but maintain a "break" with the left "pinky" above the selected card. Close the
spread. "Your card is hopelessly lost in the pack. " As you say this, spread the cards again '(you still have a "break"). As you spread the cards from left to right, you add three cards to the top of the selected card and 0btain a new "break" above the three cards. This will bring the selected card to the fourth position beneath the "break." Use either a pass or a "Double Cut" to bring the four cards to the top. Turn the top card face up and show it. "This isn't your card, is it?" While it is face up spread the cards slightly and obtain a break beneath the fourth card (this is the selected card). Square all the cards above the break. Now' the right hand holds the lower right hand corner of the block and lifts it as one card. Watch the angle and make sure the cardf>are perfectly squared. The left thumb pushes off the top card and you use the block to help turn it face up. "This isn't it either?" You now get a break under this fifth card, add the block to it and turn the whole packet face dowp on top of the deck. You are handling the five cards as two cards.
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8zII You are now ready for some surprises. Ask the spectator to name his card. He does so. Slip cut the top card. The selected card is now face up on top of the deck. This is the first surprise. Two other cards lie face up beneath this card. The right hand double lifts only the two top cards, gripping them at the lower right hand corner. Bring the two cards away to your right at the same time turning the left hand over so that you don't expose or "flash" the face up card still on top of the deck. The selected card (really two cards) is placed face down on top of the reversed card on top of the deck. You do this by bringing both hands together and placing the left pack onto the right hand card. Square the cards, remove the top card (supposedly the selected card) and insert it into the center of the deck. After ,doing this, the' right hand approaches the deck and you "triple-lift", turning all three cards over as one on top of the deck. Show the top card. "It 's not here. . . . " Slide it off and bury it face down in the center of th~ pack. Slip cut to show the selected card face up on top.for the second surprise. Trus is an excellent way to begin an "Ambitious Card Routine."
THE AMBITIOUS CARO
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FiveSelectMoves The Ambitious Card, probably one of the strongest effects in card magie, is always inc1uded in my c1ose-up performances. The triek always brings forth laughs and amazement. There are so many variations and routines on the trick, I need not go into the basies. Here are five of my own. The Ambitious Card should always be performed in an extemporaneous manner. I never do the same routine twiee. I try to make it spontaneous by going into my mental file of moves and varying them. I always have the card signed by the spectator so as to negate the idea that I'm using any duplicate cards. This is a valuable point and makes for a stronger reaction. 1. Bring the, Ambitious Card second from the top. Do the double lift and show the card. Turn it (two cards) face down, remove the actual töp card and slip it into the center of the pack. Now do a double lift and show the two cards as one. Holding them face up, use them to flip over the third card (top card of deck). Push off this top card so that it goes under the face-up cardsin the right hand. Turn all three down on top of the deck. Square them and double lift. The Ambitious Card is back on top.
left hand completely so that the deck lies in the middle of your palm. Jiggle the hand gently and you will note that the two cards stay together, but jut towards the back of the deck slightly. 1WOCARDSA~ ONE
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When this happens, the right index finger gently strikes the two cards, causing them to spin together on top of the deck in a c1ockwise direction.
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CAAIJSPlNNING IN ClOCKWISE DIRECTION
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In effect you have placed the card in the center of the pack. You've shown that the top two cards are different, and yet the Ambitious Card comes back again. From this final position you are ready to repeat the move as many times as you like. But, not tao many, please!
Close the left hand, enveloping the spinning cards and the deck. They will be evenly aligned. Turn the two cards face down as one. Remove the top card, insert it in the middle of the deck. Single lift the top card and turn it face up on top of the deck. It is the Ambitious Card. Jiggle it again and spin it as before. You are now ready to follow with the next move.
2. Give the deck several pressure fans so that the cards will have a slight convex bend. Do your double lift, calling attention to the card on top (really two cards). Square the face up cards, leaving them on top of the deck. Open the
3. Hand the face up card to the spectator (Ambitious Card). Allow hirn to place it face up in the center of the deck, which you have just spread face down in your hands. Add one card on top of his card as you are c1osing the
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spread and get a pinky "break" above the added card. Double-Cut both to the top. Square the pack and double lift, but do not show the top card. "We'll use the second card [or this experiment. " Using the double top card, flip the second card face up where it remains. Add the top card (two cards held as one) so that it covers the face up card. Now merely pull back the actual top card and the Ambitious Card is seen on top. This gives you a lightning color-change effect. Turn the two top cards over as one. The Ambitious Card is second from the top at this point. You can now add the next move if you like. 4. Remove the top card of the deck. Place it in the center of the deck, but at the back end dosest to your body. Allow the card to protrude about an inch and a half from the back. Place your right thumb at the back end of the card. Your right middle finger rests at the top section of the top card stilI on the deck (Ambitious Card).
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This is the crucial part of, the sleight and should be done as one move. Raise both hands in an upward direction so that your hands are parallel to the spectator's eyes. Now the right thumb pushes the extended card flush into the deck, while at the same time the right middle finger pulls down the top card so that it now extends ab out an inch and a half off the top of the deck.
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2 If done correctly, the spectator assurnes that he's still looking at the first juttipg card. As the hands are lowered, the right thumb pushes the top card back on top. Now you can turn up the top card, again showing the Ambitious Card. 5. This last idea isfor "fun." I personally enjoy playing with it. It's a natural for a TV shot or when you want to fool the boys down at the magie shop. Use a double-backer and have i't on top of the deck. Have a selected card signed and place it face up on top of the deck. Double lift as you turn it face down. Remove the top card and openly place it second from the top. Snap the fingers and turn the real top card face up, showing the signature. Turn it down again with another double lift and you're set to do it again. Do it a few times be fore you go onto something else And remember to palm off the double-backer when you're through.
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FOUR ACE EFFECTS
"one". Get a break beneath the seventh card. The block is now cut away to the bottom with a Double-Cut. "The Aces are now lost in the deck. " Turn the deck face down and show no Aces on the top. Riffle the deck with your thumb and announce that you have just placed the Aces in various parts of the deck so that you can find them easily. 'TU spelZ the first one. " Proceed to speIl the A-C-EO-F-C-L-U-B-Sby dealing one card for each letter. Turn up the card that falls on the letter "S". It will be the Ace of Clubs. Pick up the stack on the table and place this on top of the- deck. Leave the Ace on the table. You now have two Aces on top, followed by a seven spot, and seven cards away is the last Ace. Double-Cut only the top card to the bottom and show the second Ace on the bottom. Drop it onto the table. Holding the deck face-up, begin a "hindu shuffle" allowing the spectator to stop you at any time. When he calls "stop" turn the left hand packet face down and then place the right hand packet on top. Square the stack and turn up the top card. Remove this third Ace.
Easy Aces Here's an easy variation on the cutting of Aces. Remove the four Aces from the deck, dropping them on the table. While you do this, place a seven spot card (any suit) on the bottom of the pack. Arrange the Aces on the table sothat they read from left to right, two Red Aces, the Ace of Clubs and the Ace of Spades. The deck is held in the left hand face up. Add the face up Aces to the pack.
At this point give the deck a few false shuffles or an Affas-Gaffas false cut and finally turn up the top card drama tically. It is the seven spot. Feign surprise, but save the situation by counting off seven cards. The last card will be the last Ace.
Fan the cards from right to left, showing that there are only four Aces. As you do this, mentally count seven cards beginning with the seven spot. The Seven is counted as
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Anytime Four Aces
The first Ace is spelled out, one card set down on the table for' each letter: A-C-E-O-F-D-I-A-M-Q-N-D-S. The next card is turned face up. It is the Ace of Diamonds. Leaving it face up, use it td scoop up the other cards and pIace the whole packet on top of the deck. "Remember
This unusual effect has been with me for a long time. It is one of my pet effects and requires no difficult sleights. But the instructions must be followed carefully and the deck handled very neatly. Borrow a, deck, have it shuffled and, taking the cards back, you announce that you will need four Aces for this trick. Hold the deck face up in the left hand. As you look for the Aces, remove the cards from the boHom one at a time, reversing their order and counting, so that you remember the tenth card. Continue to peel cards off the deck until all four aces are removed. The deck is placed face down on the table. Your noted "key" is the tenth card from the top. Show the Aces, arranging them face up on the table in the following order from left to right: Ace of Diamonds, Ace of Clubs, Ace of Hearts; Ace of Spades. Ask the spectator to remember the order. Cut off the top fifteen or sixteen cards and place them behind the Ace of Diamonds on the table. Cut another small packet (a bit less) placing it behind the second Ace. Do the same with the other two Aces. Pick up the first packet, turn the cards face up and pressure fan them. Place the Ace of Diamonds to the right of your key (tenth) card. Push the Ace into the deck and elose the fan. Pick up the second Ace (Clubs), turn it face 54
downand use it to scoop up the second pile. This packet is added to the face up pack in the hand. The Ace of Clubs is now topmost card. Get a break uilder the Ace and double-cut it to the bottom of the stack (a la "Cutting-theAces"). Repeat the procedure with the next stack, double-cutting the third and fourth Aces to the top of the deck. Now turn the deck face down in the left hand. (Three Aces are now on top with the Ace of Diamonds eleven cards beneath them.) We're now set for the miraele.
