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In Fig. 67 is shown the right thumb's po- sition during the top’card deal. Once the top card is grasped and being moved off, the left thumb cocks back to the 3rd Position as shown in Fig. 68. During this cocking action.the left thumbs movement is more inwards and slightly to the left as compared to a straight to the Teft movement. This inward action of the left thumb prevents the new top card from accidentally arc- ing to the left thus preventing the left thumb from feeling a possible Punched card. Fig. 69 2. When the left thumb feels a Punched card you go into the Second Deal as pictured in Fig. 69 where, note, that the left thumb must continue it's pushing action of the top card to conform to the fair deal. While freezing the left thumb will not be as evident in the dst and 2nd Positions it will be in the 3rd Position because of the left thumb having to move the top card further to the right in order that the right hand's thumb can contact the top card's outer left corner without the Take looking awkward or too much different from that used for the Ist and 2nd Positions. “MODIFIED MECHANIC'S GRIP: 1. This has the appearance of the deck being held ina Mechanic's Grip when in reality it is not as the left Ist finger is not curled or placed around the outer end of the deck. Instead the tip of the left Ist finger is placed on- to only the beveled outer right corner as shown in Fig. 70. Left thumb is in the 3rd Punch Position. 2. Note that the left Ist finger itself is out of the way or below the deck. Only fts tip is across the beveled outer right corner. This Modified Mechanic's Grip permits you to still use the same dealing actions as already shown in Figs. 62 to. 69 inclusive and prevents the top card from arcing to the left especially with the left thumb in the 3rd Punch Position. Thus with the Modified Mechanic's Grip you can still use the No Touch Theory Second Deal because the left ist finger is stil] out of the way. ON THE 2 CARD PUSHOFF 2ND DEAL: I. The Two Card Pushoff Second Deal can be made more deceptive from a visual stand point if the right thumb touches the top of the nail of the left thumb while the tip of rightIst finger touches the top of the nail of the Teft Ist finger. -In'Fig. 71 is shown the posi- tion just before a Second Deal. Note that during this position, right sidé of the pushed over cards is further in towards the right paim. This gives greater cover for the Second Deal as there is less chance of it being seen coming out from under the top card. 2. Left thumb contacting and pressing onto the top of the nail of left thumb can be used and applied to a Bottom Deal of either a Strike or Pushout technique; however, this contact of thumbs must be made whether you take the top card or bottom card thus when the right thumb Slides off of the teft thumb, your right hand takes either the top card or bottom card as required. As previously mentioned a Bottom Deal can be used in connection with a Second Deal in which the desired cards are edge-marked or scratched near the edge so that you can quickly spot whenever two or more are close together and one or two may be sloughed off if only the Second Deal is used. "MORE PUNCHLESS APPROACHES" The Crimp has yet’to be fully explored and applied. The following is a step in that direction. With this approach you can use any borrowed deck, give the spectator .a choice of any combination Full House, then after some shuffles, including the specta- tor's shuffle, you deal 7 Hands of Poker and get the desired cards. J. On receiving the borrowed deck ask the spectator to name any two sets of four of a Kind. Assume he’ names Fours and Fives. Begin by removing the Fours and Fives, then arrange them in an alternated order of Fives and Fours from top down. This is all done under the guise-of making sure that these named cards ‘are all there. 2.- Have spectator shuffle remainder of deck. While he is doing that you hold the eight card packet face down, by the sides, with left hand. Right thumb and Ist finger grasp inner left corner of packet with thumb below and 1st finger on top, the uj upper side of packet is now facing you. Right thumb and Ist finger’ now crimp or bend the “inner left corner of the packet to the right. This crimping action is shown in-Fig. 72. This is completely hidden from the spectator’s view aS well as yours because the cards in left hand are held in a dealing position, Mechanic's Grip, during the action of crimping the cards as in Fig. 73. UPWARD CRing Fig. 72 3. When the spectator has finished shuffling the balance of deck your right hand grasps the inner sides of the 8 card packet to place it on top of deck. At this stage the right hand remains at right end of deck in order to conceal the crimped condition of top 8 cards which is shown in the exposed view of Fig. 74. 