TABLE OF CONTENTS

Acknowledgements
Black Deck Creation by Mike Kelley
Our Favorite Black Deck Quotes
Foreword by Brad Christian
Introduction by The Shaman

CHAPTER 1: The Black Deck and Your Audience
Is That a Trick Deck?
Get People Used to It
Ways to Introduce the Black Deck
Magicians Special Edition Mike Delbert
Bicycle Production Mishap Mike Delbert
Treasures from Black Magick Roy Ornelas Jr.
The Art of Cartomancy Roy Ornelas Jr.

CHAPTER 2: Black Deck Care and Additional Notes
Black Deck Care How to Do It Right
Sharpie Care with Your Black Deck
Using a Card Clip
The Black Deck Revolution Other Options and Ideas

CHAPTER 3: Black Deck Effects
Negative Flip Ken Sasamura
Hypnotic Induction Magius
Divergent Animation Malcolm Vendryes
Radial Telepathy Richard Agnew
Strange Art of Fortune Telling Roy Ornelas Jr.
Outcast Division Dominick Cancilla
Black Mantis Raymond Singson
Time Splitter Brad Christian

CHAPTER 4: Bonus Tricks Sleights and Deck Switches
Risk (The Routine) Chris Schuh
Redline Cut Chris Schuh
Black Deck Blackjack Chris Schuh
Black Deck Death The Shaman
The Black Awakening The Shaman
The Genius Chris Schuh (Bonus)
Cerebral Calibration Chris Schuh (Bonus)

CHAPTER 5: Color Changes
Open Finger Color Change
Bob McAllisters Bet-A-Dollar Color Change

CHAPTER 6: Deck Switches
Black Deck Morph Chris Schuh
Ed Marlos Standing Deck Switch

CHAPTER 7: Working with Ellusionist Black Tiger Gaff Deck
Bonus Section

ACKNOWLEDGEMENTS Brad Christian






I want to take this opportunity to acknowledge Mike Kelley who accidentally
discovered reverse image cards while fooling around in Photoshop and gave me a
call with the idea of producing the Black Deck. His persistence is why you are
holding a Black Deck in your hand right now. I want to thank the United States
Playing Card Company (USPCC), Joe Robinette, for working with us constantly and
keeping an open mind. Greg Simko, president of USPCC, for his love of magic and
willingness to bend the rules on custom cards and magic gaff cards. Mostly
however, I want to thank Ellen Hecht for her tireless support of Ellusionist and the
projects weve produced through her. USPCC has found a true gem in Ellen and we
owe her a tremendous debt of gratitude. Extra special thanks to Mike Delbert for
painstakingly photographing all the images in this book. Marvelous work, Mike!
Special thanks also to our Ellusionist forum members that contributed such great
routines and ideas for the book; our forum guys hold a special place in my heart.
Acknowledgement goes to Devo Vom Schattenreich who also thought of inverting
the cards (before we did) and created a deck by hand! Devo has been instrumental
in his help and suggestions with the Black Tiger Deck.

Huge thanks also to Ellusionists Chris Schuh for the painstaking work of formatting
the material, writing, and putting the whole book together. Finally done, Chris!

Get into the Black Deck Support Forum at Ellusionist
Our aim with this book is to take you a certain distance in discovering routines and
presentation ideas for the Black Deck. The real work will be done by YOU later while
you are working with a pack of black cards in your hand. You have a chance to talk
with, share, and discuss things with other owners from around the world while you
are developing effects and presentations in the Black Tiger Deck Discussion Forum
on the Ellusionist web site. Set up a free account and log in with the following
password: tbd46972. Ive seen some of the best ideas come out of the Ellusionist
forums, so get in there and check it out! Also, it allows you to get support and ask
questions if there is something you dont understand in the book. This forum is a
free bonus with the book ongoing full support at Ellusionist! We want your
creativity to blossom and expand!

Brad Christian
San Rafael, CA. 2004



BLACK DECK CREATION Mike Kelley






All I wanted was a picture of a fanned out deck as a background for my cell phone.
I inverted the picture and was FLOORED! It was then I knew that this was to be the
new deck for magicians. The ideas went through my head so fast I couldnt keep
up! The possibilities were endless. I knew that the Black Deck would expand the
creativity of magicians everywhere and help to create fresh, new concepts in card
magic. Between the astonishing impact the look alone creates and the stories Ive
invented of its origin, there has been an instant added air to any well presented
effect and/or routine. One of the first decks printed by the United States Playing
Card Company was called the Tiger Deck way back in the 19th century. Now, with
the help of Brad Christian, Ellusionist, the USPCC and their faith in a simple
concept, the Tiger has been reborn.

Here are the original two images that I sent to Brad with this idea, taken on my cell
phone as I sat at my desk.



Michael Kelley
Bristol, Connecticut





FOREWORD The Shaman






Welcome to the Black Deck book, presented exclusively by Ellusionist. We have
screened and collected the best of the best for effects and routines to teach you
how to take your Black Deck and use it to create miracles. These effects and
routines are described in tremendous detail so that you can learn how to perform
them flawlessly, and improve your existing magic.

Youll notice that there are full scripts and complete explanations for every effect.
The book has been organized in such a way that you can pull parts from each effect
and adjust them to fit your character. You might love a patter line for one effect
and use it to develop a new script for another effect in the book or from your own
repertoire. You might have an existing patter line and no effect to go with it you
can use any of the effects taught in here.

The moment you open up a new Black Deck, you get that feeling. The feeling that
Im talking about is awe. These cards are commanding and automatically get
attention. They demand respect and instantly obtain it from audiences and
magicians alike. Now that you have an arsenal of awesome effects to go with your
Black Deck, this feeling will only intensify.

Be sure to use the Black Deck Book Forums at ellusionist.com to master your
effects before you take them out into the world. Most of all learn and have fun with
your Black Deck, a killer new tool in the realms of magic!

Enjoy.

The Shaman
Ellusionists Underground, Top Secret Guru













Finishing up this new edition of the book has been a great ride. Thanks for reading. Better change into something else now. Turquoise spandex pants arent as comfortable as they look.
-Marcus











INTRODUCTION Brad Christian






What This Book Is
First and foremost, this is a concept guide a collection of brilliant action ideas
assembled by Ellusionist NOT an instruction manual. The goal and function of this
text is to inspire further creative thought to give readers a small glimpse into the
world of the Black Tiger Deck, filled with many ideas that they have not thought of.
This is not an instruction book; although when a particular sleight or move is
mention you will almost always find a direct reference for it at the end of that
section so you know where you can learn it.



Imagine when the White Deck Was First Invented
No magician knew what to do with it. Slowly, over time, sleight of hand was applied
to the deck and card tricks were born. Today, there are more card tricks and more
ways to USE white cards than could EVER be imagined. From the Shapeshifter
change to Mentalism to card throwing to flourishes to gaffed card tricks and packet
tricks to all the incredible performers like Dai Vernon, Ed Marlo, Asher, Ortiz,
Erdnase, McBride, Hollingworth the list goes on and on.

We are just now beginning to discover what can be done with a Black Deck and how
it can be used in magic. People with a closed mind may say but everybody knows
a white deck! Why would I use a black one? Everybody will think its a trick deck!
Well, we know a few things about the Black Deck so far. Its up to YOU to get over
it if you have a thing about black cards looking like trick cards to your spectator
there are billions of ways around it. You tackle it like anything else in magic, as a
part of your routine. We will discuss this in detail shortly with specific methods for
introducing a Black Deck to your spectators.

We know that the black cards get attention fast. We know people go, Wow, cool
cards! We know the top flourish guys absolutely rave about the cards. We know
that many card workers treasure the cards dearly. And we know that when used in
routines that feature voodoo, spooky stuff, occult, levitation, horror, magick, black
magick, the cards bring these themes to life like never before. The cards seem to
take on a mysterious force when used in tricks like this and the cards help people
to feel your magic that much more by putting a reality behind what you are talking
about in your presentation.

Thank you for jumping into this process of discovery with us! We are thrilled that
youve purchased the Black Deck book and we look forward to learning about and
developing the Black Tiger Deck with you.

Brad Christian
San Rafael, CA. 2004








THE BLACK DECK
AND YOUR AUDIENCE





I



IS THAT A TRICK DECK?







If you pull out a brand new deck of red or blue Bicycle

cards that are still in the

wrapper, some people will still believe that its a trick deck. As magicians, we are
always going to be struggling to convince our audience that the cards are legit.
Therefore, when you pull out a deck that a spectator has never seen before, youre
going to realize that he or she is more likely to suspect its a trick deck right from
the beginning. Therefore, weve come up with some ideas and techniques that you
can use to help reduce the number of times you get asked, Is that a trick deck?
Fortunately, the Bicycle standard deck pattern is the most recognized pattern in the
world, and the Black Tiger Deck utilizes this pattern it makes your job a lot
easier. The only issue is that the deck is black.

The fact that the deck is black has advantages and
disadvantages. The main advantages are that it is
extremely beautiful for performing and seems to
have an attention getting and profound effect on
spectators. Certain effects come alive and have far
more impact when performed with a Black Tiger
Deck; this has been documented and proven.

The disadvantage of the Tiger Deck is the flip side
of this coin; they stand out and thus draw attention. If someone in your audience is
predisposed to believe youre using gimmicks theyll believe this is a gimmick, too.

Making the audience accept the cards is simply part of your job as a card worker
its exactly the same as using misdirection in a trick you figure it out ahead of
time and then use it! Treat the deck casually and normally; give a brief reason for
using it and why its black, and then get into your magic. There are several
concepts listed in this chapter that will help you introduce your deck and get your
audience used to it.


I have used the black cards
at two gigs so far
and the reaction was
overwhelming.
- Jerry Cestkowski,
Author of Encyclopedia of Card
Flourishes

GET PEOPLE USED TO IT







I found I could make my audience accept the Tiger Deck as a normal deck, just one
with a different color. I came up with a method to introduce the Black Deck and
make people accept it before the very first card was selected: a short, sweet
flourish routine utilizing the Tiger Deck.

Putting on a small flourish show is a way to introduce a deck of cards, break it in a
bit, get used to how the cards feel, and showcase some of your skills. Using the
flourishes taught on various Ellusionist videos, here is a short flourish routine that
can be used to introduce the Black Deck. This is an extremely beginner flourish
routine, if you know other flourishes that are more difficult, feel free to substitute.


Phase 1
Shuffle the cards using a regular riffle shuffle and bridge. This
breaks the cards in a bit and gets the audience used to seeing
them in a common setting.


Phase 2
Fan the cards face down and then close the fan with one hand.
Turn the cards face up and do the same thing. This gives the
audience a peek at the cards and demonstrates more skill with
the deck. This also indirectly shows them the back and face of
every card.


Phase 3
Dribble the cards so that the audience can see no links or
anything between them. This also looks like youre just breaking
the cards in a bit, then inspecting them, then breaking them in a
bit more.


Phase 4
Execute a pressure fan with the cards to show the faces again to
the audience. This displays the faces one more time and does so
at your eye level. This gets your face into the picture and also
has them looking into the cards, rather than down on them.


Phase 5
If at a table, ribbon spread the cards on the table face down. Pick
up the last card and use it to turn the ribbon spread face up. This
shows the back of every card on the deck and then the face of
every card in the deck. It also does so in a very elegant manner
and you can do this very slowly.


Phase 6
Have a member of the audience briefly shuffle the deck. You
dont have to point out that they can inspect all the cards. If they
are curious, they will look closely as they shuffle the cards.



Having them handle the cards and freely shuffle them lets the
audience know that the deck can be fully inspected and it does so
discreetly. It also shows them indirectly that the deck does not
have to be in any particular order.

(An important tip for this section is when you hand them the
cards and ask them to shuffle, mime an overhand shuffle. The
last thing you want is people whipping out their big shot riffle
shuffles, taking up time in your routine, and mangling your cards
by bending them over nearly double.)


Ending
From here, you can take the deck back and begin your normal
routine. The entire process takes only a couple of minutes and
gives the audience something pretty to look at while you get
used to the cards and break them in a bit. If anyone interrupts
you or comments about the cards being trick cards, you can stop
after that trick and point out that you displayed all the cards at
the beginning and handed them out. From there, Id hand them
out for a thorough inspection before continuing.


Please note that this flourish routine is designed with the beginner in mind and
anyone who has more experience in the art of flourishes will be able to come up
with their own introductory routine.

WAYS TO INTRODUCE THE BLACK DECK






In addition to the flourish introduction, you can also consider using these
introductions that have been submitted by various forum members.


Magicians Special Edition Mike Delbert
Every once in awhile, The United States Playing Card Company comes along and
releases special occasion decks. A few years ago, they released the Iraqi Most
Wanted deck in salute to our soldiers and to show the faces of the most wanted. A
year before that they released a Christmas Edition with Santa Claus drinking Coca
Cola to salute Coca Cola Corporation on their anniversary.