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that the Ace of Diamonds isface up. " Now speIl to the next Ace (Ace of Clubs). SpeIl the same way, placing one card down for each letter. The next card will be the Ace of Clubs. Turn it face down. Use it as a scoop and scoop up the tabled cards, putting them back on the top of the deck, but maintain a break under this stack. "For the Ace of Hearts, we 'll cut the deck." Double-cut the top stock to the bottom. Turn up the top card slowly, showing the Ace of Hearts. Take care not to expose the face up card second from the top. Leave the Ace face up on top of the deck for amoment. Get a break under the third card, tripie lift and turn the three cards over as one. You have &pparently turned the top card face down and have reversed the Ace of Spades secretly. "Which Ace is left?" The spectator names the Ace of Spades. You now get a break under the top card and in the action of a double-cut, you produce the Ace of Spades face up on top of the deck. Turn it face down on the deck. Pause for a few seconds as though the trick were over.
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1
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..8 Holding the deck face down in the left hand, press down with the thumb and literally throw the pack into the right hand, retaining the top and bottom cards in the left fingers. In a continuous action, throw the cards from the right hand onto the table, retaining the top and bottom cards again. Slowly turn both hands over to expose all fOUf Aces. This last action is a topper to the effect and fellow comperes will give you cred~t for handling that was never really done.
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Hide and Seek Kings This one is good visual frickery at its best. In this routine, nobody "picks" a card. The audience sits back and watches magic. Set-Up: Stack the deck as follows from the top card down: Any indifferent card followed by the Queens of Spades, Hearts, Diamonds, Clubs. The Queen of Clubs should be fifth from the top. Now distribute the Kin!?s anywhere in the pack. Performance: "We need four Kings for this trick." Openly find the Kings by running through the face up cards. Place them face up on the table as you find them. The deck is held face down in dealing position. Pick up the fOUf Kings one at a time, placing each cne faceup on top of the deck in the following order: King of Spades, Hearts, Diamonds, Clubs. Spread the top cards to show them face up, but continue the spread beyond the Kings. Mentally count five cards and get a "break" under the fifth card, c1osing the spread and squaring the pack. Lift the entire block (9 cards) neatly squared. YOUfright thumb holds the block in the rear with the other fOUffingers in front.
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8=11 The right hand now approaches the left hand deck. The left thumb slides only the face up King of Clubs onto the deck. It is still face up as you place the entire block on top of it from the right hand. Now you announce, "The King of Clubs has vanished!" Spread the top cards carefully, showing three Kings. Continue to spread four more cards. Get a "break" under the fourth face down card. The fifth card must not move, as it hides the King of Clubs. Square the pack again and lift the block of seven cards as before. The left thumb now takes the King of Diamonds. The right hand block is added. Announce, "The King of Diamonds is gone." This time you show the two top Kings, but spread only three more cards, getting a "break" under the third face down card. Square the pack, lifting the five card block. Slide the King of Hearts to the left. The King of Spades and the block beneath it are held as one card and added to the King of Hearts. "The King of Hearts is no more. "Spread two cards below the King and get a "break" under the second face down card. Lift the block again and pull off the King. It appears as though you are now covering it with the "second" card. The face down cards are held as "one." Snap your fingers, pull back the top card, show it and bury it in the center of the pack. "Where is the King of Spades?" Cut the entire pack in half and complete the cut. Now spread the cards face down on the table. The Kings are seen reversed in the center. There is a face down card between each of them. Pull out all the cards from the face up King of Clubs and inc1ude the card to the right of the King of Spades. Show the face down cards to be Queens matching each of the Kings. "Where are the Kings? They 've gone to find their ladies!" Editor 's Note: If you wish to follow with a Four Ace routine, you can substitute the Aces for the Queens. 58
TV
Aces When I was a young boy first starting in magic, my dream was to be able to have the ability to cut the Four Aces out of the deck. In the ensuing years, I found many methods. The one I describe here is one of my favorites. It's simple to do and will fool the boys "in the know." I have done this many times when being interviewed by the press or when I appear on TV. Do it anywhere, anytime, and with any borrowed deck.
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Remove the four Aces from the deck and toss them face up onto the table. Holding the deck face up in dealing position, riffle the outer edge of the cards with the left thumb. When you've riffled about forty cards, peek the card at that position, rem ember it, and at that point in the deck, place your first Ace. It is now protruding half way as you continue to riffle about ten more cards where you place your second Ace (in front of the first one). The third Ace is placed in the same manner, but only about eight cards away, while the last card is inserted about six cards in front of the previous Ace. 59
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1&8 The deck is now face up with the four Aces protruding. Move the position of your left thumb from the side of the deck to the top of the deck. Apply pressure on the face card. The left index finger pushes the Aces into the deck.
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You have actually pushed the Aces into the deck, but you have also forced out the extraneous cards in between them. This is the crucial part of the effect. As you finish pushing the Aces in, you strip the extra cards out of the bottom and continue by "hindushuffling" them onto the face up cards. This is an Ed Marlo move and a very convincing one. The Aces are now together in front of your "key."
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Square the pack and turn it face down. Show that there are no Aces on the bottom by fanning a few bottom cards. Now show, that there are no Aces near the top. Do this by fanning a few cards and turning them face up. Take a few more, one at a time, until you see your key. Keep a break between the key and the next four cards. Double-cut and you now have the Aces on top of the deck. Shuffle them to the bottom of the pack with an overhand shuffle.
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8:,. 60
While you are squaring the deck, give it an "upward riffle", bridging the deck. The illustration is greatly exaggerated for the sake of clarity. Cut the deck approximately in half, bringing the Aces to the middle. This explanation takes longer than the actual execution. You will note the deck has a bridge. By bending the index finger on top of the deck and pushihg inward, the bridge becomes hidden. Release pressure and the bridge reappears. Place the deck in the left hand in position for the Charlier or "One-Hand" cut. Release pressure of the hand and allow the bottom cards to drop into the left hand. The cards automatically cut at the bridge.
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: ~ ~\
\iii
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5
~ 6
7
Now for the pretty part of the routine. Insert the left thumb in the break as shown in the illustrations. By pulling back gently ~)llthe thumb you will note that the bottom Ace will ride out with the thumb.
8 61
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When the Ace is threequarters of the way out, push upward with the thumb. Th~ face up Ace will flop over onto the top of the deck. This is the method for producing each Ace. Show the Ace and drop it onto the table. Now take the deck with faces away from you and shuffle off five or six cards. Throw the deck on top of these cards and proceed to cut to the next Ace as before. For the third Ace shuffle the five or six cards back from the bottom to the top. The idea is to create the illusion that you shuffle after each Ace. The Aces will remain in the center of the pack. Produce the last Ace. Before using the deck again, spring the cards from hand to hand to take out any crimps still in the deck.
9 .
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SELECT
DISCOVERIES
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QuasiMental Here's a nice "bold" quickie to inc1ude in an evening's entertainment. It's easy to do and will establish you as a "super star" with the pasteboards.
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As you're shuffling the cards, glimpse the bottom card and shuffle it to the top of the deck. Place the deck on the palm of your outstretched left hand, so that it is c1ose to the base of the thumb. The spectator is requested to cut the deck in half and place his stock adjoining the others. You now have two halves on your palm. The half c1osest to the spectator contains the glimpsed card. "By looking at this card (nearest to you), I can tell you Ihe name o[ the card on the other pile." (Look at this and remember it, but caU the name of the glimpsed card.) Turn up his top card to show it. Drop it onto the table and put the two halves together so that the new glimpsed card is on top. You can now repeat the trick. Do it once more. The last time you do it, shuffle the "key" to the bottom ot your pile and again have the spectator cut his half. This time yöu caU the names of the bottom cards of each pack. Call your "key" card first, but puU out the bottom card of the spectator's pile. Do not show it, but lift it up in a fancy gesture and glimpse it as your drop it onto the table. Call the name of this card and slide your own bottom card to the table. Turn both cards face up together.