2728 4. Both hands are now at their respective ends of deck. Split deck as close to half as Possible, then give it a Tabled Faro Shuffle or a Butt Type shuffle. This does not have to be perfect but is used to insure a good distribution of the 8 principal cards. Right hand will automatically cover the crimped corners during this shuffle which should be of an In type. Once an uncrimped card or cards cover the uppermost crimped card the next Faro Shuffle can be done. quite openly. “5. After two such Faro Shuffle pass the deck to the spectator asking to give déck a shuffle implying only one although if he does more than one, it will not matter too much. He will not see the crimps because they will be on your side of deck. When you get the deck back hold it in left hand as for dealing, Tap the lower right corner of deck gently against table tep. During this action the lower left corner will be uppermost and facing you when you can quickly see if the crimped ¢ards are well distributed to insure getting the desired cards in 4 7 Hand game. If too Many crimped cards are close together you can have the spectator give it several more shuffles under the pretence of making everything absolutely fair. . . 6. If the crimped cards are fairly separated but all near the upper part of the deck, then you can State you will deal 5 Hands of Poker and get a Full House. Since you do not state how many hands you will deal, until after the shuffles, this does not tip off your changé of plans. The deck js casually’ turned end for end so that the crimped cor- ners will now be at the upper right corner of deck. AT that remains is to deal until you spot the upward curve of the card's upper right corner, then go into the Second Deal in order ‘to hold back the desired card so it is dealt to your hand. In other words, the same procedure uséd in the actual Punch Deal is applied to the crimp method; however, the type of Second Deal that is best for crimp work is the Two Card Pushoff Second Deal especially in the case of Belly Crimps. 7. An important feature is the removing of the crimp as you deal the desired card to your hand. This is done by right hand taking the crimped card by its upper right corner, Thumb on top, Ist and 2nd fingers below, then turning if face up to the table. As the right hand places the card face up to the table, the crimp is removed by pressing the face up card against the table thus enabling the right thumb and fingers to bend the now Tower right crimped corner upwards as in Fig. 75. Thus if you have the five tabled cards examined there will be nothing to find. 8. There will be 3 crimped cards remaining in the deck and the problem is to eradicate the crimps. Riffling the corners of the deck doesn't quite do it, neither does doing face up shuffles, or Faro, or Butt shuffles which _ include the springing of the cards and even Pressure Fans. Which all shows how powerful a crimp can be. The best procedure is to turn the deck face up so that the crimped Fig. 75 corners are at lower right corner. Now deal the cards 1g. ‘face up to the table by taking them at the lower. right corner, thumb on the face with Ist and 2nd fingers below. In this way the crimp is re- moved as the card is pressed face up to the table while the right thumb and fingers pull upward on the crimped corner thus removing it. Your excuse is to actually remove the rest of the cards originally named in order that all 8 cards may be examined. You can also ribbon spread the cards face up, left to right. then remove the cards by taking them at the lower right corner. During the removal the right thumb’ and fingers have to pull upward, in order to grasp the card, thus taking out the crimp. SECOND METHOD: : ‘This uses a fairly well known crimp which is usually put into the performer's cards long before the deck is to be used. Here you use a borrowed deck and very quickly put in the work. What is more the work jis easily removed while the cards are within the deck.1. Assume that the spectator has named Aces and Kings as his choice of 8 cards. Re~ ‘hove these from the deck and openly alternate them in Ace-King order from the top down. Again the excuse is to make sure al] the named cards are in the deck. Have the balance of. the deck shuffled while you hold thé 8 cards face down in left hand as for dealing. 