This year, the USPCC is looking in unfamiliar places to acknowledge and honor who
deserve and they chose to make a brand of playing cards to salute magicians
across the globe. I now present to you The Black Tiger Bicycle Playing Cards.


Bicycle Production Mishap Mike Delbert
Every company who makes products has their occasional mishaps in quality
control. Even the treasure has mishaps in printing currency. They usually sell these
rare deffects as novelties for collectors. The USPCC currently had a quality control
mishap when printing playing cards; the image of the card was exposed to light
unbeknownst to the management, and 10,000 decks of cards were printed in its
negative film format. Instead of destroying the batches of cards, they released
them to the magic community for purchase in hopes not to lose money on the
mishap. These were so widely accepted by magicians that Bicycle produced more, a
second edition that included the diamonds and hearts in red. I now present to you
the Black Deck Tigers.


Treasures from Black Magick Roy Ornelas Jr.
Once people discover that Im involved in magic, sooner or later, the subject of
Black Magick arises. I dont wish to go into detail, but it does exist in magic. Thats
magic with a K at the end. When I first began to study magick as a Black Art, I
quickly found out it was not for me. However, during that period of study I was
given these, and I will always protect and treasure the.


Art of Cartomancy Roy Ornelas Jr.
Iam sure you have all heard of Tarot Reading but have you ever heard of
Cartomancy? Cartomancy is much like Tarot Reading except that you use normal
playing cards. The problem with fortune telling with playing cards is that people
normally dont believe what you are doing is real. That is why those who practice
Cartomancy use a special deck.

During my studies in this art, I was fortunate enough to acquire a few of these
special decks in brand new condition. Since they are quite rare in this state, I take
exquisite care of them and rarely bring them out. However, I can sense that what
we have going on tonight means now would be a perfect time.





BLACK DECK CARE
AND ADDITIONAL NOTES





II



BLACK DECK CARE HOW TO DO IT RIGHT






Now that you own a Black Deck, its important to learn how to properly take care of
it. While no cards last forever, we do have tips and techniques that help extend the
life of your cards and ensure you get the most out of them.

The best thing you can do to prolong the life of your cards is wash your hands
before using them. You must do this every single time (before practicing and
performing). Your hand produces oils and other chemicals that will stick to the
cards and cause them to get dirty.

Please understand that black cards are very different from white cards. They
demand a different kind of care. Whereas fanning powder works with white cards, it
leaves a white residue on black cards. After much experimenting, Ellusionist has
invented a new finish called the UV500 Air-Flow Finish, which renders fanning
powder unnecessary on black cards (as long as proper care is taken when using
your Black Deck!). Its important to understand that black cards have BLACK INK all
over them, thats why they are black. Black ink generally picks up dust and absorbs
sweat more quickly than white (but the Air-Flow Finish helps dramatically).

If the edges of the Black Deck cards start to get white, do not panic, this is a
common issue. The ink wears out faster on the sides of the cards than the middle
because of the way magicians usually handle cards using fans, springs, and
shuffles. Many people take a black Sharpie

and touch up the sides of the cards to

fix this. However, you must do this correctly so you do not damage your deck.


Sharpie Care with Your Black Deck
Take each card individually and touch up the sides separately. Rather than using
the tip of the sharpie, use the side of the tip and run it along each side of the card
once. Set the card down onto a paper towel and let it dry for at least 24 hours. You
have to repeat this with every card, but it usually only takes about 15 to 20
minutes. Remember to lay the cards out individually, so they are not touching. If
you dont follow this procedure, then the cards might dry and end up sticking
together. If you still notice white edges, then repeat the entire process again
(waiting 24 hours each time).

When you handle the cards, remember that they are not resistant to all abuse.
They will take a bit more abuse than regular cards because the stock and print are
better, but they are still cards. Handle the cards with care. Try to think about being
elegant with the deck and how you treat it. When practicing a routine that destroys






the cards (or permanently changes them), you might consider using a regular deck
and then only performing with the Black Deck.

Many people have suggested that putting the cards in the fridge or freezer is a
good idea to extend the life of the cards. It isnt. This does absolutely nothing to
extend the life of your cards and can actually cut down on their life significantly.
While in the freezer or fridge, they will be subjected to moisture, which can cause
the cards to warp. Instead, store the cards in a cool, dry place.


Using a Card Clip
Another recommended option you have with the Black Deck is to purchase and use
a Joe Porper card clip. This card clip is the best one on the market (it has a
beautiful black finish to match the black deck) and will help extend the life of your
deck. Not only will it protect it from the elements (even carrying a deck in your
pocket does a little damage), but it will help prevent it from warping, keeping it
cool and straight. For tricks that involve getting a signature from the spectator on a
card, we recommend a silver or gold Sharpie, the writing looks incredible on black
and dries in a second or two. These are all available inexpensively at
ellusionist.com.


THE BLACK DECK REVOLUTION OTHER OPTIONS AND IDEAS







Trick Black Decks
There are currently five major trick decks that are made from the Black Deck. They
are the Invisible Black Deck, the Rising Card Black Deck, the Forcing Black Deck,
the Exchange Black Deck, and the Stripper Black Deck. Each packs a powerful
punch and will elevate your performance when used in a routine in conjunction with
a regular Black Deck. Now the Tiger-MINI is also availablea tiny version of the
Black Deck that can be used in many routines to reduce the size of the cards. Baby
Tigers!



Black Deck Presentation Concepts
In this book are tricks and routines that are fully scripted. Sometimes its good to
just take a general idea and run with it in a trick, rather than fully script it. The
following are some presentation ideas to use with the Black Deck that we have
found to be particularly effective on audiences.



The Zombie Card (for an Ambitious Card routine)
This routine was hallucinated by a sleep-deprived Chet from the Ellusionist
Discussion Forums; the Zombie Card idea was developed from a spider-like hand
movement of Dan Turcotte. When I saw Dan getting spectators to help rise the
Ambitious Card, I sort of drifted into what if that magical hand movement actually
DID raise something? Start with the old pick a card; any card. Make this as
hokey as possible, but be a little afraid. Warn your audience that there is something
unique about this deck ofStop in the middle of the sentence and stare at the card
theyve selected.


You, you realize, you stammer, that you have picked the Zombie Card?

Even if they dont ask, Whats a Zombie Card? tell them. This Zombie Card was
once a living, vital Four of Spades (or whichever card they picked). But, cursed for
its sins against humanity, it was made subject to unsanctified voodoo. Now it can
never rest. No matter how often we try to give it a proper Christian burial (bury the
card in the deck), it cannot rest.

Before turning it over, put your hand over the deck in spider fashion. Draw your
hand upward, as if you were lifting a marionette with a string on each of your
fingers (call this invoking the voodoo curse). Then, reveal that the Zombie Card
has risen to the top.

When the card is actually on the top, you can have the spectator do the voodoo
and make the Zombie Card rise. For this, he puts his hand over the deck in a spider
fashion and draws his fingers upwards, just like you did. Then, have the spectator
turn over the Zombie Card himself.

Continue on with your Ambitious Card routine with this patter line until you get to
the final move.

It always rises, no matter how deeply we bury it.




For the finale, tell the spectator that Once, they tried to end the rampage of the
Zombie and bring peace to the undead corpse. They broke its back so it might not
rise again. Execute the Braue Pop-Up Move (taught in Crash Course 2).

When the Zombie Card rises again, say The Zombie still lives!!!



Voodoo
While this might seem a bit obvious, many people forget that the color of the deck
already gives it inherent meaning to the audience on a subconscious level. They
respond to the deck immediately and you can capitalize on that, ensuring you will
maximize reactions. We feel that voodoo themes work perfectly with certain effects.
Any time something strange is happening to one card (or more), you could build a
script based on the power of voodoo. For example, we feel that the effect Burned
(How to Do Street Magic) and Card Warp by Roy Walton (taught as Voodoo Zone on
How to o Street Magic) are excellent examples of the voodoo theme working
beautifully. Do a search on the Internet for voodoo and pick up some solid FACTS to
base your routine around. Youll be amazed at the power of being able to rattle off
some straight facts about what you are talking about: i.e., voodoo began back in
1634, deep in central Africa and was originally used by tribal witch doctors to ward
off evil spirits and maintain the health of the village, etc. Facts bring a sense of
reality to your story and people instantly think you know what you are talking
about.



Black Magick
Many audiences have heard about the Black Arts, but few have any exposure to it.
Consider presenting something that delves a bit into the Black Arts using your Black
Deck and youll be amazed at how the reactions explode from your audience. Again,
research!



Scratches on the Cards
There is a lot of black ink on the Tiger Cards and you can use it to amazing
advantage. Take a pin or the end of a paper clip and scratch a word or phrase in
the middle of one of the cards; dont make it perfect, make it as if it was written by
a hand that just came out of the grave and scratched the card with its fingernails
(chicken scratches). For testing right now, scratch the word, AFRAID on one of
your black cards.

Step back and look at it Look at how scary it looks and how real. Now come up
with a few routines for this premise.

Well start you off. What if you had a duplicate Three of Spades in the deck? This
duplicate has the scratches on it. Maybe it has the spectators name, maybe it has
the words this one, maybe it has I am real. Think of something subtle but scary.
Then

You force the normal Three on the spectator.
Shuffle it back into the pack and control it to double lift position
(second from the top), with the scratched three above it on top of the
deck.


Double lift, showing the persons card has risen to the top maybe
mention the Zombie?).
Turn the double back over and hand them the Three to keep in their
hands (in reality the scratched duplicate).
Have them cover the card with both hands.
Talk about Zombies and how dangerous they are and how nothing can
stop them, and then eventually have them reveal the card in their
hands with the fresh writing.
Sorry, we have to go now; well be under our bed hidingAaugghhh!!!




BLACK DECK
EFFECTS





III



NEGATIVE FLIP Ken Sasamura







Effect Description
A photograph of a face down card is turned face up to reveal a selected
card. The card that was selected is missing from the white deck and only
a black version of the card can be found.


Patter Line
The patter for this effect is based on a photo negative that represents
the selected card.

Its obvious that photographic tricks and themes can be widely
expounded upon, given the negative image look of the Tiger Cards.
Use your imagination you never know what youll be able to come up
with in this regard. How about in the middle of a white deck routine, a
sudden flash goes off and you are left holding a negative image of the
selected card?


Setup
This setup requires some additional props, other than the Black Deck. Remove a
single card from a Black Deck and put it second from the bottom in a regular
red/blue deck. Have the matching red/blue card on the top of the deck, so you can
force it on the audience. You will need to have a printout of the face of a Black Deck
card that matches the force card. Cut that face card out and put it in the center of a
large sheet of paper. You will also need a printout of the back of a Black Deck card
that is cutout so it can be placed over the top of the face up card. The printout of
the back of the Black Deck card is not connected to anything so it can be moved
around.

To recap, the magician ends up with a sheet of white paper. In the center of that
sheet is a picture of the face of a Black Deck card. This picture is about 75 percent
of a regular card size. The magician also has another picture of the back of a Black
Deck card. This picture (of the back) is cutout and there is no paper around it at all.

Put some magicians wax on the blank side of the picture with the back of the Black
Deck card. Place the cutout over the top of the card on the printout, so the face up





picture is completely hidden. Stick the picture of the face down card to the picture
of the face up card. Put this in your pocket


Method
The method is quite simple. You force the top card on the spectator so they select
the one that matches the Black Deck card (an overhand shuffle force would work
well and allow you to leave the deck more or less in the same order with the black
card near the bottom). Have the spectator replace the card into the deck and then
control it to the top either by a shuffle, pass, cull, or any other method you see fit
(it doesnt matter where the black card in the deck winds up, just control the
spectators card and then palm it). Palm off the selection and reach into your
pocket to remove the printout with the cover card already on it. Leave the selected
card in your pocket.

Take the printout of the back of the Black Deck
card and use it to cover up the face up printout.
Show the paper to the audience that has the
picture of the face up card, which is covered by
the cutout of the face down card. Begin to rub
the picture and during this rubbing action, you
will pull the cutout down and away so it is not
blocking the face up picture anymore. Continue
rubbing this until the cutout is palmed (right in
your palm, do not finger palm it). Then, you can
slowly lift your fingers up one at a time to show
that the image has changed and the card is now
face up. Hand it out for inspection and then
pocket the cutout picture.

Reach over and get the deck again. Glance at the side of the deck to locate the
black card (it should stick out to you). Cut the deck or execute a pass to bring the
black card to the center. Spread the cards to reveal that the selection has changed
to black and then reveal it face up.

Leave the cards out in the open, in case anyone wants to see if the original card is
still in the deck somewhere.





Note
Adjusting the size of the
images and the size of your
printouts will allow you to
control the portability and
visibility of this effect. For
close up, you want the photo
to be no larger than a playing
card. Alternatively, you could
make the photo larger for
parlor performances.