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Dual Discovery This routine is ideal for the living room or small group. It requires "neat" handling. Two cards are selected and returned to the pack. They are both controlled to the top of the deck. Give the deck a few false shuffles and cuts. 'Tm going to use two cards." As you say this, remove three cards from the top. Place the deck on the table and handle the three cards as tWO. Since the first spectator replaced his card first, it will be second from the top of the three card stack. The second spectator's card is on top. An indifferent card is on the bottom. Approach the first spectator and spread the cards, showing them as two by moving the top card to the right. Keep the bottom cards together, squared as one. "Do you see your card here?" He will answer "No." Now move to the second spectator. Square the cards as you approach hirn. Buckle the bottom card to the left as you show two cards. (The topmost cards held squared as one.J "Is your card here?" The second spectator also will say "No. " 1
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2
3
You will be pleasantly surprised at the reaction you'U get to this simple effect. 64
65
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Clear Voyant
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Over the years I've had fun fooling "the boys" with this one. In the layman's living room it is a veritable "miracle"! The principle is old, but the presentation here, with the proper aeting ability. on the part of the magician, will make it a mystery.
Square the cards and turn them over in YOUfleft hand so they are face up. Using the "color-change" move, palm the bottom-most eard in the right hand. Pass the hand over the face up eards and drop the palmed eard on top of the indifferent eard. By buckling the bottom eard, you now show them as two. This time both spectators will aeknowledge their cards.
YOUf deck is set up in a Si Stebbins arrangement.* The suits follow Clubs-Hearts-Spades-Diamonds. Each card iq sequence has a value of three more tha'n the previous card. An Ace follows a Jack, Deuces follow the Queen, Trey follows the King, etc. An easy way to remember the suits is with a mneumonic. Remember the word "C-H-a-Se-D." Clubs-Hearts-Spades-Diamonds.
You have ereated the illusion that two indifferent cards have changed to the seleeted cards. Aetually each spectator has seen the other's eard.
Presentation: Remove the deck from its c.ase and casually cut it a few times as you patter. You will hand the deck to the spectator and ask him to step into the next room where he cannot be seen. He can löck himself in for more dramatic effect. He is to follow your instructions. ."
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Once in the room, within earshot, he is told to shuffle the deck in an overhand. fashion. Now he must give the deck a simple cut. He will square the pack and remove the top card of the deck without looking at i(. He places this card in his pocket, and brings the deck out of the room with him. Once in YOUfpresence, he is asked to turn the deck face up and spread it until he finds the first Queen. He hands you this card. And now for the build-up:
67
Once you see the bottom card of the deck, you add three, and you now know the card in his pocket.! It is the next card in the Si Stebbins set-up. The shuffle and cut will generally not affect the sequence. Pick up the Queen that you have been given. Hold it to your ear and pretend that you are getting messagesor whispered information. Dramatically announce the name of the selected card. Have the spectator remove it from his pocket and show it around. The odds of destroying the set~up on a single shuffle are negligible. You can even repeat the effect two or three times. I have done it as many as eight times without the loss of the set-up. This one is a reputation builder.
Für those not familiar with the Si Stebbins, here is the set-up: *SI STEBBINSSET.UP K-Clubs 3-Hearts 6-Spades 9-Diamonds
K-H 3-S 6-D 9-C
K-S 3-D 6-C 9-H
K-D 3-C 6-H 9-S
n"'-c 2-H
n-H 2-S
n-s
n-D
5-S 8-D J-C A-H 4-S 7-D 10-C.
5-D 8-C J-H A-S 4-D 7-C 10-H
2-D 5-C 8-H J-S A-D 4-C 7-H 10-S
2-C 5-H 8-S J-D A-C 4-H 7-S 10-D
Kingof HeartsfollowsTenof Clubs,etc.
68
Uncanny Revelation I find this trick most appealing to the women in the audience. It is a bit offbeat and I always use it when the conversation gets around to "mentalism" or "intuition." The preparation is simple. In shuffling, get a glimpse of the bottom card and remember it (key card). Ribbon spread the deck face down on the table. Request that your spectator remove one card but not to look at it. Haveher sign her n~me along the white border so as to mark this one card. While she is doing this, pick up the deck, square it and cut the top half onto the table. Ask that the initialed card be replaced on top of this packe~. Complete the cut so that your "key" now falls on top of the selected card. After a few false shuffles and cuts, ribbon spread the cards face up on the table. Locate the key. The selected card will be the card to the right of the key. So far it sounds like a routine trick. Here's where a bit of acting ability comes in! Borrow a pen and, starting from your left to your right, skim the pen above the cards. This is done slowly. As you begin to approach the selected card,
you ask, "Pleasetell me when to stop. " If the pen is held about six inches above the deck, you can time this so that you will come down right on her card. Timing is critical here. After a few tries, you'll find it second nature and that you'll be able to come down on the setected card naturally. Pull the card from the deck and slowly turn it over to verify the signature. 69
If you miss, do not panic. You always have hundreds of "outs" if you're quick-witted. You can always count to the card. For example, if you're five cards away you can always speil "b-I-a-c-k", spe-ll"S-p-a-d-e", or count in one direction or the other. Once you've mastered the timing, you'll find you won't need'. the "outs." This is an exceptionally strong effect.
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8b8Peekaboo Revelation This particular effect was once presented to me as a card problem. Here's the problem: A card is freely "peeked." The deck is cut a few times and the selected card is revealed face down in the center of fOUf face up Aces. Here is my handling on this. I have kept the moves to aminimum. To set up, reverse the four Aces-black Aces on top and bottom, red Aces in the center. These face up cards are placed on top of the deck covered by a single "face down" card to hide them. Hold the deck in "peek" position. Riffle the topmost right corner with your right index finger and ask the spectator to stop at any time. When he calls "stop" he is asked to remember the card he just saw. As you bring the deck downward, let his card drop and maintain a "pinky" break on top of it. Lowering YOUfleft hand, you hold the deck in dealing position (still holding the break). Get a second break with the right thumb, under the third card from the top. This card is a red Ace. Double-cut his card to the top of the deck, keeping the right hand break whioh is now in the center of the deck. The right hand now cuts the deck as follows: the left thumb pulls the top card to the left in "slip-cut" fashion. The right hand pulls away the cards above the break. The top card will cover the face up card in the left hand section. This is to be done in a continuous motion so there will be no "flash" of the face up card. The handling must be very neat.
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71 iL.c
The right hand packet is now dropped on top of the 1eft hand packet. The "peek" card will b6 sandwiched between the aces. The spectator names his card and you ribbon spread the deck face down on the tab1e for the final disclosure.
Miracle Stab
This will become your favorite reve1ation and it's a natural for leading into a Four Ace routine.
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Here's one that I've kept under wraps for some years. Many of the keenest minds in magie have be~n foo1ed by this. The germ of the idea came from a meeting with the late Bert Allerton some eighteen years ago. Bert did this effect by committing the entire deck to memory. I've eliminated that. The second part of the trick depends on your ability to estimate cards accurate1y. A bit of practice will give you the fee1 of the cards. The 1ayman is asked to name any card in the deck. He may change his mind to insure a free selection. The magician now removes the deck from the card case, inserts a knne into the pack and discloses the card named. Here's how. Preparation: Use a brand new deck and shuffle it severa1 times to thorough1y mix it so that there is no order to the cards. Next, you take a small index card, cut to 2-1/8" x 2-1/2". Type or prin t the order of the cards as per the samp1e be10w.
11
A 2 3 4 5 6 7 8
9 10
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J Q K
C
H
S
D
.4-
-32-
- 6-
-30-
-37-13-31-45-16-27-
-52-
-17-48-22-10-42-
-47-40-46-14-39-24-29-
A 2 3 4 5 6 7
- 7-
- 8-
-36-
-21-20-26-43-25-
- 9-
-35-
-38-28.12.
-51-44.