2. While the spectator is shuffling the deck, you quickly and casually execute the following actions. Right hand comes over to grasp the ends of the packet. Under cover of the right hand the left hand bends the sides of the 8 cards downwards only as far as that shown in Fig. 76. The next two actions are done openly. Right hand bends the.ends of the packet downwards, over the curled left Ist finger, only as far as that shown in Fig. 77. Follow by pulling the ends upward only as far as that shown in Fig. 78, then relax the cards back into a dealing position into left hand. Right hand grasps the sides of the packet with the right Ist finger pressing down onto the packet just enough to straighten out the curve of the packet but not enough to remove the actual crimp. Fig. 79 3. When the crimped packet is placed on top of deck the situation is as shown in Fig. 79 where the crimp is exaggerated for clarity. With deck tabled give it two Tabled Faro Riffle Shuffles, then pass the deck for the spectator to shuffle cards. On getting deck, hold it-in left hand and tap its lower end against table top. During this tap action, also relax the left hand grip which will ’ cause the cards to separate at points where the crimped or beTlied cards lie. This is shown in Fig. 80 which again is an exaggera~ tion for clarity. This is not seen from the spectator's view and Tet's you see if the cards are well distributed for the eventual Fig. 80 deal. 4. Assuming everything is all set for the deal, obviously you will hold back the bellied cards, as required, via the Second Deal which again is best using the Two Card Pushoff Second Deal. ‘With practice even. the smallest of curvature can be spotted as the bellied card arrives on top of deck. Especially if the left hand holds deck tilted forward so that the operator can see the inner end of the deck. In this way you can see how close to top is the next bellied card and when it does arrive on top, it is easily seen as shown in Fig. 81. If it is necessary to go into Second Deal at this time simply tilt your left hand inward slightly as you go into a Second Deal. 5. When right hand deals the desired card to your hand the work is taken out at the same 2930 Fig. 81 time. In this case the right hand takes the card by its right side and in dealing it to the table the card's left side is pressed face down against the table while right hand bends the card's right side upwards. This action is shown in Fig. 82 just before the card is eventually flipped face up. This action is repeated for every card deait face up into your hand. The work is now out of the tabled cards. To remove the work still on the cards remaining in the deck, simply bend the sides of the deck upward and downward a couple of times when the bellied crimp will be taken out. Do not confuse the Bellied Crimp with the Snap Crimp. The Snap Crimp is more of a permanent crimp and usually applied to ones own cards. &. The two crimp methods just described can also be used for those Pseudo Shuffle Stacks which used the in-jogged card's approach. In other words all those items des- cribed under the use of in-jogged cards can be done using the crimps instead. Their strength lies in that you can do these things with any borrowed deck of cards. If you use your own deck, then it must be one that can be thoroughly examined for the more ob- ‘vious things such as marks of any kind or a one way deck. Especially if you intend doing some of these for magicians. TIPS: I, Using the Art Altman-angling technique, from his False Shuffle or "Fan Multiple Shift" you can apply it to a Red-Black separation as a very disarming feature. For ex- ample: You spread deck between both hands, faces of deck towards yourself during which time you secretly up-jog, say, the Black cards and down-jog all the Red cards for about five-eights of an inch. Now turn deck over Sidewise and face down into the left hand. Right hand now comes over the deck and seemingly squares the ends of the cards. Actuaily you execute the Altman Angling Technique as in Figs. A6 to 51 of the Altman False Shuffle. All that remains is to go into the Strip-Out action thus separating the colors. The Altman Angling Technique can also be used as a preliminary action, after a Faro Shuffle, to set-up for a fine-jogged Incomplete Faro as required for either an easy Side-Steal or for a Double Faro. PUNCH TIP: In the section on the-Punch Deal there is given a combination of Five Punch Locations taking care of A-K-J-Q, 10-9-8-7-6-5 value cards. A sixth Punch location can be put into the border at the upper Teft corner. This means that the scratch-mark, used on the 3-4 combination, can be eliminated. With the Sixth Punch in the upper left corner of the cards I find using a Two Card Pushoff Second Deal is best. Thus with a 6 Punch Combination you have 3 Punch Combinations using a Strike Second Deal and 3 Punch Combinations using a Two-card Push-off Second Deal.ON KARL- FULVES'S SHUFFLE OFF "T'LE not Listen to neason...Reason always means what someone ekse has got to