Note
You can also introduce a black card
in the middle of a routine by
palming it in and then controlling it
via a shuffle to the second from the
bottom position. Then, you simply
have to locate the matching card
and work it to the top.




Script
The magician pulls out a red/blue deck of cards and removes them from the box.

Before the time of digital cameras, we had to use an ancient technology called
film. Rather than being able to view your photos on your camera, you had to take
two or three pictures and hope that one turned out right. When you got your
pictures printed, you could have as many sets as you wanted, but you only got one
set of negatives back. Since people here seem a bit camera-shy, well take a photo
of one of the cards in this deck.

The magician forces a card on the spectator.

Please put it back in the deck, so we can begin. Does anyone have a camera here?

The magician waits for the audience to answer with a no. If they do have a
camera, look at it and disregard it saying you need a different one. For example, if
the camera is not a Polaroid (one that instantly develops film), then you say you
cant use that camera because its not a Polaroid. If it is a Polaroid, then you can
say you need a regular camera or a digital one. No matter what they answer, you
always indicate that its the wrong kind of camera.

Thats all right. Well just take a mental picture of the card. Now, everyone is
picturing the card as they saw it. Magicians are a bit different, though. We can take
mental pictures and also keep the negatives. Let me show you what I mean.

During this patter, the magician controls the card to the top and executes a top
palm. Or, the card can be controlled to the bottom and the magician executes a
bottom palm. Either way, the selected card is palmed out of the deck. He reaches
into his pocket with the palmed card in hand, drops it in his pocket and then pulls
out the image with the cover up image on top of it..

My negative is only in black and white, and the colors are reversed. But this is a
representation of the backside of my mental picture. Now, after looking at it, Ive
noticed that youre thinking of the card and using the colors you see here. But this
picture could be any card.

The magician rubs on the picture of the face down card and in the process, palms
off the piece that is covering the face up image.

I believe that this looks a bit more like your mental picture.

The magician hands the image out to be inspected and pockets the palmed card. He
notes where the black card is in the deck by glancing at the side and then cuts the
black card to the middle, if necessary. He then ribbon spreads the cards and waits
for the audience to notice the single black card.

Sometimes real life does imitate art.






References
This section references the Ellusionist videos that teach the sleights used in this
book.
Various methods for forcing a card are taught on Ninja 2, Inside Magic and
How to Do Street Magic.
The Pass is taught on Ninja 1.
Controlling shuffles are taught on Crash Course 1.
A one-handed top palm is taught on Crash Course 2.
A bottom palm is taught on Ninja 2.
The ribbon spread is taught on How to Do Street Magic and Inside Magic.

HYPNOTIC INDUCTION Magius







Effect Description
A spectator selects a card from the spread and he is the only one to look at it.
The magician sets the deck down on the table and begins to hypnotize the
spectator into forgetting the selected card completely. The audience then
checks to see what the selected card was as the spectator names it out loud.
They do not match.


Patter line
The magician is going to attempt to hypnotize the spectator and cause them
to forget the card that was selected.

Many magicians will scoff or shy away from this trick because it uses a single,
simple sleight. However, this trick is more of a challenge than that because it
forces the performer to turn this single sleight into an amazing effect. This
challenge is not with sleight of hand, but with presentation. If youre unsure
about performing this one, just try it out a few times, youll be pleasantly
surprised at how strong the reactions are.

Many top magicians have become extremely famous by using simple and
direct effects. They have realized that a simple principle applied in a very
clever manner is not only incredibly deceptive, but also incredibly powerful.
Just because an effect does not require you to bust your knuckles does not
mean it is not powerful. Were not alone in this attitude either, which is why
we love the following quote.

Popular Indian magician Manuj Chandra Sharma, in talking about the Stripper
Deck once said, You have in your arsenal one of the most powerful concepts
to create an aura of disbelief for your audience, but no, you dont care about
your audience. You want to prove to yourself that after a month of practice
you can pull a fancy move off so you can feel great that others cant do it and
you are more dedicated and hard working than all the others. But from the
audience standpoint it proves nothing. The audience does not see the sleights,
they see magic.


Setup
No setup is required for this trick, only a Black Deck.


Method
The method behind this effect can vary, depending on the performer, the audience,
and the environment.

This is a list of the possible sleights you can use to accomplish the effect. These
start from the point of having the card pushed out of a ribbon spread (but not
looked at) by the spectator.





Double lift
Here, you will just need to remove the selection and keep the face of it
hidden. Set it aside and then square up the deck and place it face down on
top of the deck. Then, show the selected card to the single spectator, but do
a double lift. Have him memorize it and then turn the double over and set
the deck down on the table. Continue with the script and have the other
spectators turn over the real top card to reveal that it is in fact different than
what the spectator thought. (This is an awesome and little used method of
forcing a card; you can also perform it in your hands.)


Top Change
Here, you will have the selection looked at by a single spectator as soon as
its removed from the deck. As you scoop up the cards, you square them up
and he is asked to memorize the card. You take it back and turn to the other
side of the audience. During this turn, you have the spectators look at each
other and execute the top change. You lay the selected card down to the
side and put the rest of the deck down and away from it. Continue with the
script and the rest of the audience can look at the single selection at the
end. There is a classic effect called Everywhere and Nowhere that utilizes the
top change in this way, on three separate cards, all of which turn into the
Ace of Spades later on. The effect became a classic because of its simplicity
and how hard it hit the spectators.


Mexican Turnover
This is performed exactly like the Top Change performance. However, this
time the selection is revealed by you at the end. When you reveal the
selection, you execute a Mexican Turnover and this swaps the cards.
Continue on with the rest of the script after the audience knows that the
hypnosis was successful.


Pass
When using the pass for this effect, you will have the spectator look at the
selection without you seeing it. Then, it is placed on top of the deck and you
set the deck down. As you set the deck down, you execute a pass to put the
selection into the middle. Continue on with the script and you can have the
rest of the audience reveal the top card to be different.


Palming (Out)
In this palming method, you have the selection placed on top of the deck. As
you turn to the rest of the audience, you palm it off and set the deck down.
You then turn back to the spectator and reach into your pocket to remove a
pocket watch (or some other item that will help you with the hypnosis),
while dropping the palmed card in your pocket. Continue with the rest of the
script and have the audience reveal the different card.


Palming (In)
In this palming method, you will have an indifferent card in your pocket
already. The spectator looks at the selected card and places it back on top
so its easy to keep track of. You will reach into your pocket to remove the





watch (or other item to help you with the hypnosis). After the hypnosis has
finished, you will put the item back in your pocket and palm an indifferent
card. As you reach over to pick the deck back up, you drop the palmed card
on top and you have effectively changed the card. Let the rest of the
audience look at the card and reveal that it is different.


Protrude Control
In this method, you switch the card as you are displaying it. You have the spectator
touch a card and they look at it in the deck. Then, as you set the cards down you
perform the switch undetected. From this point on, you can continue with the script
at the start of the hypnosis.


Script
The magician brings out a Black Deck, still in
the box, and sets it on the table.

Have you ever walked into a room and
completely forgot why you went in there?

The audience responds with agreement.

I have, too. In fact, I think that everyone has done that at least once in his or her
life. Well, I am working on a way to cause that to happen to other people. The uses
of it are phenomenal. Imagine that your boss walks over to you and is ready to pile
on a bunch of work for you to do over the long weekend. Then, you see that
puzzled face and suddenly he (or she) walks off wondering why they came up to
you in the first place. It would be priceless.

The magician takes out the deck of cards and
spreads them on the table to show all the
faces. Then, he reverses the spread to show
all the backs and leaves them in that state.

But, Im only working on my techniques; Im
still a while away from developing a way to
prevent extra weekend work. This technique
uses all black cards, so that the images of the
cards are different in your mind than any
other cards you have seen before. It also
removes the extra coloring and allows our
thoughts to focus on values and not pictures.
What we will try to do now might not work
out. I just want to prepare you for that; its
just an experiment. Would you please push
one card forward and leave it on the table?


The magician has a spectator push one card
forward and it stays on the table, face down.
The cards are left in this state while the magician talks to the spectator.


Now sir, when people think of hypnosis, they usually think of people doing
Brad Christian
We list different methods so
you can see there are many
ways to attack a trick when
accomplishing it. Pick the one
that feels most right to you
and go with it.

Note
You have to present this effect
in a serious manner for it to be
believable. This means that
everything in your presentation
must have a serious tone to
it such as your body
language, gestures, tone of
voice, facial expressions,
tempo, and your posture
must be presented seriously.
Absolutely everything. You
must really believe that you
are going to try to hypnotize
someone at this point to bring
a realistic element to the effect
itself. This is a test of
performance skills.





embarrassing things on stage. So, some people shy away from it. I promise you
that I will not cause you to do anything embarrassing. Some people also resist
hypnosis because they dont want to give up control of their thoughts or because
they dont want the hypnotist to beat them. I promise you that you will not give
up any control at all and that if this is successful and you allow me to hypnotize
you, then everyone will win. But some people simply dont believe in hypnosis at
all. What Im presenting here is not a trickery of the eye, but trickery of the mind.
This is based on scientifically proven techniques and is accomplished only by words.
Are you ready?

The magician then begins to hypnotize the spectator.

You are going to notice certain things going on in your mind and through your body
as the hypnosis begins. Youll experience common things like feeling very relaxed,
almost sleepy, and some sensations that arent so common. You may begin to
notice that you want to close your eyes. You can do so, if you wish. What you will
begin to feel is a light tingling in your feet and in your hands. It will feel almost as
though you can sense the blood pumping throughout your body and you can feel it
going to the ends and coming back to your heart.

What I am going to do is simply remove a thought from your mind. The thought is
nothing important and nothing that will affect you at all. Im going to remove the
thought of the card you selected. I will also try to plant a new thought in your
mind, but I doubt that it will work.

As you start to relax a bit more, youll notice the tingling has moved up into your
legs and into your arms. Its faint, but if you focus, you can feel it. I can tell by
your smile that youre sensing something.

On my command, I want you to open your eyes (or look at my eyes depending on
the current state).

The magician pauses for a moment, but no more than 2-3 seconds.

Now! Open your eyes (or look at my eyes), <name of spectator>!

The magician says that part with more
emphasis, but he does not shout it. He then
waits for eye contact to be established. The
instant that eye contact is established the
magician says the next line. As the next line is
being delivered, the magician waves his hand in
front of the spectators face, horizontally. He
does not break eye contact at all, though. After
the wave has been completed and the line has
been delivered, the magician snaps his fingers.

What thought is in your mind, <name of
spectator>?


Either way, the magician has the rest of the audience show the card to the
spectator or we discover that the though has either been successfully removed or
successfully changed via hypnosis.

Note
You can actually get them to
forget the card. This is possible
and does happen. If they dont
forget the card, then you can
simply say that the thought
they have is the one you
planted there because the card
that was selected is different
than the thought (thanks to the
switch).



Additional Notes
This effect requires a lot of serious performing and a lot of showmanship. You want
to view the cards as a small part of this larger effect. The effect that you are trying
to create is that youve hypnotized someone into forgetting a thought (or having a
different thought). The cards should be considered as a small prop used only for
easy verification. We cannot stress enough how you must present this seriously.

Also, if you are in the middle of a routine that is not serious, then this effect might
not work at that time. You must be performing something with a serious tone
before this effect to have a chance for it to be a success and get great reactions.
You must also appear to have complete confidence in your abilities. You might
notice that you are not fully confident on the inside as you perform this effect, but
on the outside you should be completely confident.




References
The ribbon spread is taught on How to Do Street Magic and Inside Magic.
Double lifts are taught in various places. Ellusionist products that teach at
least one double lift are Crash Course 1, Crash Course 2, and Ninja 2.
The Top Change is taught in great detail in Kard Klub.
The Mexican Turnover is taught in various videos and books, but none
that Ellusionist themselves have produced.
Various methods of accomplishing the Pass are taught on Ninja 1 and
Ninja 2.
Some palming methods are taught on Ninja 2 and Crash Course 2.
The Protrude Control is taught on Crash Course 1.


Additional Credits
Magius has indicated that the inspiration for such presentation is from Derren
Browns magic style, demonstrated in his TV specials and described in his book Pure
Magic.

Luke Jermay and Kenton Knepper also deserve to be mentioned, as something
similar to this effect appears in the book 7 Deceptions by Luke Jermay. Luke has
some brilliant additions and concepts that can be used to enhance the effect even
further.



DIVERGENT ANIMATION Malcolm Vendryes






Effect Description
The magician proceeds to bring out the most famous card in any deck, the Ace of
Spades, shows it face up on top of the deck, and then rubs it with an empty hand.
When he removes his hand again, the pip in the middle of the card has twisted to
the side. He then takes it off the deck and passes his hand back over it to
straighten the pip out and return it to normal.


Patter Line
The magician speaks of the most famous card in the deck the Ace of Spades. He
then says that not many people know why the Ace of Spades is so famous, and
then proceeds to let them know how it became known as The Death Card.