- 273
- 3-15-49-
- 5-11-
-18-
- 1-
8 9 10
-34-41-50-
-19-33-23-
J Q K
11 11 11 1
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.. This index now gives you the 10cation of every card in the deck by card and number. G1ue this index to the back of the card case in a width-wise direction as in the illustration. To assist in the cutting, give the 26th card a slight crimp. The cards go back in the case. Presentation: P1ace a pocket knife on top of the case which is on the tab1e on its edge 1engthwise in front of you so you can see the index. Have the spectator name a card and go through the protoco1 of allowing him to change his mind, etc. After he names the card, look it up on the index. You have p1enty of time to do this. You can open the knife slow1yfor added time.
8i=8Stab&tp8 Mental A little acting ability and showmanship can make this the strongest effect of the evening. To make it more dramatic, you can use a blindfo1d at the end of the routine and your audience will talk about this one for days to come. Preparation: Remove ten cards va1ued Ace through Ten. This need not be of the same suit. P1ace the cards in destending $equence as follows: ! 5-4-3-2-Ace10-9-8-7-6. This isdone to mask the set-up, making it a bit 1essobvious. P1acethe set-up cards on top of the deck with the Five spot topmost.
Pull the cards from the case. Holding the deck firm1y on its side with the 1eft hand, estimate the 10cation number and neatly insert the knife at that point. Patter:
"You are about to witness a miracle." Turn up the card. (It is sometimes the next card, but in any case you have done the impossible.)
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Ct::8 8=::8 74
Presentation: Begin to fa1se shuffle and fa1se cut the deck. This is not too hard since you on1y need to contro1 ten cards. Allow the spectator to cut the deck and comp1ete the cut. Now exp1ain that you'll need a number of cards at random. Pick up the deck, look through the face up cards and remove the ten cards from thepack. Fan these in front of the spectator and allow him to "think o[ any one card." He may change his mind if he wishes. Before rep1acing the ten cards on top of the pack, you cut them in half so that the Ten spot is on top. The cards are now in descending order from Ten down to the Ace. These are p1aced on top of the deck and you fa1se shuffle a few times as though 10singthem in the deck. Hand the deck to the spectator. He is to take the deck under the tab1e. He must now transfer cards from the bottom to the top. He is to transfer as many cards as required to match the va1ue of his mentally se1ected card.
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Example: If he selected a Deuce, he moves two cards from bottom to top. If he chose a five-spot, he moves five cards from bottom to top, etc. He must then bring the deck up to dealing position. Your patter might follow this theme: "You merely thought of a card. You didn't take it from the pack. I have no possible way of knowing which cardyou selected. " (Make this strong.) At this point you request that l1e deal the cards Hone at a time" all around the table in no particular pattern. Here's where the chicanery comes in. As he is doing this, you mentally count to the eleventh card dealt. Note its position on the table and do not lose sight of this card for amoment. When the spectator has finished dealing, you place both hands on top of the cards on the table. Your right thumb goes directly on top of the selected card and stays there. You now proceed to mix the cards about haphazardly. The thumb will help you keep track of the card during this mixing process. At this point you can even be blindfolded. Use a handkerchief where you can see down through the space between your nose and your eye. The rest is showmanship. You can allow the spectator to hold your wrist as it passes over the collage on the table. Suddenly, with a plunging move come down on the chosen card and dramatically turn it up.
.~ IJ
Once In a
8:iF8
Knife. Time Here's one that I've been using since 1945. The spectator assists in the performance of a miracle. A card is selected and the
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1
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This is a very strong effect and an intelligent audience will view this as a "bio ckbuster. "
2
76
spectator signs his name on its face. It is then returned to the deck. The card is brought to the top of the deck. Do a few false shuffles and cuts without disturbing the top card. The deck is now handed to the spectator who is asked to wrap it in a paper napkin. The deck is to be placed in the center of the napkin and wrapped fairly tightly. Take the deck and hold it on the table firmly. Ask the spectator to insert a knife somewhere into the deck. He is allowed to change his mind. After the spectator has stabbed the deck, you split the paper on both sides of the 77
11
[I
II
I I I' 11 I1 11
'I
I 11
I'
I
-=knife. Here's where the dirty work comes in. The deck is held in the left hand. as in readiness for a shuffle. The thumb is up. The fingers wrapped around the other side of the deck must face the floor. (See illustration.) Insert your right thumb up to the first joint (as though it were a knife). Start pulling one half of the deck to the right at the same time the left thumb pulls to the left. The face card in the center of the pack will be facing you. Continue turning the packets over until both packets have been
3
4
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5
8!::8
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This particular effect uses one of the most startling card discoveries that I have come across in years. Whenever I do it, I literally get gasps from the laymen. It's been in my repertoire for a long time. I use it for a c1osing effect or an encore. I use Tally-Ho cards or any deck where the card design is imprinted on the back of the card case (Bicyc1e, etc.). Slit the flap side of the case with a sharp razor about 1~ inches down from where the case opens. The slit goes all across the design on the back (in the width). A card is selected, signed and returned to the pack. You bring it to the top. Now you show that his card is not on top, using a double lift. Show that it is not on the bottom.
given a full and complete revolution in both hands. This move must be done in one motion. What happens is that the card that is now face up was originally the bottom card of the deck. The card face down in the other hand is the selected card. The entire action is masked by the paper and the falling of the knife.
Place the cards into the card case as follows: As you reach the flap, the right thumb pushes the top card slightly to the left (about ~ of an inch). You will note that by jogging it slightly in this manner the card will almost automatically slide through the slit in the case.
Offer the deck and allow the sp~ctator to turn up the card. The method may also be used as a Force. You can force both top and bottom cards in this manner. 78
Case Card
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79
Three quarters of the card will remain "outside" the case. The last quarter remains in the case when you c1ose the flap. Because of the over-all design of the case, the protruding card will camouflage itself. You can now handle this easily without fear of exposure.
+
The case is now placed on the outstretched palm of your left hand so that the selected card lies flat on top of the hand. Using a c1ockwise rotating motion, press down on the case and the selected card seems to have penetrated. It magieally appears face up on the palm. You have just mastered one of the prettiest card discoveries in magie. You can put the cards away and conc1ude your performance, as it is a very hard effect to follow.
GAMBLINGPLOYS &
~ a1I=a
80
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POKER DEALS
The subtlety here is that when he has done this, he has set the deck up for you. The Kings and Aces are in the
Head to Head Poker
middle üf the pack. You nüw cut to the crimp, complete the cut and take the tüp card for yüurself. It will müst likely be an Ace. Just in case Yüu didn't hit it right, you will still have a King. Invite the spectator tü repeat the actiün. He cuts away the tüp sectiün and draws a card
Dia
which sets you up again far a cut tü the crimp. After five cards have been drawn, making up twü püker hands, you allüw the spectatür tü look at his cards, allowing hirn Deuces wild, One-Eyed Jacks ür Jokers wild. He then turns up his hand. The üdds are all in your favür. No. matter
Hyre is a trick which is a natural tü dü when the spectatür gives Yüu the familiar phrase, '1 wouldn 't want to play cards with youl" This is üne that I like tü use. 1 11
I 11
After yüur last trick, YüUüpenly gü thrüugh the deck and cull the füur Aces and four Kings tü the tüp üf the deck (füur Aces tüpmüst). A few false shuffles will maintain the tüp stück. Nüw YüUmust put a little "würk" intü the deck. The right hand apprüaches the pack and gives the tüp half a riffle in an upward directiün (see Fig. 5-TV Aces). This gives the entire deck a slight "crimp." The riffle need nüt be tüü extreme (illustratiün is exaggerated)
what he draws, YüU have the advantage of either four Aces, four Kings, a FuiI Hüuse ür twü pairs üf Aces and Kings. Make sure that all the cutting is düne casually. Dü nüt gü lüüking für the crimp, but cut easily. The spectatür dües all the work für YüU. After the effect, riffle shuffle the deck and remüve all the crimps.
.... D=1I
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Place the d~ck in frünt üf the spectatür so.that he will cut the deck früm the side. Ask him tü cut the deck, cümplete the cut and then take the tüp card für hirnself für a little püker game. He is nüt tü lüük at the card.
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82
83
-+Shoot-Out Poker
The "gaff" is simple. We use a long, thin rubber band about 2Yzinches in length. Band the bottom twenty cards lengthwise. Now the Royal Flush cards are forced into the center of this block. Take the remainder of the deck and place it on top of the block.
For solid belly laughs, I always inc1ude this routine in my evening's repertoire. This is both entertaining, astonishing and highly commercial. Read the routine first and then set up the gimmick.