say." - Ms. Gaskell "He who knows only his own side of the case knows Little of that." - John Stuart Mike This tract is likely to be as boring as the one instigating it. So what follows is bound to be dreary and polemical, composed by a would-be polemicist with no heart for such frippery. For awhile I was content to let this sleeping dog eternally slumber. But Fulves has a talent for arousing my dander, for making me responsive to his antic essays. His latest stunt is a tract called SHUFFLE OFF, which focuses fresh attention on an oid cause celebre concerning the Shank and Zarrow shuffles. It consists of his feckless and incondite notes on Marlo's THE SHANK SHUFFLE, notes he thought wise to publish "before it's too late". Strange business! Herb Zarrow has never publicly stated his views on this matter. He has been silent all these years. Now Fulves chooses to defend him by issuing an odd, unsatisfactory, and political tract. It takes a blow-by-blow approach, starting with the front cover and haphazardly proceeding to the last page of THE SHANK SHUFFLE. And despite its comparative brevity, its contents are repetitive and dis— junctive and accusatory. Its political force, if any, depends on a receptivity to its implications and innuendoes rather than the veracity of its evidence. His evidence is slim, almost non-existent. Fulves, henceforth called K., uses an old and sly technique by concocting a subtie mix of cool claims: mixed with accusatory interro- gations. His questions are not rhetorical, but are meant to cast asper- sion&.and shadows and to create suspicion and doubt. This puts Marlo on the defensive. K. begins by claiming that the title and author of THE SHANK SHUFFLE are "a portent of things to come", He asks: Why didn't Frank Shank write the Book? Why not ask, “Why didn’t Vernon write his INNER SECRETS OF CARD MAGIC series? Why did Lewis Ganson do the writing?" Or: "Why was SHUFFLE OFF written by Karl Fulves and not Herb. Zarrow?" THE SHANK SHUFFLE is a technical book aimed at experts and devoted to explaining the mechanics of a specific false shuffle. In addition, there are other ideas, applications, and effects. it is not a propagandizing tract. 31I SSCS EEE IS TE TTT TO TCE NET PME ETERS SLIM T NSF NTT CN NEM OY BEEN ESTAS TETAS LET SEN TEN 32 K. questions the Shank-Zarrow meeting that took place in May of 1956. He points out that Mario's account is "one man's opinion of what he thinks he recalls happening sixteen years before he wrote about it." As Emerson once wrote (about history), "Time dissipates the hard angularity of the facts." Whose memory is flawless? Zarrow's account would be no less subjective or undimmed. One fact cannot be disputed: Fulves was not present at the Shank-Zarrow meeting. He is in no position to judge first-hand accounts of this meeting. K. incorrectly reports that the publication of THE SHANK SHUFFLE resulted in a lawsuit. No suit was filed, One was proposed and subsequently dropped. If there had been any illegality involved or any real basis for a lawsuit, Zarrow would have vigorously pursued it. K. incorrectly reports that THE SHANK SHUFFLE was preceded by private cotrespondence between Marlo and Zarrow. He also alludes to all this correspondence, implying that certain unpublished letters would shed further light. If this were true, Zarrow would have publish- ed them long ago or at least would have given K. permission to publish them in SHUFFLE OFF. The fact is that the relevant letters have already been published, K. quibbles with Marlo's assertion that the Shank Shuffle preceded the Zarrow Shuffle by. many years. Strictly speaking, all claims of this type are hearsay. Verification is difficult. There is no reason to doubt that Zarrow was doing his shuffle prior to its publication in THE NEW. PHOENIX. Marlo. merely said that Shank was doing his shuffle a number of yedrs prior to his 1956 meeting with Zarrow. Several living magicians from Chicago can substantiate this claim. Norman Osborn, for example, attests that Frank Shank-was doing his shuffle in 1949. This is what he wrote to Fulves on April 11, 1983: Dean Kank, _ 1 fust féndshed reading Shuffle 064 and decided to unite you a fetter concerning same. Perhaps T can shed some Light. T'22 go back to the year 1949, I was 20 years old, working and Living with my parents, I had received a telephone call fiom a fellow who wanted some magic lessons. His name was Dix. He told me he owned a tavern, and wanted to know some magic, 40 he could perform behind hts bar. T- found out a Little Later that some magicians were hanging out at his tavern. On November 5, my 21st birthday, T went into his tavert gor the fist time. T met some of the fellows and thus started a great fttendshio to this very day.