Setup
At the printing of this book, the 2
nd
Edition of the Black Tiger Deck contains a
Twisted Ace of Spades, which can be used for card work. Have the Twisted Ace of
Spades second from the bottom and the normal Ace of Spades on the bottom of the
deck.


Method
This method only uses four sleights, but they are well crafted and go well with the
script below.

You introduce a deck already set up as needed. You start the script and then turn
the deck face up so that the normal Ace of Spades is showing. At the right time in
the script, you perform a Classic Color or Erdnase Change. You continue with the
patter and then perform a double lift, but do not turn the double face down.
Instead, you execute a double lift and take two cards (as one) off the deck. The
rest of the deck is set down on a table or handed to a spectator.

From here, you execute a
Bertram Change. During the
reactions to the Bertram
Change, you palm the Twisted
Ace of Spades and pocket it.
The normal Ace of Spades can
then be handed out.


Script
The magician brings out a
Black Deck and takes the
cards out of the box. He holds
them face down, in the
Mechanics Grip.
Note
Timing is critical. You want to pause and begin
the first half of the color change after you
finish saying the word sinister. You do not
deliver the next line until you are halfway
through the change. You then deliver the next
line as you complete the color change, but you
hold back on the word twisted. A slight pause
is put in, and then you twist your hand as you
say the word twisted. Once you finish saying
that word, pause for a single moment and then
lift your hand up to show that the Ace of
Spades has now actually twisted.





Many people know that the most famous card in the deck is the Ace of Spades. It is
sometimes mistaken for the trump card of trump cards. It is sometimes mistaken
for The Devil Card. But, most people know the Ace of Spades as The Death
Card.

The magician turns the deck face up and
reveals the Ace of Spades.

What you dont know is why the Ace of
Spades became the Death Card. Some people
say its because the Ace of Spades is a bit
darker than the rest. They feel its a bit more
sinister. They believe that its twisted.



The magician executes the first color change.

In reality, the reason why the Ace of Spades
is known as the Death Card is because of US soldiers who fought in Vietnam.
Combat troops would take decks of cards out onto the battlefield. They suspected
that the Vietnamese soldiers believed the Ace of Spades to be an omen of death
and that it was feared.

So, during the war, US soldiers would leave these cards on top of fallen enemies.
They would also leave them in areas that were regularly patrolled by the enemy as
a sign of what was to come.

The magician executes a double lift, but does not turn it over. Instead, he takes the
two Aces off the deck and sets the deck on the table (or hands it to a spectator).

Many people think that a card is just a card.

The magician executes the Bertram Change.

Now that you know why this card is so
famous, it is up to you to decide if you
believe in the superstition or not.

The magician palms off the Twisted Ace of
Spades as he hands the normal Ace of
Spades out for inspection. During the
audience reaction, he puts both hands in his
pockets and ditches the Twisted Ace of
Spades. Hes then completely clean, in case
anyone wants to inspect the card or the
deck.



References
The Erdnase or Classic Color Change is taught in How to Do Street Magic.
Ellusionist products that teach at least one double lift are Crash Course 1,
Crash Course 2 and Ninja 2.
The Bertram Change is taught in the book Bertram on Sleight of Hand.
Some palming methods are taught on Ninja 2 and Crash Course 2.

Note
The timing of this line and when
you execute the change is also
critical. What you want to do is
pause on the first time you say
the word card to display the
Twisted Ace of Spades. On the
second time you say the word
card, you want to execute the
Bertram Change.
Note
Do not be in a hurry to ditch the
palmed card. Many times, its
much stronger to retain the
palmed card and simply ask the
audience if they believe in that
superstition, or any other ones. As
soon as you finish the question,
they will think about the answer
before they reply. This is when you
can pocket the ditched card, as
their mind will be focused on
something else away from the
cards and away from your hands.

RADIAL TELEPATHY Richard Agnew






Effect Description
A card is selected, lost in the deck, and then a reading is given by the
magician about that selection and how it might relate to the spectator. The
card is then located near the top of the deck and then the white pips on the
card visually change to red.


Patter Line
This effect is about love and two hearts. The selected card represents them.
For those interested in Mentalism and cold reading, you have a unique
opportunity to include that element into this effect. We feel that it really adds
to the overall impression and impact, so we recommend thats how you
perform it.


Setup
From the top of the deck, you have the following cards:

Black/White Two of Hearts (face down)
Black/White Joker (face down)
Black/Red Two of Hearts (face up)
Rest of deck is Black/White (all face down)


So, the only card that has red on it in the
deck is a single Two of Hearts. The rest of
the cards are from a Black/White colored
Black Deck.


Method
While you can open with this effect, we
find that the impact increases a lot if you
perform a few tricks before it using the
Black Deck. The reason for this is you
want the audience to become comfortable
with the deck itself and also with the
colors. You also want them to know that
there are no Jokers in the deck (or cards
with color).

This effect does not rely heavily on sleights. You will begin by forcing the
black/white Two of Hearts on the spectator. Rather than the spectator putting the
card back into the deck, you will do so and you will insert it into the third position,
face down. You will use Marlos Tilt to do this.

At this point, you can begin a cold reading on the spectator and relate it to the
selected card. It shouldnt be too difficult to relate a Two of Hearts to someone. Of
course, if you have alternative ideas for the cold reading or force card, then you
can easily change it to whichever card suits you.
Note
If you want to perform this with a
clean deck before this trick, then it
is quite simple to set up in front of
the audience. You simply have the
Joker and black/red Two of Hearts
in your pocket. The cards are facing
each other and the Joker is on top.
You can reach into your pocket,
palm both cards, and place them on
top of the deck. Then, you have to
find the black/white Two of Hearts
in the deck and bring it to the top.





Once the cold reading (which is optional) has finished, you pull off the top two
cards as one, but do not turn them over. You then turn over the third card (the
forced card) and leave it face up on top of the deck. At this point, you can do a very
short talk about the card and then execute the paintbrush change.

Take the face down Joker still left in your hand and stick it into the middle of the
deck, but leave it injogged. You will be left with a face up double lift (both of the
Twos). From here, turn the double lift over and square up the Joker, but hold a
break over it. Execute a pass and this brings the Joker to the top and the Twos are
buried in the deck. Allow the spectator to turn over the top card (which they believe
is the red Two of Hearts) and they will notice that it is now the Joker.


Script
The magician completes the previous trick and then palms in the two cards from his
pocket. He then locates the Two of Hearts, injogs it, and brings it to the top of the
deck by using a cull. The deck is now set up and ready to perform this effect.

Weve all heard pick a card, any card from someone who wants to show us a
piece of magic. Sometimes its terrible, sometimes its good, and a few special
times it can become something that we will remember forever. Well see if were
fortunate enough to experience that sometime this evening.

Please tell me when to stop.

The magician forces the top card via the Slip Force.

Now, most people just say stop when the thought occurs to them. Usually, the
decision is based purely on their intuition. Either that or its our fate that can guide
us. No matter what, it can be very interesting to find out which card that is.

The magician gestures for the spectator to take the force card.

Of course, you get to see the card right now. I get to find out if it means something
more than what were initially seeing.

After the card has been shown to the audience, the magician takes it back and
inserts it into the deck. He uses Marlos Tilt to do this. However, he ensured that
the card is inserted into the third position in the deck (this is a slight modification to
the original sleight). He then sets the deck down or hands it to the spectator.

You pride yourself in being an independent thinker and you usually dont accept
peoples opinions without some sort of proof. I get the feeling that you often doubt
whether you have made the right decision because of certain events that have
happened in your life. You know you have a great deal of untapped potential that
you keep hidden from others. You need to learn how to harness that potential. You
tend to be worrisome and insecure on the inside, yet on the outside, you can seem
very controlled. This is probably because of some hurt you have suffered in the
past. Im sensing a past love interest and that there was a third party that seemed
to have complicated things. There are some financial concerns that you want to
change in the short term and also down the road.

But all of this has to tie together. Our lives are full of routine and regular things.
This can sometimes leave us feeling like were in a rut. While it might seem like
were leading a life full of routine, each day is unique. The mystery of life is to find
out the little things that happen to us each day that make that day unique and
relate them to our own big picture.






Some people might select a card and think that it is nothing more than a playing
card. Other might select a card and relate it to the rest of the deck. Only a select
few will select a card and relate it to their own lives. I leave that choice up to you,
but I want you to realize that sometimes the <name of card> is more than just the
<name of card>.

The magician ends the cold reading section and continues on with the script from
this point.

Most of us have heard the famous line you
complete me from the movie Jerry McGuire. This, of
course, is based on the feeling that we might have
when someone else seems to make us a whole
person. Usually, when we meet someone who does
this, we wonder how we actually got through life
before the first time we met.

This feeling of oneness can be quite breathtaking.
However, I dont believe that two people become one at all. Instead, I believe that
we can become so in tune with another person, so in sync, so connected, that it
gives us the illusion that were one being.

The magician takes the deck back.

Therefore, I think that what is happening is more like two hearts beating at the
exact same time and in the same place. The great part is that when youve found
this, you know it immediately. That electricity from eye contact cannot be denied.

The magician picks up the top two cards as one and pauses.

I think that Ive found it.

The magician uses the double card to turn over the next card in the deck (the
selection) and pauses for people to react.

But, the best part about this miracle isnt knowing immediately that youve found it.
No, not at all. The best part of this miracle is that when youve found it, you feel so
(pause) alive.

The magician begins the Paintbrush Change on the last sentence (the best part).
On the word alive, the magician completes the Paintbrush Change to make the
black and white Two of Hearts visually change into the black and red Two of Hearts.

The magician pauses for the reaction and inserts the leftover Joker into the middle
of the deck, but leaves it injogged. He then turns the two face up cards on top of
the deck face down, hiding the black and white Two of Hearts.

He then squares up the deck (including the injogged Joker) and catches a break
above it. As he sets the deck down, he executes a pass to bring the Joker to the top
of the deck and the Twos to the middle of the deck. The deck is either sitting on the
table now or in a spectators hands.

But the second we start to take things to heart too much, were jolted back to
reality. Thats why its so important to realize things can change before we even
know it. So, we shouldnt always take life so seriously.

The magician gestures for the spectator to turn over the top card. If the spectator
doesnt do it, then the magician just says it outright. They react, as the card is now
a Joker.
Note
Alexandre kindly donated
this cold reading patter to
our project. Please check
out the references section
for the credits and other
information about him.




Additional Notes
For those who perform cold reading with this effect, the script will change every
time you perform it to suit the spectator. Remember to perform some effects before
this one, using the Black Deck so people are already aware that it is just a black
and white and that there are no Jokers. Its much stronger to do it this way, as
opposed to showing the deck and explicitly saying, there are no red cards or
Jokers in here.


References
Various methods for forcing a card are taught on Ninja 2, Inside Magic, and
How to Do Street Magic.
The Marlo Tilt is taught on Crash Course 2 and Ninja 2.
The Paintbrush Change is taught on Ninja 2.
Double lifts are taught in various places. Ellusionist products that teach at
least one double lift are Crash Course 1, Crash Course 2, and Ninja 2.
The Pass is taught on Ninja 1.




































Ellusionist would like to give our special thanks to Alexandre
(www.eyesandminds.com) for allowing us to use his cold reading patter for this
effect.


STRANGE ART OF FORTUNE TELLING Roy Ornelas Jr.






Effect Description
The magician has a card selected and it is left unseen by everyone in the
audience. He then continues by giving a reading on the person who
selected the card. At the end of the reading, the magician names the card
that was selected and the spectator turns it over to see if its correct.

Patter Line
This effect is about Cartomancy (the art of fortune telling with cards). The
difference is that this uses a regular deck instead of Tarot cards. The patter
is about the spectator and the spectators life. At the climax, the magician
names the card and the spectator reveals how it relates to him or her.

Setup
None required you only need one Black Tiger Deck. As an additional bonus, the
cards should be carried without the box. We recommend purchasing a Tarot deck
Bag (they come in various colors) and you can use that to hold the cards. You want
to give the impression that the cards are rare and have been passed down to you.

Method
The method of this effect relies on a glimpse of a bottom card and then using it in a
Riffle Force. The patter is entirely based on cold reading techniques.

Have the spectator shuffle the deck, but do not instruct them to cut it. If they do it
on their own, that is fine. You are going to attempt to glimpse the bottom card of
the deck. This card is the one that you intend to force.

The reason you do not have them cut the deck is because you are going to cut it in
preparation for the Riffle Force. If they have cut the deck themselves, then your cut
(which is required for the Riffle Force) is unnecessary and could become suspect for
some of the extra perceptive spectators.

If you cannot glimpse the bottom card by now, then hold the deck sideways and
you can see the bottom card easily. This looks like you are just looking at the edges
of the cards, but with a tiny angle you can see the index of the bottom card.