1
Gear the patter toward gambling and explain that you will show how to make a winner out of any spectator. Ask the chosen spectator how many poker hands he wants you to deal. Now ask him which hand is to get the winning cards. Example: the spectator requests five hands dealt and the second hand to be the winning one. Remove the deck from the card case and begin to deal. Deal a card for the first player. Now pretend to deal the second card, but actually do not put a card down. Continue to deal the third, fourth and fifth hands. Each time you come to the second hand, you only make a motion, but do not deal a card there. This piece of business will amuse the spectators. Keep a straight face as though you were serious. When all the hands have been dealt, you pick up each one with the right hand, carefully analyzing them to see what strength they carry. After four hands are examined, you ask the spectator to look at his cards (the second hand). Since none have been dealt, there is nothing to look at. "Well, suppose you were able to deal yourself the best cards possible. What would you select?" He will usually name the Spade Royal Flush (lO-J-Q-K-A of Spades). If he doesn't, you merely add "f think a Royal Flush would be better, wouldn't it?" At that point you aim the deck in his 84
REMAINDER OFDECK Lu I Rubber Band
HI\RDS-3
I 11
direction and five cards shoot across the table. Turning them over, he finds the Royal Flush. Laughs are guaranteed to follow. Here's how we do the last part.
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-
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As soon as you relax your hold on the deck, the cards will move upward. Put the whole thing in the card case carefully and make sure the flap is c1osed properly. Remove them carefully from the case. While the deck is held firmly in dealing position, the five cards are locked in place. After the business of analyzing the hands, aim the cards at the winner's position and move your hand in that direction as you release the tight grip. The cards will shoot across the table and stop in front of the spectator. A little practice will give you the feel of the move. While he's turning the cards face up, you have plenty of time to lower your hands and slip off the rubber band. A bit of experimenting will give you the proper rubber band(to)use.
ta:::It
_8 85
4-
?
Swift Poker Deal
the face up cards I deal. I will take only the first Jive face
down cardswe come to. " Start to deal the spectator all the face up cards (most on top) until YO1,1 come to your face down cards which you put in front of you until you have all five. You stop dealing here. 'Tou can use any of your cards and make the best hand you can. "
This routine was devised by Allen Swift who is a very elever elose-up magician. He is probably better known as the "Man With a Thousand Voices." Whenever you hear a vocal impression on radio or TV, you can bet it's Allen. I must thank Lee Noble who first demonstrated this at a recent New Year's Eve party. I fooled with the principle and added the "Royal Flush" kicker. Allen Swift has been good enough to allow me to explain the revised routine here.
Once he has selected his hand, you slowly turn up only the first tour cards you dealt yourself. These are Aces. You win. "Did I do anything phoney?"
the Ace of Spades and the face down card which you have not exposed. Now deal more cards, giving the spectator all the face up cards and the three Aces. You take the next three face down cards. Stop dealing.
Set up the deck from left to right as folIows: Ace of Clubs on top, two Red Aces under that. Then the Ace of Spades followed by the King, Queen, Jack, and Ten of Spades. After a few false shuffles and a cut (keeping the top eight cards in place), you explain that you're going to play a short Poker game with the spectator. You are going to allow hirn all the "odds." As you patter, bite off (cut) about 13 cards from the top and turn them face up on the deck in a block. Now bite offabout 26 cards and turn his group over on top of the deck. You are left with about 13 cards face up on top of the deck.
"Did I do anything wrong?" Allow the spectator to make up another hand. You now beat hirn again, exposing the Royal Flush. (Even if he comes up with a Royal Flush in any other suit, you still have him beat.) "The moralof this story is that you should never play cards with strangers, especially if they 're your friends. "
~
The left hand now cuts about 26 cards from the bottom of the deck. These cards are turned face up and shuffled into the top stack. "We now have some cards face up and some face down. I'm going to allow you to use all
86
No matter what he
answers, you now follow with: 'Tll tell you what. Leave me the Ace of Spadesand you take the other three. " Keep
87
Poker Drearn Without reservation, I believe this to be one of the most commercial poker routines invented. I have featured it in both private and TV appearances. The routine will stand up under the scrutiny of the cleverest card magicians and poker players. It is guaranteed to bring forth solid, spontaneous laughter and applause from the most discriminating audiences.
I,
I
,
Start off by setting up the cards as follows: We use four Aces, four Kings, and two indifferent cards (see illustration). Pick up the cards in the order shown, placing each card beneath the previous one. Begin with a facedown Ace. Unqer that youhave a face-up King, then a face-down indifferent card, two Aces face-down, a face-up King, a face-down King, face-down Ace, face-down indifferent card and finally a face-up King. 1
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The face-down Ace is the top card. This ten card stack is now placed on top of your deck. You are all set to go. Follow the paUer and the handling. The top block of ten cards must not be disturbed.
88
"Let me tell you about this crazy dream I had last night. You know how dreams are sometimes so real and yet weird and abstract. I was invited to play poker with a Mississippi hustler. Nothing unusual. He looked just like you or I, except that he had a big black and green mustache, a wide brimmed hat and a thin cigar sticking out of his mouth. When he smi/ed, his teeth would shine and sparkle in gold and si/ver. He looked a lot like my Mother-In-Law. Anyway, we started to play the game. As I began to shuffle the deck, he says, 'Hold it. . . . In this town we shuffle Mississippi Style.' And he proceeded to shuffle this way. . . . " The deck is in front of you on the table in readiness for a riffle shuffle. The left hand cuts the top half to the left. Turn the right hand packet face up and proceed to shuffl~ the right hand cards into the left hand pack. Make sure that you allow the top ten cards of the left hand stack to drop last, retaining them on top. Square the pack. Now turn the deck over completely. (Stack is now on the bottom of the deck.) Take off a bunch of seven or eight cards from the top and place them on the table, reversing them. Now pick off another small packet of cards and merely add these to the top of the first bunch. Reverse the whole packet. Repeat with a few more cards, each time reversing the tabled cards. Do this casually and make sure that the last group (stack) of cards on the table is picked up, reversed and placed on the top of this haphazardly mixed deck. You have simulated a sloppy type of shuffle which will be very confusing to follow, but the top stock is exactly the same as it was when we began. Square the pack and proceed to deal two hands of poker. . . . "The hustler began to deal. One for me and one for
him. And this is how it turned out. " Deal the hands and you will see that the dealer gets three face up Kings. 89
"He got three kings and won the game. "
Just a
Pick up the dealer's hand and place the cards on top of the deck. Now pick up the other hand without showing any of the cards and add these to the top of the deck. "This was a crazy dream. The gambIer said that it was my turn to deal. So I shuffled the pack, Mississippi style. " Repeat the first crazy shuffling process, making sure that the top stock remains on top after the cutting and shuffling. Square the pack and pick up the cards ready to deal. , "Just as I was about to deal, the hustler winked, and a spark flew out of his eye and hit the top of the deck. I knew he had done something to stack my deck. As he turned away to light his cigar, I slipped the top card to the middle. (Do this as you patter.) In case the deck was stacked for him to
win, I would ruin it. Then I dealt. . . . " Proceed to deal two poker hands. This time the three face up Kings go to the gambler's hand. Your cards are face down. "I said, 'You 've gotten three Kings again.' He answered, .'No..I have four Kings.' (Turn up the first card in his hand and show it to be another King.) WeIl, I thought he had me beat. But luckily it was my dream. Anq I beat him anyway. " Turn your hand up to show four Aces! Editor's Note: I have seen Frank do this on the TODA Y Show for Hugh Downs. Judging from the reactions on that appearance, I can safely say that the effect is worth learning. It is "entertaining" magie. 90
8=8
"Second" This is a beautiful effect and well worth the price of practice. It employs a "second deal". I personally feel that the "second deal" has been sadly neglected by the magician, although not by card-cheats. It is interesting that the conditions in which a magician performs are not as demanding as that of a card cheat. Therefore, a magician may take more liberties. A good "second" is preferred, but not essential. Openly remove all the Heart suit cards from the Ace through the Ten. Plaee them face up on the table in sequence order from left to right, beginning with the Ace, then the Two, etc. The ten cards ar.enow on the table in a ribbon spread fashion. The spectator sees exactly what you are doing. Pull the spread together and hand them to the spectator in a block of ten cards. The Ace is topmost, face down. Begin a "hindu-shuffle" and allow' the spectator to place the entire block into the center of the pack. Keep a "break" at that point and shuffle the rest of the cards on top. Now you can cut or double-cut so that the block is now on top of the deck. S'pread the cards and allow the spectator to select a card from the center of the spread. After the selected card is removed from the pack, you square the cards. The right hand undercuts about a third of the cards. The left hand is moved forward and the selected card is placed on top of this stack. Keep a "break" at that point (above the selected card) and complete the cut. You
91
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can now double-cut the cards so that the stack 1Son top of the deck again. The selected card will be topmost. A false shuffle here adds to the effect. Ask the spectator to give you a number between One and Ten. (Let us say he calls out "Pour".) You now "second deal" the first three cards face up onto the table. You are holding the selected card on top. Deal the fourth card (top card) face down. Now you continue to "seconddeal" until you have all the Hearts dealt.
-==8:&:8 I
Winnipeg False Cut This partieular cut was shown to me by my good friend Mel Stover of Winnipeg, Canada. I thought so much of it that I decided to get his permission to inc1ude it. !t's a natural-Iooking cut in the Martin Gardner style of magie. A few tries in front of a mirror will convince you to use it. Read the following with a deck of cards in hand. You will note that the right index finger is topmost . on the deck. This will create the perfect 1Ilusion of a legitimate cut. The cut must not be done in a hurry. Experimentation will give you the right speed and meter to suit your own style.
er-
1
You can arrange for the selected card to be dealt at any position called for. Merely "second deal" all the cards before and after the chosen number. The face down card is turned up and found to be the selected card. The Heart cards will all be in sequence and you will be credited for excellent card handling. The whole routine must be done in a very relaxed manner. Since the misdirection is very strong, all eyes will be on the table.
-=1
The bottom packet is removed, but because the index finger is on top of the pack, it looks as though you're removing the top half of the deck. Place this packet on the
2
The "second" need not be perfect. Work with this and you'll see what I mean. I do not wish to give you the impression that yo.u need not practice the "second-deal," but you can still do thls effect while you're learning to make it imperceptible.
f
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j"'93
\8=8
4
~
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/
/
/ .':'.
table about a foot away from your body. The r~ht han~ comes back to the ieft hand and places its half of the deck on top of the packet on the table.
-=- Cooper's -=- Cut
-=-
T
Al Cooper, the illustrator of this book, has a thorough knowledge of stratagerns at the gaming table. His technique and style have now been recognized by the magie fraternity. At one of our sessions he casually did this cut whieh was so impressive that I finally persuaded hirn to give me permission to explain it here. Cooper correct1y emphasizes that a false cut by itself has no meaning. After a false shuffle, it offers assurance to the onlooker that all is fair and square. It must be done casually without calling attention to it. Place the deck in front of you on the table. Place your left hand on the deck and bite off (cut) approximately 26 cards. Maintain a break with the left thumb. Approach the deck with the right hand and grip the bottom packet. The right thumb is toward your body and the middle and third fingers are gripping the outside of the deck. Slide the deck toward you, at the same time sliding the bottom packet forward, twisting your right hand counter-c1ockwise. The left hand twists its packet toward the body. Place the right ha~d packet firmlyon the table. Now the right hand comes back to the left hand, takes its pack and firmly . places it
on top of the tabled cards.
Study Illustrations I through 4. It appears to be simple, but it will require many run-throughs to get the proper illusion of cutting the deck. Once mastered, you have a legitimate looking table cut. ')
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. 8::f8
8::11
Affas.Gaffas FalseCut Here is a very deceiving false cut to retain the entire order of the deck. I've used this one for a long time. Fo11ow the illustrations c1osely. Get yourself a deck of cards, and we'l1 begin.
1&=8
The right hand pu11s a sma11 (about 1/3) packet of cards from the bottom. These are brought out and added to the top, jogging them slightly to the right. (Illustration is exaggerated.)
B:8
1
.~ . 1
4
8!::83 IIS::D
The left fingers hold the original top third of the deck.
~
//",,'..:::::::::::::::::::::::: ',' ~ "
.
-=a
2
1818=12 \8=(11
pu11ed away from the pack, ","",,"".,. '.'./ '~.'
along with the bottom stock. There The jogged is now section a slightis break now between the packets in the right hand. Moving the deck forward, drop the bottom packet (under the break) on the table. Then drop the jogged stock in front of that one.
3
8::8 96
97
Gambler's 4
5
~
The left hand package remains on the table c1osest to your body.
Cut This particular false cut was shown to me by a now deceased and fairly welI-known card hustler of his time. I feel that because he is now gone, I am not breaking a confidence in explaining it here.
The right hand now comes back and c1oses the cuts as folIows: Pick up the c1osest pile, add it to the middle and drop the whole thing on the end pile.
A false cut is valuable in artifice. It is very effective when used at the right time and should not be done too often. This cut will retain the entire order of the pack. Perform this naturally as a running cut, doing the moves in a continuous series of three movements.
Nothing has transpired. Every card is back in the original order. The movement simulated a perfect running cut.
B ,:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::1A
1
88=D.
i
c
The right hand cuts about a third of the deck from the bottom and places it on top of the deck ("C"), jogged to the left as in Figure 2.
I
-~~
~LIDiI
D:iI:I I
~ 98
I
c ~.: 2 99
~, Cut another third ("A"). This is the top half of the right hand pack beneath the jogged section. Place it on top of the jogged section, but flush with packet ("B") (See Fig. 3).
~
'
oH
3
IIß':::II
A ., C '
B
Grip both sections ("A" and "B"), sirnultaneously stripping thern out and place thern on top of packet "C".
f;'~:~~:::@:~~::::i'~'W"""",*'t~%.. .
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4 For the sake of clarity, the hands have been eliminated frorn the illustrations. Do the rnoves with a deck in.hand a:nd you'll see how deceptive this cut really iso It'll help bring horne the "groceries" in a friendly (?) card game.
100
FRANKGARCIA'S NOTEBOOK
The following are ideas" methods and moves that I've collected over the years. Gambling routines are always impressive because people love the thought of being able to exert contralover games obviously ruled by chance. Whenever the magician displays gambling "ability", the layman is most interested.
"Now I need three more Aces, but this time 1'l! speed up the action. " Here is where you act out the big lie. Do three more riffle shuffles in the same manner (keeping the bottom Aces in tact), but do not show the cards. After three ra'ther professional-looking shuffles, you announce:
"If my calculations have been correct, I should have four Aces on the bottom. "
CulUng
Turn the deck face up and show the four Aces. This is a fine opener for a Four Ace trick.
the Aces Have the four Aces in the center of the deck in a block, with the Ace of Spades on the bottom. The patter here is the crux of the effect: '1f agambier should decide to cheat, he will place some key cards down at the bottom of the deck where he can control them to where he needs them. To get the specific cards, he must 'cul!' the deck. In other words, he must find the right cards and pick them out of the deck without being spotted. 1'm going to show you a method of 'culling. ' 1'm going to look for some Aces.
"
Riffle the deck with the left 'thumb so that you can glimpse the corners of the cards. You can explain wh~lt you're doing, adding that you'll do it in slow motion. As soon as you come to the first Ace stop for amoment. Obviously the right hand takes the bottom cards and pulls them to the right. Riffle shuffle the cards, making sure that the Ace Bloc is on the bottom. Square the pack. Turn it up and show the Ace of Spades on the bottom. The other Aces are also there, unknown to the spectator. 102
103
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Winning Aces
.
Adding a Card This is a professional "secret" for adding an extra card to your hand. Deal a poker hand. After you've dealt yourself the last card, remove the top card without any hesitation and use it to help scoop up the tabled cards of your hand. Aremark like "lacks or better to open" helps make this sneaky addition more natural.
Stack the following sequence on top of the deck. The X will represent an indifferent card, two XX's equal two indifferent cards, etc. X-Ace-XX-Ace-XXX-Ace-XXX-Ace You are now set to deal a pair of Aces (back to back) in a poker game. Ask the spectator for the number of hands he'd like dealt. Follow the formula below and deal any number from one to seven hands for the winning pair of Aces.
Secret-Reversal
I[ two hands are called, you must get rid o[ the top card be[ore dealing. Three Bands - Get rid o[ two top cards.
Bring the selected card "second" from the top. Casually turn over the top card and square it with the pack. Double lift, picking up two cards as one. Hold them face up and use them to turn the next top card face up. Place your double card on top of the face up card and turn all three face down. Cut the deck and the selected card is found reversed in the center of the pack.