Once you know what the bottom card is, hold the deck in Mechanics Grip. Using
your pinky finger, pull down on the bottom card. This will allow you to get a break
above it. Bring your right hand over and take the deck into Biddle grip and transfer
the break above the bottom card to your right thumb. Give the deck a Swing Cut
and retain the break above the bottom card as it is inserted into the middle. As the
deck is starting to close, drop the bottom card. It should now be the top card on
the bottom packet. Retain the break you have from the Swing Cut (above the card
that was originally on the bottom) and execute a Riffle Force.

Put the forced card face down on the table and remove the entire deck from view of
the audience. You want to make this entire effect about the spectator and that one
card.


Script
The magician brings out a small, black velvet bag. He reaches inside the bag and







removes the Black Deck of cards. He ribbon spreads them face up to show the
faces and then collects the cards into one pile. The deck is handed to an audience
member and is shuffled.

Please shuffle the cards carefully. I dont have many of these decks and they are
quite rare.

After the deck has been thoroughly shuffled, it is returned to the magician. He cuts
the deck. He then has the spectator select a card via a Riffle Force.

Using nothing but your intuition, tell me when to stop.

The magician stops on the spectators command and
places the single card directly in front of him and
puts the rest of the deck back in the bag. The bag is
then returned to its original location, completely out
of view from the audience.

One person. One fortune. One card.

The magician then proceeds to perform some cold
reading on the spectator.

You pride yourself in being an independent thinker and you usually dont accept
peoples opinions without some sort of proof. I get the feeling that you often doubt
whether you have made the right decision because of certain events that have
happened in your life. You know you have a great deal of untapped potential that
you keep hidden from others. You need to learn how to harness that potential. You
tend to be worrisome and insecure on the inside, yet on the outside, you can seem
very controlled. This is probably because of some hurt you have suffered in the
past. Im sensing a past love interest and that there was a third party that seemed
to have complicated things. There are some financial concerns that you want to
change in the short term and also down the road.

But all of this has to tie together. Our lives are full of routine and regular things.
This can sometimes leave us feeling like we re in a "rut." While it might seem like
we're leading a life full of routine, each day is unique. The mystery of life is to find
out the little things that happen to us in each day that make that day unique and
relate them to our own "big picture."

Some people might select a card and think that it is nothing more than a playing
card. Others might select a card and relate it to the rest of the deck. Only a select
few will select a card and relate it to their own lives. I leave that choice up to you,
but I want you to realize that sometimes the <name of card> is more than just the
<name of card>.

At the end of the cold reading, the magician returns to this script.

And now we return to the beginning. One person. One fortune. One card. I have a
feeling about where your intuition has led you. That is my role in this journey. Your
Note
This effect is meant to be
presented after using the
Cartomancy introduction
that Roy has come up
with. Please see the
Black Deck and Your
Audience section for that
introduction.




role in this journey is to discover the relationship between this intuitive moment
and your life. For some it is the value, for some it is the suit, and for a very select
few, it is both.

The magician pauses while this statement sinks in.

Your intuition has led you to the <name of card>.


Additional Notes
This effect becomes powerful based on the cold
reading and the importance you place on the
selection. You want it to be more than just them
picking a card and you naming it. The card has to
take on meaning and have some importance for
the spectator. You'll need to perform this in a
serious tone and it would not go over well in a
comedy-based routine.

While it seems quite easy to perform from a
technical aspect, the real difficulty comes from
finding a way to make this into a piece of art in
the performance.


References
The Swing Cut is taught in Crash Course 1.
The pinky break above the bottom card, transfer to the right hand thumb,
and Swing Cut are taught in Ninja 1.
A version of the Riffle Force is taught in Ninja 2.
























Ellusionist would like to give our special thanks to Alexandre
(www.eyesandminds.com) for allowing us to use his cold reading patter for this
effect.
Note
Kindly donated to our
project by Alexandre. Please
see references section for
credits and other
information about him.
During this cold reading you
can use any or all of the
above. Take bits and pieces
of it or use it verbatim,
depending on the interest
level of your audience and
how "into it" you are.

OUTCAST DIVISION Dominick Cancilla






Effect Description
A selected card (red) is found to either be the only black card in a deck that is
all red, or a selected card (red) becomes the only red card in an entire Black
Deck.


Patter Line
The magician is always asked about how he learned to do magic. He decides
that he's going to take the audience through the entire process of learning a
brand new trick.


Setup
You need to have all of the props required to perform this effect in a plastic bag.
Since most people have purchased a trick in their lifetime, you should have an
extra plastic bag kicking around the house that can be used. The concept you want
to promote is that this is a brand new trick for you. Therefore, the deck of cards
must be new (but not in the wrapper] and the paper you use to print the
instructions must be new, too. Save the document to your hard drive so you can
reprint at a later time.

There are two options for presenting this effect. The first is that the entire deck
changes from red to black with the exception of the forced card. The other option is
to have the forced card change from red to black and the rest of the deck remains
the same.

If you are going to have the entire deck change colors, then you need to have an
extra Black Deck. In this deck, you will insert one red card. That red card wall be in
the middle of the Black Deck and face down with the rest of the cards. The
matching black card will have to be removed. The red deck will have the force card
already in the proper position.

If you are going to have just the single card change, then you need only to have
the matching black card in a full, red deck and position it second from the bottom.
The matching red card will be on top, or in any other position to be forced on the
spectator.


Method
You are going to force the red card onto a spectator no matter which ending you
choose. After the card is forced, the method will change depending on how you
choose to end the effect.

If you want the whole deck to change color, then you need to execute a deck
switch. This will involve you having the cards put back into the box after the forced
card is lost in the deck. Common deck switches are done by simply putting it into
your pocket, continuing on with the script, and then pulling out a different deck
from the same pocket. This requires that you have a prepared deck already in the
correct pocket.





Script
The magician starts out with all of the props in his pockets or set to the side
somewhere. He begins speaking and introducing this effect without any
distractions.

Many people wonder how magicians learn their tricks. I'm often asked, "Where do
you learn all this" or "When did you get started?" These are common questions and
I want you all to experience the answers first hand. Why don't we learn a new trick
together?

The magician removes a plastic bag from his pocket that contains the setup props.
He opens up the bag and removes a deck of cards that are still in the box (but the
box is opened and already set up as needed). He then removes two sheets of paper
from the plastic bag.

He reads a bit of the first page and then stops. He appears to think about what he's
going to do and then finally makes a decision.

I think that it would be much easier for everyone to follow the learning process if
someone read the instructions out loud and I followed them. Would you mind
helping with this, sir?

The magician hands the sheets to a spectator and points out from where he can
start reading.

Please see the Ellusionist Discussion Forums for a link to download the "instruction
sheets" and print them from your computer. For login information please see Brad
Christian's Acknowledgements at the beginning of the book.


Additional Notes
This effect, when played right, is a lot of fun and can really lighten the mood of the
audience. The task you give a spectator is very simple and the surprise ending
makes a nice piece of magic. Depending on your patter and how you use your
audience, they may be howling at this routine - there are lots of good opportunities
for comedy and you never know what people will come up with in the middle of the
trick. It is definitely a good effect to perform near the beginning of your routine.
However, this is not a good opener because you must already have rapport with the
audience before they will give you the benefit of the doubt that you are learning a
trick for the first time. Perform it lightly and "tongue in cheek" for best results.

References
Various methods for forcing a card are taught on Ninja 2, Inside Magic,
and How to Do Street Magic.








BLACK MANTIS Raymond Singson






Effect Description
A single card is selected from the deck. The back of the card is touched to a
lighter and it instantly changes color and the face of the card remains white.
Then, the magician has the face card touch the flame and it changes to black
as well.


Patter Line
The magician shares a relatively unknown secret about cards: they are really
sensitive to heat. Its the heat that causes the card to change color, but
strangely enough the heat can only affect the side of the card that it touches.


Setup
A single card from a Black Tiger Deck is kept in the performers right pocket. It is
face down. The exact match to that card is on top of the regular deck of cards,
prepared for a force.


Method
The top card is forced on the spectator. As the audience is looking for a lighter, you
set down the deck with your left hand and go into your pocket and remove the
Black Deck card with your right hand. This card is held in Tenkai Palm Position.

You then execute a Bertram Change and the cards back visually changes from red
to black. Flick the card from hand to hand, using the second phase from Paul Harris
effect, Simple Switch.

You agree to do this one last time, but this time for the face of the card. Introduce
the corner of the card that is facing the spectators to the flame. Just as the corner
starts to singe from the flame, you execute Ed Marlos Visual Snap Change. This
completes the cards transformation.

From here, you are going to set the black card down and pick up the deck with your
right hand. This will allow you to pass the card out for inspection and clean up your
dirty right hand in a natural action.


Script
Not many people are aware of this, but there is a
special finish put on playing cards. Different cards
have different finishes and this causes them to
feel different to the trained hand, look different to
the trained eye, and respond differently to things
like heat.

The magician brings out a red deck of Bicycle
playing cards, still in the box.

As you can see, these cards have whats called an
Air Cushion Finish on them. The coating was


Note
This effect is difficult to
accomplish, but not
impossible to perform. It
will get you tremendous
reactions. However, we do
not feel it is an effect
designed for a beginner. We
are including it for those
who wanted a challenge and
a beautiful visual effect.




designed to prevent the cards from sticking due to normal wear and tear. However,
the chemicals that were used also tend to react badly to heat. Here, let me show
you.

The magician begins to riffle down the side of the deck.

Please call out Stop! whenever you like.

The magician executes the Slip Force (or any other force that he likes to use).

Great. You dont even need to look at it; we just need a lighter now.

The magician sets the single card on the table and puts the rest of the deck aside.
While the audience searches for a lighter the magician reaches into his right pocket
and removes the Black Deck card and hides it in Tenkai Palm Position. The palmed
card is face down.

Spark the lighter and hold it steady.

The magician picks up the selection with his left hand and brings it near the flame.
He executes the Bertram Change and the back of the card visually changes color
from red to black.

Thats what I was talking about.

The magician proceeds to pass the card from hand to hand using the second phase
of Paul Harris Simple Switch.

Ill bet that youre dying to see that again. Keep the flame going.

The magician shows the face of the card to the audience and touches the corner to
the flame. He then executes Ed Marlos Visual Snap Change to change the face of
the card.


References
Various methods for forcing a card are taught on Ninja 2, Inside Magic,
and How to Do Street Magic.
The Tenkai Palm is taught on How to Do Street Magic.
The Bertram Change is taught in the book Bertram on Sleight of Hand.
The effect Simple Switch is taught in The Art of Astonishment, Volume 3
by Paul Harris.
The Visual Snap Change was created by Ed Marlo and is taught in Jeff
McBrides DVD Art of Card Manipulation, Volume 1.






TIME SPLITTER Brad Christian






Effect Description
The magician borrows a quarter and leaves it sitting on the table. He pulls out a
deck of cards from which the spectator chooses one and then SIGNS the back of it.
The magician takes the card, still signed, and slowly places it into the middle of the
deck, losing it. He sets the deck on the table. He picks up the quarter, lifts half the
deck up a few inches and tosses the quarter through the gap. The quarter suddenly
has a Spade printed on it. The magician spreads through the deck face down until
he reaches the SIGNED card. True enough, its missing one of its Spades.


Patter Line
The magician talks about the phenomenon of a quantum leap. He then proceeds to
demonstrate the science with a borrowed coin and a deck of black cards.


Setup
You need a card with one pip missing. It doesnt have to be a spade, it can be ANY
suit. There is a prepared card that is in the Black Tiger Gaff Deck, which is available
through Ellusionist. It is the Five of Spades with the center pip missing.
Alternatively, you can make your own at home.

Note that because you are using black cards, if you use the card included in the
Gaff Deck (Five of Spades) you will print the spade on the quarter with Wite-Out.
You can get Wite-Out from any stationery store, used to correct mistakes on a
printed document.

You need to have that gaffed card second from the top and the matching card on
top of the deck. The deck order would be regular Five of Spades on top, gaffed Five
of Spades in a second position, and the rest of the deck in any order.


Method
Borrow a quarter from the spectator. While he
is getting one, reach into your pocket and
palm the prepared quarter. When you take the
quarter from the spectator it is very easy to
switch the coin for the prepared one as you
set it onto the table for later. Theres no heat
on you at this point, dont make it a big deal.
If performing street magic and you are
outside, lay the coin on the pavement youll
use the pavement as your table. Remember to
set down the prepared coin with the pip down
toward the table or pavement. If you scratch
the coin on one side youll know by feel which
side is which. Ditch the spectators quarter in your pocket as soon as you can and
forget about it.