Four Bands - Get rid o[ one top card.
Five Bands - Remove tour top cards. Six Bands - Remove tour top cards.
Seven Bands - Add live cards [rom the bottom to the top. ~
This is an impressive bit for an "expose" type of routine.
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105
..
Peek
Puzzling Color
Key Control
Change This particular change is one of my favorites, primamy because it's the boldest I've ever come across. Use two contrasting cards such as a picture and a two-spot. Handle both cards as one. Just before displaying the card, rub a bit of spittle on the face of the Deuce. Hold it by the edges and do the standard color change move, changing it to a picture card (see Dual Discovery). After the move, press the cards together a bit and snap them into the air. They will fall as one card and your hands are shown empty.
Here's a subtle location of a card after it has been "peeked." Glimpse the bottom card of the deck and shuffle it to the top. Now riffle the cards for a "peek." Maintain a pinky "break" in front of the "peeked" card. Now cut off half of the upper packet and drop it on the table. Cut at the break and add that section to the tabled cards and finally the third 'section on top of everything. You now have the "peeked" card on top of your "key" card. After a few cuts and shuffles, you spread the cards on the table face up and the selected card is the one to the left of the key. To do this with a bottom key card, have the card "peeked" in the usual manner. Get a break on top of the peaked card after riffling one more card. Now cut the cards above the break and place them on the table. Cut the left hand pack in half; the top half goes on top of the tabled stock. The remaining cards are now added. Your key is on top of the selected card. In a face-up ribbon spread it will be found to the right of the key.
Cough Cover For an added piece of misdirection when copping or palming off a card,I bring my hand up to my mouth and cough. This gives me a reason to come away from the deck with the hand. You can then go to the pocket for a pencil or cigarette without attention.
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107
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iIIiIII
Start shuffling the left hand packet first, then the right. In practicing, use a [oose shuffle until you understand the mechanics. Continue to riffle shuffle. Shuffle the top card of the left hand packet into the third or fourth position of the right hand packet. log this card to your right and jog the top two or three cards of the right hand packet to your left. Begin to push the packets together. The right stack going counter-clockwise, the left hand packet clockwise.
Hotes onthe larrowShuffle Without a doubt Herb Zarrow's false shuffle is a valuable contribution to card magie. The original method was described in New Phoenix No. 346. My own handling of this shuffle is a bit different and I believe a bit more deceptive. Both methods that I am about to explain will control the full deck, but each for a different purpose. The first method is primarily used after you've fUn up a hand and decide to throw one more shuffle. The original method used the top card for a cover. In my method, two cards give the "shade." I suggest you follow the moves with a deck in your hands. Method No. 1: Let us assurne that the deck is stacked für a four handed game of Poker. The deck is on the table. The left hand holds the deck with the index finger on top. The right hand grabs the end of the deck, biting off approximately half. As the right hand pulls the top deck over, the left index finger retains the top card so that it becomes the top card of the left packet.
...
;-!
This action will cause the, packets first to straighten out, then to go into areverse angie whieh will cause the interlaced cards to separate. Tilt the right hand packet toward the left and slide it on top of the left stack. The jogged cards will act as a cover. The act of shuffling should simulate an actual riffle shuffle, done with ease. After the shuffle a few cards protrude here and there. The illusion is made perfect by squaring the deck. It will appear that the cards have actually been mixed. NOTE: One card has 1;>eenmoved, but it does not affect the original "four" stack. Method No. 2: This method of doing the Zarrow Shuffle is more deceptive than the first, but also much more difficult; I've shown it to a select few who are using it now. Once you've mastered it, you'll never regret the time spent in practieing. In this version the cards are not disrupted at all.
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109
Hotes onthe ZarrowShuffle .
Without a doubt Herb Zarrow's false shuffle is a valuable contribution to card magic. The original method was described in New Phoenix No. 346. My own handling of this shuffle is a bit different and I believe a bit more deceptive. Both methods that I am about to explain will control the full deck, but each for a different purpose. The first method is primarily used after you've run up a hand and decide to throw one more shuffle. The original method used the top card for a cover. In my method, two cards give the "shade." I suggest you follow the moves with a deck in your hands. Method No. 1: Let us assurne that the deck is stacked far a four handed game of Poker. The deck is on the table. The left hand holds the deck with the index finger on top. The right hand grabs the end of the deck, biting off approximately half. As the right hand pulls the top deck over, the left index finger retains the top card so that it becomes the top card of the left packet.
Start shuffling the left hand packet first, then the right. In practicing, use a loose shuffle until you understand the mechanics. Continue to riffle shuffle. Shuffle the top card of the left hand packet into the third or fourth position of the right hand packet. Jog this card to your right and jog the top two or three cards of the right hand packet to your left. Begin to push the packets together. The right stack going counter-clockwise, the left hand packet clockwise.
This action will cause the, packets first to straighten out, then to go into a reverse angle which will cause the interlaced cards to separate. Tilt the right hand packet toward the left and slide it on top of the left stack. The jogged cards will act as a cover. The act of shuffling should simulatec an actual riffle shuffle, done with ease. After the shuffle a few cards protrude here and there. The illusion is made perfect by squaring the deck. It will appear that the cards have actually been mixed. NOTE: One card has geen moved, but it does not affect the original "four" stack. Method No. 2: This method of doing the Zarrow Shuffle is more deceptive than the first, but also much more difficulL I've shown it to a select few who are using it now. Once you 've mastered it, you'll never regret the time spent in practicing. In this version the cards are not disrupted at all.
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The deck is on the table. The left hand grips the base and end of the deck, the left index finger resting lightly on top of the deck. The right hand approaches the deck, placing the index finger on top, and exerting a !iHle pressure. The right middle finger starts pulling some cards from the center of the deck along with the top card.
3 This is very deceiving to the eye and allows the deck to be shuffled a lot slower. The illusion that the cards are beingmixed is heightened as you square the loose cards.
1
The leU hand maintains a break between the two remaining sections. Shuffle the bottom left hand packet first into the right hand packet. When this has been done, the remaining cards in the left h~nd are jogged to the right on top of the shuffled cards on the table.
2 The single card in the right hand is now jogged to the left on top of everything. Here you follow the procedure of pushing both packets together, the left going c1ockwise and the right counter-c1ockwise. This action causes the packets to straighten out first, which then makes the interlaced cards separate. The entire right hand packet goes into the break under the single card and on top of the packet beneath it. 110
111
+ .1.
When I told them about this book, many of my friends reminded me that some day I had promised to disc1ose some of my eard produetion moves. The day is here. I've never disc1osed these moves before, although I've been offered large sums of money to do so. The single eard production and the Eelipse Produetion to follow have brought me repeat engagements in theatre, hotel and nightclub dates; often my eontraets stipulated that I include them in the aet. If you are willing to put time into praeticing, you will make YOUfown reputation with these moves.
I,
11
CARO
Million Dollar CardProduction
In working with this sleight, I suggest you begin with four eards until you get the "feei" of what you're doing. Gradually add a few more eards as you progress. I prefer using Poker-sized eards, but if you have a small hand you may use Bridge eards.
-~IID
PROOUCTIONS Illustration No. 1.
1~~) -
~
Shows the hand baek-palming a block of eards. The tips of the eards are partially exposed to show the reader just how far down in the hand they are being baek-palmed. '-1 113
Illustration No. 2. Illustration No. 5.
.2
5
Using a bit of acting ability, the magician apparently sees something invisible floating in the air. The right hand moves to touch the object and points to it. At this stage you start to pivot the cards, which are held together as one card in full view of the audience. This is not a difficult move. You will note that the right hand is pointing. Get the cardsin this position, the right thumb comes down on the upper right hand corner of the block of cards.
The index finger slides up the block and over the tops of the cards. If this is done correct1y, your hand looks like Illustration No. 6.
Illustration No. 6.
6 Illustration No. 3.
The cards actually snap into this position from the last move.
-3 The thumb applies quite a bit of pressure to keep the block of cards evenly alignec so that they still appearas only one card.
Illustration No. 4.
4 With the hand in this position, the pinky releases the lowef corner of the block which was being held as in Illustration No. 3. 114
Illustration No. 7.
7 Shows a side view of the cards. At this position, the thumb pushes down and the fore finger pushes in (keeping the cards in alignment). The fact that the cards are bevelled enhances the illusion of holding a single card. NOTE: Seven illustrations were used here to show only half of a move.