The magician forces the top card (regular Five of Spades) on the spectator. While
the spectator is looking at it and showing it to the audience, the magician executes
Brad Christian
Alternate patter idea: the coin,
acting as a razorblade, slices off
the pip, and fuses with it. Two
patter concepts are presented,
choose the one that fits you
best and run with it. However,
only the Quantum Leap
presentation will be fully
outlined in the script. If youre
on the street with no table, use
the sidewalk.




a Single Card Reverse on the leg. This reverses the top card on the deck (the
gaffed Five of Spades with the missing pip). So the position is this: the deck is in
Mechanics Grip in the left hand. One card is face up on top of the deck. The left
hand is palm down so no one can see the face up card on the top of the deck.

The magician replaces the spectators card onto the deck face up to show to the
audience one more time (see reference for this move at end of description). At this
point, the deck is held face up in Mechanics Grip; on top of the deck is the gaffed
card, face up; on top of the gaffed card is the spectators card also face up. Its as if
the magician just did a double lift and the two cards are sitting face up on the deck.
Then, in order for the spectator to SIGN the back of the card, the magician flips the
double face down on top of the deck and tells him to sign it.

Take the top signed card off the deck (the gaff with the missing pip). You can show
it to the audience one more time as you slide it into the middle of the deck; simply
cover the missing pip with your thumb! The card is thus lost in the middle of the
deck. It does not matter where it goes.

Cut the deck at any point near the middle and hold the top packet a few inches
above the bottom packet. Pick up the quarter fingers on top and thumb
underneath. Turn your hand over and toss the coin through the gap and skip it off
of the bottom packet. Dont throw it too hard, as you dont want to lose it or waste
a lot of time trying to find it. When the quarter comes out the other end, it will be
pip side up. If not, then have the spectator examine the quarter.

Then, execute a table spread or fan of the cards with them face down. Slowly
remove the signed card. Have the spectator turn it over to show that a pip is
missing from it now.

You can also let the spectator keep both the signed card and the quarter.


Script
Does anyone happen to have a quarter?

The magician borrows a quarter from the audience and displays it in his right hand.
He switches it and lays the prepared quarter (pip down!) on the table or street.

Well use that later, were going to need it for this experiment. In science, a
quantum leap is when a particle starts off in one location, disappears, and then
shows up in another location.

Scientists have only been able to observe this in the laboratory, but I can
demonstrate it in such a way that no microscopes or white coats are needed.

The experiment works better with black cards because theres a lot more ink on
these cards which means more particles to work with.

The magician brings out a Black Deck. He fans them face up and face down to show
that they are all different on the faces and all the same backs. The magician forces
the top card on the audience member. While it is being shown to the rest of the
audience, he executes the single card turnover of the gaffed card on top of the
deck.

Actually, I think Ill get you to sign the card so your card is unique on both sides.





The magician turns over the two cards as one and the spectator signs the back of
the gaffed card, but he believes that it is his regular card (get a silver or gold
Sharpie pen for this purpose, looks FABULOUS with black cards). The magician then
takes the signed card off of the deck and flashes the face to the spectators. His
index finger and middle finger grip the card so that the missing pip is hidden from
view. He then puts it into the middle of the deck and flashes the face of the card to
the audience again, once the pip is covered by the cards. The magician lays the
deck down and cuts about half of it off, holding the upper packet a few inches
above the lower one. He throws the quarter through the packets and skips it off of
the bottom packet.

Look, look at the coinit literally changed before your eyes.

The magician picks up the coin and hands it to the spectator. The magician spreads
through the cards slowly and locates the signed card and removes it, but does not
turn it face up.

This is your card, with your signature. Wouldnt it be bizarre if? LOOK

The magician trails off and turns the card over to show that the pip is missing from
the middle. He then offers to let the spectator keep both the card and the coin.

This is what the scientists call a quantum leap of particles.


References
Various methods for forcing a card are taught on Ninja 2, Inside Magic, and
How to Do Street Magic.
The Single Card Reverse on the leg is taught on Crash Course 2 and Inside
Magic.
The Demanche Change is superb for easily switching any coin and is taught
on Ellusionists Coin-Only DVD (coming in early 2005).


Additional Credits
Brad Christian devised the effect and routine based on an idea by one of the
Ellusionist Forum members who did not wish to be named.



BONUS EFFECTS
SLEIGHTS AND DECK SWITCHES





IV



RISK (The Routine) Chris Schuh






Introduction
I have personally used this routine as a closer for many of my professional shows
due to the phenomenal reactions it gets. Typically, I perform everything with red
Bicycle cards and only bring the Black Deck out for this closing routine. It is a series
of three effects that blend into one story. This routine will captivate your audiences.

I came up with this entire script concept while talking with a great friend of mine.
In the middle of the conversation, I just started into the story and went with it. He
was enjoying every second of it and impatiently waited for the climax. At the end,
he was just as excited about the concept as I was. However, I only had a theme
and no effects to go with it.

A few months after that, my friend was at my house and performed an effect for
some people, but I felt it wasnt for me. However, the reactions he got were
stunning, and his presentation drew me into the effect, too. Even though I knew
how it was accomplished, I was drawn into the sheer beauty of the performance.

What I did not want to do was copy my friends performance, but I did want to use
that style of an effect. So, I ended up re-working the effect and using the Joyal
Stack to accomplish it. I felt that the effect was great, but it could have been so
much more. I needed it to be part of a routine.

For a while, I performed the effect using a regular deck of cards and got great
reactions from it. My audiences were delighted at the effect and truly enjoyed the
performance. Inside, I still had the nagging feeling that I was only at the beginning
I could sense the potential and just needed to find a way to unlock it. As the
routine developed into what you see below, I was fairly happy with it.

Then, one day, I was reviewing some older concept ideas that I had saved and
came across the story again. I loved the story so much, but still did not have any
effects for it. With that fresh in my mind, I went over to my bookshelf of magic to
see if something caught my attention. Looking at the shelf, as if it was calling to
me, was a single Black Deck. Normally, I keep all my Black Decks in a protective
box, but this one was left out. It was as if it was fate. I wondered if the Black Deck
would go well with my story.






I made a few changes to the presentation to give some meaning for using the Black
Deck and rehearsed everything several times over the following week. I was excited
and a little unsure of how audiences would respond. I had a private party
performance coming up and decided that it would be a great time to give this a
test run.

Since I already knew which effects should be the last ones in my routine, I put the
RISK routine in the middle of the show. That turned out to be a huge mistake.
Every single person in the audience (there were about 50 people) was riveted. Not
only were they captivated by the story, but they were literally stunned by what I
was accomplishing with a deck of cards. I was blowing them away. In fact, it was
all they could talk about for the rest of the night. Even when my closing effects
came, the ones that usually have them remember my name forever, they were
saying things like Did you see all of the crazy things he did with those cool black
cards?!

I was actually shocked to find out that this routine was stronger than my other
material I was using to close my shows for years. I wasnt sure what the difference
was at this point, but I suspected that the Black Deck was the reason.

Not wanting to take a sole performance to be my only guide, I decided to use this
routine near the end (but not as the closer) of my show the following week. It was
a different audience, different age group, and a different event so I knew that this
would be a good test to see how consistent this routine was. Again, that was a
huge mistake. After I finished the RISK routine, the audience looked almost tired
from reacting so strongly to every point. I had to put a lot of effort into hiding my
smiles because the reactions were just that powerful. I knew that I had created
something truly amazing.

Since those two performances, I have been using the RISK routine to close out all
of my shows. This routine has been audience tested in various situations, in
different environments, on different audiences, and it has always been the absolute
highlight of my show. The reactions I get from this routine every single time I
perform it are utterly amazing. They respond to the story itself and they react to
the magic.

I owe this all to the Black Deck and I could not have created such a great routine
without it. While you could perform this with regular cards (and I have), there is
absolutely no comparison to how much stronger it is when a Black Deck is used.
The audience loves the cards and is sparked by their visual mystery. They are
engulfed in the story and completely entertained. By the end, they are captivated
and left in a state of astonishment that I cannot explain to you in words. You will
have to try it for yourself.

Looking back, I think that those first two audiences simply did not react to the
other material that much because they had nothing left in them after seeing the
RISK routine. I hope you enjoy it.


Stacks
This entire routine is based off of a stacked deck. I know that many magicians shy
away from stacked decks but those who do are truly missing out on miracles. Many
professionals have been using stacked decks to accomplish some of the most
stunning card magic you can dream of.




Learning a stack for a deck of cards is easier than you think. To prove that point,
we have included a very basic card stack that you can use for the following routine.
The stack we will teach is known as the Si Stebbins Stack. This is a commonly used
stack and is very simple to learn.


Si Stebbins Stack
There are two orders you have to remember. The first is the suits and they go in
CHaSeD order. This means that the cards rotate in Clubs, Hearts, Spades, then
Diamonds. After you go through the four suits, you simply start over. So, after a
Diamond comes a Club again. The numerical values of the cards go up in threes.
So, you would go Ace (value of 1),4, 7, 10, King (value of 13), 3, 6, 9, Queen
(value of 12), 2, 5, 8, and so on.

Heres an example of the Si Stebbins Stack in action: AC, 4H, 7S, 10D, KC, 3H, 6S,
9D, QC, 2H, 5S, 8D, and so on.

The entire deck will come around having the suits and values be perfectly cydical.
There is no end or beginning to this stack. See how easy and simple that was?

Now, the stack we really recommend is the Joyal Stack, created by Martin Joyal. His
book, The Six-Hour Memorized Deck will teach you this stack in about six hours.
Within a few days, you will have the stack memorized and you can then go on to
use it for the rest of your life to create phenomenal effects that were not possible
without it. We love this stack because you can show the entire deck face up in stack
order and no one will ever be able to figure out that the cards are stacked.

A great way to learn and practice your stack is to get the stack in order and then go
through the cards one by one. Name the first face down card in the stack and then
check to see if youre right. If you are, continue on and try to name the next card in
the stack. If you are wrong, you have to start over. After you have memorized the
stack, try to do this exercise at least twice a week to ensure you keep it
memorized. Like any sleight, you have to continue to practice using the stack to
ensure that you always have it memorized.


Credits
Before we get into this routine, Id like to provide the credits to you because Id
hate for anyone to skip over them.

Martin Joyal and Stephen Minch worked closely with Ellusionist and have graciously
allowed us to talk about the Joyal Stack in this book. We truly appreciate their
cooperation and hope that you purchase Martins book because it has many other
truly amazing effects in it that feature the Joyal Stack. Ellusionist carries the book
to make it easy for you to obtain. The routine is precious, simply because it was
rather difficult to master and incredibly powerful to perform. Ill be in the Black
Deck Book Forum to help anyone who needs it.




The Redline Cut Chris Schuh


Effect Description
The magician pulls out the Black Deck after an introductory speech and then
begins to shuffle it. He then asks the spectator to cut the cards. After this has
been done, the magician successfully names the top card of the deck.




Patter Line
The magician takes the audience through a chilling tale of a dream he once
had. The dream was about the magicians best friend being caught up with
the wrong people. His friend ended up owing more than he could pay to a
man who would make sure you paid one way or another.


Setup
The setup for this effect is that the Black Deck be arranged in the Joyal Stack. The
performer must have this stack completely memorized.

The Black Deck is in the box and carried by the performer.


Method
At the right point in the script, the magician removes the Black Deck from his
pocket and takes the Black Deck cards out of the box. He gives the deck some false
shuffles that do not change the order at all. He then sets the deck down on the
table.

The spectator freely cuts the deck, but does not complete the cut. The magician
completes the cut and squares up the cards. During this action, glance at the
bottom card of the deck and remember it.

Since you know the bottom card of the deck, you can get its position in the Joyal
Stack. To get the top card; simply add one to the bottom number from the bottom
card and now you should know what the top card is.


Script
I know what youre thinking. Youre thinking, Id never want to sit across from this
guy at the card table. Either that or youre thinking Id love to take him to a
casino or to Vegas. Wed clean up! However, there really is no link between magic
and cheating at cards. They are completely separate.

The reason for this is simple. A magician doesnt mind that you know he is skilled
with cards. On the other hand, a card cheat doesnt want you to suspect a thing. He
wants you to feel completely comfortable betting all your money only for him to
ensure you lose it.

Many people want to know if Im a good card cheat or if I use my skills or gifts to
help me win card games. I must admit, the idea always crosses my mind. But, its
the dream I once had that always reminds me of why I would never do this.

It was one of those dreams that was just too real. I could see the smoke lingering
in the air, I could feel the stiffness in the chair I was sitting on, I could smell the
booze underlying the smoke, I could hear everyones little adjustments in how they
were sitting, and I could taste my own fear.

The room was quite dark, but I could still make out faces. The only person I
recognized was sitting to my left and he was my best friend. I could see the stress
on his face and I could almost hear the thoughts flying through his mind. I wasnt
sure why he was feeling this way, until I looked across the table.

I couldnt name the man sitting there, or explain why I was afraid of him, but
sometimes you simply cant explain that feeling you get in your stomach.




My instincts were letting me know that this was a situation I did not want to be in.
When he spoke in his slow, methodical manner, my suspicions were confirmed.