115
Illustration No. 8.
Illustration No. 11.
8
11
The block of cards, shown as a single card, is now turned over.
Illustration No. 9.
The card is being pulIed off.
12 Illustration No. 12.
9 This is done slowly and deliberately to show nothing hidden in the back of the hand. (The hand is turned down ward.)
The right index fmger goes over the top of the cards. The back of the hand has been purposely exposed here to show the block of cards going into the backhand position and showing ihe single card being brought into display position.
Illustration No. 13. Illustration No. 10.
13 Shows the right hand coming back to position (Illustration No. 6). As the hand starts coming back to this position, the right forefinger and thumb release pressure so there is now no more bevel in the cards. The pinky re-grips the outside edge of the cards (as in fllustration No. 3) and the thumb pulIs off the first card.
116
In the actual performance of the production, fllustration No. 12 and fllustration No. 13 are not exposed.
117
15 Illustrations No. 14 and 15. The card is brought down by the right thumb. You will note that by doing this it hides the load and you can relax your hand before going into the production of the next card. At this point, the single card is tossed into a hat or receptac1e.
Eclipse Card Production For lovers of the "back palm" and single card productions, this one will be hard to beat. The illusion is that the cards materialize magically. The move is bewildering and utilizes eight or ten cards. This sleight is not known to present day card manipulators. It is just waiting for someone to master it and stun the group at the next magic convention. Study the illustrations carefully for this beautiful production.
You are ready to start all over again as in Illustration No. 1. Illustration No. 1. In experimenting with this te'chnique you will note that once you have familiarized yourself with the mechanics of the production, the block of cards will spring up instantaneously. I love this move and feel that you should leam it correctly. If all the movements are synchronized and blended together, you have a pretty picture. Make sure you give it proper practice before doing it in public.
Shows a block of five cards back palmed.
Illustration No. 2.
(~~ ~\
Y ou
will note that the faces of the cards are toward the audience, except for the last card which is facing the back. The exposed view is for the reader to study. 118
119
,
Illustration
Illustration No. 3.
No. 6.
6
3
You will note that on straightening the hand, the single card will fight itself. The middle finger helps the card into an upright position by a slight upward push.
The right hand starts to move very slowly in a c1ockwise rötating action, away from you. During this action, the hand assurnes the position as shown in the illustration. The right thumb comes down on the topmost corner of the card and, by applying pressure and pushing forward, you will discover that you can push out a single card very slowly as the hand is in motion.
Illustration No. 7.
7 Illustration No. 4.
Shows the exposed view of the remaining cards backpalmed. In actual performance, this is not exposed. The thumb pulls the single card in a downward movement covering the back-palmed load.
4 1'-
Shows the card coming into view. The thumb is doing the pushing. , jj
Illustration No. 8.
Illustration No. 5.
8 5
I
Shows the entin~ card. Once in this position, the middle and third fingers start to go back, straightening the hand. 120
Shows the card hiding the load and being shown to the audience before being dropped into a receptac1e. Refer to Illustration No. 1 for production of the second card.
121
The very last eard is produeed by bringing the fingers toward the base of the thumb. Release the hold of all the fingers exeept the index and middle fingers. Roll the index finger over the middle finger toward your body and the eard appears to have been eaught at its tip for the final produetion.
DOING CLOSE-UP 1:1 1
MAGIC
:
11
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point is important for that "secret move." You can also do your move under the cover of a laugh or a surprise in the routine. Perfect timing is also an essential part of your craft. Learn to work under all kinds of conditions and practice with the lay audience.
Most magie books end abruptly after the last trick. There is more to doing magie than just learning the trieks in this book. There are some mIes whieh I have always feIt are extremely important to the close-up magieian. 1'11set them down here and hope that you will agree with me and fo11ow some of my adviee. Magie is ademanding art and requires a great deal of discipline.
6. Try to vary your routining so that your act isn't top heavy with too many "take-a-card" tricks. Do your most powerful trieks and routines first. Once you have them, hit with the simpler effects and end with a strong "blockbuster." Remember that you must not stay on too long. Magie musn't be tedious. Make every triek important. Always leave them wanting more.
1. You should have a sincere love of magie and a desire to perform we11.Never do magie for the sake of "showing off." In too many cases ego spoils a good performer and his performance. Don't be vain. Be humble and you'l1 go a lot further. 2. Magie needs people. If you like people, you'l1 have your rewards watching them enjoy themselves. You'l1 also make new and interesting friends. 11
,I ,,1
3. Master your craft. Read, study and practiee as often as you can. Try to make every performance technieally perfect. There is no substitute for skil1. Treat magie as one of the arts and strive for that perfection whieh makes you an artist. 4. Be very discriminating when selecting an effect for your repertoire. Sleights should be used invisibly and only as a means to an end. If a particular effect does not suit your own style, forget it. Things must appear to happen by magie. Be natural and choose tricks that you can do easily without straining. Try to vary your trieks to offer more versatility. Choose effects that will mystify, but above all, they should "ENTERTAINI"
if
11
7. Always make sure that your appearance is neat and you are well groomed. You should be dressed better than the best-dressed person in your audience. Your hands and fingernails should always be clean and manieured. To establish "class" try to use a brand new deck. A dirty deck will destroy the magic of your image. If you can afford it, give the deck away after your performance. 8. Be yourself. Don't try to emulate another's style or technique. Find your own style. If you can Use humor in your act, do so. If it doesn't fit, don't try to be a comedian. The serious magie student can turn professional and make möney with his talent. The magie buff and collector can make friends with his hobby. I know of no more fu1filling and rewarding art form. It is truly MAGIC!
5. Misdirection is vital to most effects. When working close-up, look at the people you're talking to. If you look at them, they'lllook at YOu.This
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125
You shouldn't practiee magie on an empty stomaich. I have always found thatcooking relaxes me and, if done weIl, commands another kind of applause. There are also times when you'Il b~ out of work. For those times, this recipe will be most important. At least you'Il eat. Follow these instructions as you would a card move. In the handling you'Il find your own töuches. Use them. For example, you might want to use Doves instead of Chieken.
A"oz con PolIo CHICKEN WITH SAFFRON RICE AND PEAS
(TO SERVE 4)
MAGICIAN'S RECIPE I
A 2Y2- to 3-pound chieken (or dove), cut into 6 to 8 serving pieces Salt Freshly ground blackpepper I tablespoon margarine ~ pound salt pork, finely diced I cup finely chopped onions I teaspoon finely chopped garlic I tablespoon paprika I cup finely chopped rtomatoes I Y2cups raw medium or long-grain regular-milled rice or imported short-grain riee (from Rice Bowls) I cup fresh or frozen peas (from Shell Game) 3 cups boiling water (from Lota) 1fsteaspoon ground saffron or saffron threads crushed with a break-away wand or with the back of a spoon 2 tablespoons finely chopped parsley
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Pat the chicken pieces completely dry with paper towels and sprinkle them liberally with salt and a few grindings of pepper. In a heavy 4-quart dove pan or casserole, melt the margarine over md'derate heat. Add the salt pork dice and, stirring frequently, cook until they have rendered all their fat and become crisp and golden brown; then, with a slotted spoon, * transfer them to paper towels to drain. Add the chicken to the fat in the casserole and brown it, turning the pieces with tongs and regulating the heat so that they color quickly and evenly without burning. Set the chicken aside on a platter. Pour off all but a thin film of fat from the casserole. Stir in the onions and garlic and cook for about 5 minutes, or until the onions are soft and transparent, but not brown. Stir in the paprika, then the tomatoes and bring to a boil, stirring frequently. Cook briskly, uncovered, for about 5 minutes, or until most of the liquid in the pan evaporates and the mixture is thick enough to hold its shape lightly in a spoon. (Dai Vernon prefers 4 minutes.) Return the chicken and pork dice to the casserole, and add the rice, peas, boiling water, saffron and 1 teaspoon of salto Stir together gently but thoroughly. Bring to a boil over high heat, then reduce the heat to low, cover tightly and simmer for 20 to 30 minutes, ot until the chicken is tender and the rice has absorbed all the liquid. Stir in the parsley, and taste for seasoning. Cover and let stand off the heat for 5 minutes before serving. If it doesn'1 look too good, cover dove pan and change the whole thing to a string of Weller franks. *Marlo may dispute the use of the slotted spoon, but Slydini assures me that it makes the transfer easier.
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