Well John, he started, weve come to an end and now I believe you know whats
coming.

Johns face dropped even more. It was like he just accepted a fate he had been
trying to dodge his entire life. I was still unclear on the situation, but it did not take
me long to realize that it was very, very serious.

Im sure youve heard about this deck, the man plainly stated. Everyone who has
been unable to pay me has had to see this deck. While some might believe that the
Black Deck is only a myth, you now personally know how very real it is.

The magician reaches into his pocket, removes the Black Deck, and continues the
script.

John nodded his head as the tears started to well up in his eyes. I knew he was not
capable of speaking because of a huge lump in his throat. His right knee was
bouncing up and down like a nervous wreck.

This is the deck that will decide how many fingers you are going to lose, he
stated. As he shuffled, he spoke a relatively well-known phrase that I will never
forget.

The magician shuffles the cards (using a false shuffle) as he speaks, and only a few
shuffles are done to speed up the effect. The deck is left in front of a spectator.

Trust in God, but always cut the cards.

With that, he stopped shuffling and looked at John. His hand shook as he reached
across the table to cut the cards. I could tell that he was praying to cut to a low
card because his lips were speaking but no sound came out.

The magician gestures to the spectator to cut the cards. If the spectators hand is
not shaking, then the magician reminds him that his hand needs to be shaking. The
deck is cut, but the cut is not completed. The magician completes the cut and then
squares the cards up. During this squaring up motion, the bottom card of the deck
is glimpsed. Then, the magician knows the top card of the deck, based off of the
Joyal Stack.

As the mans hand reached out to reveal the top card, something overcame me that
I cannot explain. I was aware of my actions and in full control of them. And yet, I
was still in disbelief as to what came out of my mouth.

Wait, I said. I have an offer for you.

Everyone stopped breathing for a moment while he contemplated what I had just
said. He decided to hear me out and responded simply by nodding.

If I can tell you exactly what card that is, what the top card is, then you work out
a deal for John to pay you back without taking any of his fingers.

And if you are wrong? He responded immediately.

Then you can take that many fingers from me, as well as John.




John tried to speak up and intervene, but was quickly silenced by the mans waving
hand. He looked down at the deck and then back up at me. His eyes pierced
through mine and I knew he understood just how afraid I was.

I nodded back without breaking eye contact and our fates were sealed.

As the cut was completed, the severity of the situation seemed to sink in and my
mind raced with panic. Sometimes I know things that I shouldnt. I know things
that seem impossible to know, and yet it has become my reality. I had that feeling
before, but it had left me when I needed it most. Uncertainty was all that was left
and it tortured me to try to hide it.

I mustered up all my courage and announced a single card.
The magician names the top card on the deck.

The man seemed more confident than I felt, but he still reached for the top card
with a hint of caution. He knew that if I was right, he hadnt just made a deal to
save some fingers. He knew that if I was right, he had made a deal to change his
perceptions on reality forever.

The magician gestures to the spectator to turn over the top card.


Additional Notes
This effect might not seem like much, but the story is what truly creates a magical
experience. It is also meant to be a lead-in effect to the full routine. Audiences are
interested in the story itself, and the magical touches added to that story make this
something truly memorable. This has been audience-tested and the response has
always been utterly fantastic.


References
The Joyal Stack is taught and fully explained in Martin Joyals book, The
Six-Hour Memorized Deck.
The ribbon spread is taught on How to Do Street Magic and Inside Magic.




Black Deck Blackjack Chris Schuh



Effect Description
The magician has the spectator deal out three hands of Blackjack and one for
himself, as the dealer. The magician then proceeds to correctly name all of
the face down cards and also guides the participants into playing the best
hand that they possibly can.


Patter Line
The magician continues his chilling tale regarding his dream. The story
escalates even more as the magician is put to a stricter test and the stakes
are much higher.





Setup
The setup for this effect is that the Black Deck be arranged in the Joyal Stack. The
performer must have this stack completely memorized.

If performed after The Redline Cut then the deck is already in the proper order.


Method
The spectator replaces the top card back onto the deck and then cuts the deck
completely. He then deals out four hands of Blackjack. Three cards are dealt in
front of three other spectators and they are face up. One card is dealt in front of
the spectator (now known as The Dealer) face up. Then, a single card is dealt
face down and placed under the face up card of each spectator and the dealer. This
brings us to a total of eight cards on the table, four are face up and four are face
down.

Note the number position in the Joyal Stack for the dealers face up card. Add one
to that value and you will know the number position of the first spectators face
down card.

Have the spectator peek at the face down card while you are turned away. Turn
back and reveal the card. Based on this revelation, you can count up by one for
each person (including the dealer) and youll know every card that they have. Also,
youll be able to then add one to the dealers face down card and youll know the
top card on the deck.

Another option is to add four to the number position of the first spectators face
down card. This will give you the number position of the card on top of the deck.
Then, you can just focus on the one hand and the top card to help them play the
game as best they can.

From here, its simple to keep the order of which cards are facing down. The real
secret is to know the stack inside and out. This means you have to be able to know
instantly which card is at the 32
nd
position. The other calculations are very simple
math.

Continue to reveal all of the face down cards in the order that a regular Blackjack
hand is played and wait for the applause.


Script
The magician takes the top card that he
previously revealed and puts it face
down, on the bottom of the deck.

Before I could even breathe a sigh of
relief, I felt my arms being pulled behind
my back and I couldnt move. I then
noticed the cool, sharp edge of a large
blade on my left wrist. I found out just
how sharp it was when some pressure
was applied and my skin broke.

When he spoke again, suddenly my
attention shifted from the blood on my
hand to his eyes. They were burning
with accusations and I felt like my knees
could give out at any second.
Note
It is extremely important that the
magician is turned around before
the spectator even peeks at the
face down card. He already has all
the information he needs to
complete the effect blindfolded.
Fear of making a mistake must be
cast aside to ensure that the
audience gets the best effect
possible. This is done to ensure
that people do not suspect that the
deck is marked. Even if the deck
was marked, you cant see the face
or the back of any card, so it
doesnt matter.





I hope that you understand the disrespect that has just been shown here. I hope
you are grateful that we only take the hands of cheaters and not their lives.

I wasnt sure what he was talking about. I
thought of what just happened. I told him
that I was not a cheater and that my
family has more honor than that.

Then you should have no problem doing
it again, he responded. I nodded back
with a newfound confidence that seemed
to startle him.

Do it again, he commanded. Only this
time, were going to gamble a bit more.
Were going to play Black Deck
Blackjack.

He dealt out three cards face up in front
of him, three hands of Blackjack to those of us sitting at the table and then face up
for himself, as the dealer. He then dealt each player a face down card, including
himself.

I was forced to turn around and couldnt see a thing. Then, the first player looked
at the first face down card that was dealt. He checked his face up card and
confirmed his hand.



The magician uses the Joyal Stack to
determine the face down card for the
first player. He then uses the Joyal
Stack to determine the next face
down card on top of the deck. With
this information, he knows the
players hand and the next card. He
can then offer his advice on if the
player should hit, or not.

The magician continues throughout
the entire hand of Blackjack and
accurately names the face down
cards for all the players and advises
them on what card is on top of the
deck, so they can decide to hit or
not. Continue the revelations until the entire hand of Blackjack has been played.


Additional Notes
After you have memorized the Joyal Stack, put a practice deck in that order and
then give it a few real cuts. Go through the routine many times as a test. Once you
feel 100 percent comfortable that you can nail it every time, practice it for one
more week (just so you can do it without thinking) and youre set. This is a trick
you will have to regularly maintain, though. Try to perform it for yourself (just as a
rehearsal) at least three times a week. This will keep you sharp and quick with the
stack order and the performance of this effect in the routine.
Note
Here is where knowledge of
Blackjack will help. The magician
can make comments on the hand
that the player was dealt before he
reveals the identity of the face
down card. For example, if the
player has a total of 11, then the
magician can comment about a rule
of thumb being always to Double
Down when this hand is dealt. This
also ensures that the presentation
of this effect is different every
single time the effect is performed.
Note
Remember that the patter line is not
based on who wins or loses the hand.
The magic comes from you being able
to tell who has which cards face down
and what the next card in the deck is
going to be. In your script, you will
have to improvise here so that it
matches the hand the players have
been dealt and the outcome of the
game. We did not include the script for
every hand because it will be different
every time you perform it.




Once you become completely comfortable with the Joyal Stack and completely
confident with your calculations and performance, then you can determine if the
dealer is going to bust or not based off of the four face up cards and the stack.

Again, there has to be an emphasis on performing this entire routine without
looking at the cards at all the performer must be completely turned around. Many
audiences might conclude that the backs of the cards are marked. By facing the
other way, the performer can ensure that even if an audience arrives at that
conclusion, they will dismiss it as a possible method because the performer never
sees the backs of the cards.


References
The Joyal Stack is taught and fully explained in Martin Joyals book, The
Six-Hour Memorized Deck.
There is a similar effect in the Richard Osterlind Mind Mysteries DVDs. We
cant recommend Richard Osterlind enough. All of his material is
phenomenal.




Black Deck Death Chris Schuh



Effect Description
The remaining cards from the deck are shuffled by the spectator and then spread
so only he can see them. The performer proceeds to name the remaining cards that
are held by the spectator without ever seeing the faces of the cards.


Patter Line
The magician ends his chilling tale of his dream, as the audience sits in
astonishment. With his very life on the line, the magician is forced to name every
single card in the deck at gunpoint.


Setup
The setup for this effect is that the Black Deck be arranged in the Joyal Stack. The
performer must have this stack completely memorized.

If performed after Black Deck Blackjack, then the rest of the deck is already in the
proper order. The performer needs to know what the next face down card is on top
of the deck. This information comes from the previous effect because he will know
what the previous top card was.


Method
Based on knowing what the top card is, you simply have to go through the rest of
the Joyal Stack and name the cards in sequence.

During the reaction to the previous effect Black Deck Blackjack, note down the last
card dealt. You can then get the number position of it and add one to that value to
get the number position of the next card in the deck. From there, youll just start
naming out the cards, as they appear in the Joyal Stack.





While the spectator shuffles the remaining cards, you will still be able to name them
out in Joyal Stack order. You will be naming the cards one by one and the spectator
will look through his fan of cards and pull out the named cards one by one. This will
give you a bit of a Rain Man effect and will also dispel the idea that you have the
deck memorized (even though you do). When you get down to the last that the
spectator is holding, end this effect.


Script
The magician pauses while people react to the previous effect. Once attention
returns to him, he continues with the story in his dream.

I didnt get much time to breathe a sigh of relief. The focus I had on the knife was
quickly replaced by the focus I had on the gun I felt against the back of my head.
Thankfully, I was paralyzed with fear because a sudden movement on my part
could have ended everything right there.

Most men will react to the unknown with fear. Most men like the one I was dealing
with will react to fear with threats. Most men like the one I was dealing with dont
just threaten you they follow through. I began to accept the fact that this could
be the end of my life.

Get down on your knees, he commanded.

I did so as my heart raced. It was beating so fast and so hard that it seemed to hit
my rib cage. While I knew I was breathing normally, I felt like I couldnt get any air
into my lungs.

I heard him pick up the remaining cards, leaving the Blackjack hand on the table. I
then could hear that he started to mix them as he talked to me.

The magician gestures to the spectator to pick up the remaining cards and shuffle
them.

Take comfort in knowing that this will end with you and we will leave your family
out of it. He stated it so plainly that I had to believe him.

You may have your last words, but there is no need to beg for your life. The
decision has already been made.

I paused and took a deep breath and exhaled. My mind cleared completely, with
the exception of two images. There was a large J and a large Heart. The only thing
I quietly said was Jack of Hearts.

What was that?

I felt a bit like Rain Man and repeated myself.

Jack of Hearts, I said a bit louder and with more conviction. He seemed a bit
confused by this, and I continued by saying You have the Jack of Hearts in there.

The magician would naturally alter his performance to have the images he just said
to the audience represent the actual next card in the Joyal Stack and he would alter
his patter to have him say the correct card. This script is only an example. So, in
the performance the next card in the Joyal Stack could be the Four of Spades. You
would then say that the images you saw in your mind were a large Four and a large
Spade.

Look at the cards and find it yourself.





The man spread the cards so that only he could see them and looked up at me as
he removed the Jack of Hearts.

From here, name the next card in the Joyal Stack. The magician continues until the
spectator is holding only two cards. It doesnt matter that the magician calls them
out in the Joyal Stack order and that the cards are not in that order anymore. The
real effect comes from the magician being able to name the cards that are left in
the spectators hands.




The magician pauses when there are two
cards left in the spectators hands. He then
takes a deep breath.

This is where the Black Deck Death effect
ends. The final climax to the entire RISK
routine is listed in the next effect The Black
Awakening.


Additional Notes
This solidifies the performers knowledge of
the Joyal Stack. He must be able to quickly
name the cards in sequence at the end for
increased buildup and dramatic effect.

Again, emphasis on doing this entire effect
while not even facing the cards is essential.
Many spectators will believe that the backs of
the cards are marked or that you have memorized the entire deck order. By being
turned around the entire time and having the spectator shuffle the remaining cards,
the performer can ensure that audiences will dismiss these conclusions as possible
methods.


References
The Joyal Stack is taught and fully explained in Martin Joyals book, The
Six-Hour Memorized Deck.





The Black Awakening Chris Schuh



Effect Description
The magician brings out a Black Deck and removes it from the box. He then goes
through the deck and shows that all the cards are face up with the exception of
one. That single card, which is face down, is the exact same one as the face down
card lying on the table from the previous effect.


Note
This is where knowing the Joyal
Stack inside and out is a huge
thing. The performer must be
able to name the cards in the
proper order, faster than the
audience can find them in the
spread and remove them. It has
to be completely memorized
and the performer must be able
to go through it without thinking
it should be done automatic.
Be sure that you dont reveal
them so fast that the spectator
cant keep up with locating the
cards to remove them.


Patter Line
The magician concludes his story explaining what happened when he woke up after
his nightmare.


Setup
The only setup for this effect is already accomplished from the three previous
effects in the routine. The performer should already know the exact value of the
face down card remaining on the table. It is the last one in the deck to be named.
In his pocket, he must have an invisible Black Deck, still in the box.


Method
Since you know the single, face down card that is on the table, you will simply
reveal the identical match to that card in your Invisible Black Deck. Instructions for
how to perform the Invisible Black Deck are included when you purchase it. You can
obtain one of the finest quality Black Decks from the ellusionist.com web site.


Script
The magician sits in a bit of silence while
the spectator holds two cards.

Of the two cards remaining, I can see that
youre drawn to one. This one is a bit more
appealing to you. This one calls you a bit
more. The man sat motionless, almost
paralyzed with curiosity, waiting
impatiently for me to finish.

The magician names one of the two
remaining cards that the spectator is
holding.




And thats when I shot up out of bed. I was
wide-awake and it took a few moments for me to
realize that it was all just a dream. I just sat
there thinking about the nightmare and because
the images were still so vivid, it seemed like I
was reliving everything.

Thats when I noticed that I woke up before I
should have because there was still one card
being held in the smoky room. So I got up and
walked over to my bookcase and got one of my
Black Decks. I opened it up and took the cards
out. I got a bit of a chill just thinking about the
nightmare, as I saw the black faces on the cards.

As I spread through them, I noticed something
was off. I wasnt sure how or why, but there was
a single card in this deck that was face down,
while the rest of the cards were face up.

Note
The magician knows the final two
cards that are being held by the
spectator, based on the Joyal Stack
order. From those cards, he simply
makes a guess as to which one he
suspects the audience is focusing
on. Based on the values of the two
cards and the eyes of the audience,
this guess can be fairly accurate.
Either way, the magician will not
fail in the effect overall.
Note
If the magician is correct,
then he allows for the
reaction of audience before
continuing his story. If he is
wrong, the spectator is
going to let the performer
know right away. Cutting off
the reaction immediately, he
will continue with the story.
He will have the card that he
incorrectly named set down
by the spectator and only
the focused on card will be
retained.




The magician goes through his Invisible Black Deck and shows one face down card
in the entire deck.

It couldnt be, but it was.

The magician extends the face down card in the middle of the face up spread to a
nearby spectator (a different spectator from the one holding the final card) to have
them remove it. The spectator does so and shows the card to the rest of the
audience. The magician then gestures to the original spectator to reveal the final
card that he is holding. The entire audience sees that they match and the effect and
routine comes to a conclusion.


Additional Notes
This is the climax to the entire RISK routine and with proper buildup and
presentation with the previous effects; it can definitely strike a powerful chord
within the audience. Being an effective storyteller will enhance this entire routine
and make it even more powerful. Having the script memorized so the performer
can smoothly tell the story without fumbling is also extremely important.

This is very hands off magic and very impossible magic, to the eyes of the
audience. While some performers might scoff at it (and we WORRY about those
performers!), this routine has been used, and has always been extremely well
received. People will talk about the Black Deck for some time, and they will
remember it because of this routine.

For an added enhancement, its best to perform this routine after dark.


References
The Joyal Stack is taught and fully explained in Martin Joyals book, The
Six-Hour Memorized Deck.
The Invisible Black Deck can be purchased only through Ellusionist.


THE GENIUS Chris Schuh (Bonus)






Effect Description
Three spectators shuffle a deck of cards. One of them passes about 15 cards
to another, who concentrates on the cards he or she is given. The magician
then names those cards one by one without having ever seen their faces.


Patter Line
The magician talks about a common movie known as Rain Man. He then
comments about how he has come up with a similar challenge, but that the
conditions make it much more difficult.


Setup/Method
The setup and method for this effect is described in full detail in the effect entitled
The Lazy Mentalist Returns. This is featured on page 147 in Martin Joyals book,
The Six-Hour Memorized Deck.


Script
Most people have seen or heard about the
movie Rain Man with Dustin Hoffman and
Tom Cruise. In this movie, Dustin played the
part of an idiot savant who had a
tremendous ability to instantly know what
cards were left in a deck when he saw what
was already removed. Of course this was
used at a casino to win lots of money.

Note
This script has no actions in it
because we did not want to
reveal what is taught in The
Six-Hour Memorized Deck.
However, if you have the book
you can easily go through the
teaching of that effect and
apply this script to it.





Rather than cheat the casinos out of money, which could be fun and quite
rewarding, I have come up with a more difficult challenge.

The magician proceeds to have the card selected as per the procedure listen in
Martin Joyals book, The Six-Hour Memorized Deck, under the effect entitled The
Lazy Mentalist Returns.

We highly recommend this book and you can find it in the Store section under
Books on the ellusionist.com web site.

In the movie, Dustins character saw the cards that were removed from the deck
and he used that information to deduct which cards were left. The first thing that
makes this more difficult for me is that I wont look at any of the cards at all. In the
movie, all of the cards used were colored white. These cards are black. The
increased difficulty in this is that Dustins ability was based on photographic
memory. For those who know about how the brain processes information, youll
know that its much more difficult to read and remember white writing on a black
background, compared to black writing on a white background. The third thing that
makes this much more difficult is that Dustins character was in a movie. This is
real life.

The magician proceeds to name all of the cards that the spectator is holding. The
effect gets incredible reactions because of its simplicity and sheer impossibility.


Additional Credits
Ellusionist would like to extend our special thanks to Martin Joyal and Stephen
Minch for allowing us to publish scripts that are published in The Six-Hour
Memorized Deck, by Martin Joyal.





CEREBRAL CALIBRATION Chris Schuh (Bonus)






Effect Description
After having shuffled the deck, the magician removes a certain number of cards.
The spectator then cuts off a packet while the magician turns away. She quietly
counts her cards, keeping the total to herself. The magician shows a few cards, one
by one, from the balance of the deck, without looking at them himself.

The spectator remembers the cards at the position corresponding to the number of
cards she has cut. The displayed cards are buried in the middle of the remaining
cards and the spectator shuffles the packet.

The magician then concentrates and names the cards though of by the spectator.

During the course of this trick, it is the spectator who determines the number of
cards removed from the deck in the beginning, the number of cards cut off, the
number of cards shown, and the position at which those cards are buried in the
packet. Indeed, it seems that everything is under his or her control, leaving no
possible way for the magician to learn that he/she mentally chooses.

The conditions featured in this trick are designed to astound a sophisticated
audience (which may include ones magical peers), and should do just that.


Patter Line
The magician talks about how the pupils of everyones eyes react subconsciously.
He then claims that hes mastered this technique, but needs to use a stronger
contrasting card. He utilizes a Black Deck and offers to prove his earlier claim.


Setup/Method
The setup and method for this effect is described in full detail in the effect entitled
The Lazy Mentalist Returns. This is featured on page 156 in Martin Joyals book,
The Six-Hour Memorized Deck.


Script
Many people are familiar with how our eyes, and specifically our pupils, respond to
various things on a subconscious level. While most people have this knowledge, a
very select few actually have the ability to harness this knowledge and use it.

What many dont know is that a mental
image based on a strong contrast is what we
need to be able to showcase this skill.
Therefore, I had this deck specially made. It
is a regular deck in every way except for the
colors. You are free to look at the backs and
faces of every card in here at the end.



The magician has the card selected as outlined in Martins book, The Six-Hour
Memorized Deck.

Note
This script has no actions in it
because we did not want to
reveal what is taught in The Six-
Hour Memorized Deck. However,
if you have the book you can
easily go through the teaching of
that effect and apply this script
to it.




Now there are two challenges here. The first is for me to actually use my ability to
tell when your pupils reacted the strongest to the card you now have in your mind.

The second is for me to be able to remember all of your pupil reactions and then
distinguish the single one that stood out the most.

Please give me some time to replay what happened in my mind. You can just keep
focusing on the card, so it is not forgotten.

The magician pauses and really concentrates for a while. He then looks up at the
audience as if he has discovered something and announces the selected card.


Additional Credits
Ellusionist would like to extend our special thanks to Martin Joyal and Stephen
Minch for allowing us to publish scripts for effects that are published in The Six-
Hour Memorized Deck by Martin Joyal. Get the book its a killer.




COLOR CHANGES





V

This section contains various color changes that you can use wherever you see fit.
When using various cards from the Black Gaff Deck you will need to change cards
suddenly and these next changes are particularly good for this function.





OPEN FINGER COLOR CHANGE






Effect Description
The magician holds the deck face up so the audience can see the bottom card on
the deck. The magician passes his hand over the deck and the card instantly and
visually changes to a completely different card.


Setup
No setup is required. All that is needed is a regular deck of playing cards.


Method
Hold the deck face up with your left hand. Your left thumb is on top of the face up
card and your four fingers are underneath the deck. See image 1.



Image 1 Image 2


Transfer the deck to your right hand; your right hand holds it on the short edges.
Your right index finger and your right middle finger are on the top edge and your
right thumb is on the bottom edge. See image 2.






The crotch of your thumb should meet the bottom right edge of the deck. There
should be no visible space between the deck and your right hand. See image 3 for
what not to do.



Image 3 Image 4


Your left hand fingers slide the card that is on top of the deck between your right
pinky finger and your right ring finger. Those two fingers pinch the card. The
audience should not be able to see anything happening because of the cover
provided by your right hand. See image 4.



Image 5 Image 6


For an exposed view of what is really happening in this action, see images 5 and 6.



Image 7 Image 8







Once the top card has been placed between the right pinky finger and the right ring
finger, those two fingers pinch it and the left hand lets go of the deck and is shown
to be empty. The remainder of the deck is held by the right hand. See image 7.

The left hand then comes back and takes the deck, but grasps the short edges of it
so the card being pinched between the right pinky finger and right finger remains in
the right hand. The deck is then held about six inches higher than the right hand to
show the face of the card one more time. See image 8.

The left hand begins to lower down to the right hand. When the left hand is only
about three inches higher than the right hand, the right hand begins to move up
towards to the deck. The left hand continues to move down when the right hand
starts to move up. This ensures that your motions are completely covered. Also, by
starting to move your left hand first, the audience will lock in on that motion
without locking in on the motion of your right hand with the hidden card.

The right hand comes over top of the deck and the card is placed on top of the deck
in one, smooth motion. See image 9 for an exposed view.



Image 9 Image 10


As the card is placed onto the deck, the right hand covers the face of the deck
completely. This is exactly what the audience should see. They should not see the
exposed view in the previous image. See image 10 for what the audience should
see.



Image 11


The instant that the card is perfectly lined up on the deck (use the fingers and
thumb from your left hand to align it if needed), the right hands fingers completely
open up to show the change. See image 11.





The face of the original card should only be hidden for an instant (less than a
second) and then the fingers should immediately open up to show the changed
card.


Note
You will have some angle considerations to be aware of when performing this color
change. You will have to ensure no one is to your immediate left and that no one
can see under your right hand (or that they arent far away so they can see the
pinched card being secretly held). If you are in that situation, then, you can use the
original handling for the entire audience and you dont have to worry about the
angles as much. We just wanted to include a more close up handling.


References/Credits
The Tarbell Course in Magic, Book 2.





BOB MCALLISTERS BET-A-DOLLAR COLOR CHANGE







Effect Description
A dollar bill is wrapped around the bottom half of a packet of cards. The packet is
then pushed down through the bill and the face card visually changes as it goes
through. The packet is pushed back up to show the entire card that has changed.

Setup
You will need a small gimmick to accomplish this color change. It is simply a card
that has been cut in half across the middle. See image 1.

You will also use a packet of 15 to 20 cards when performing this color change.

Method
Palm the half card in your right hand. Be sure to note which end is the middle and
which end is the end of the card. Have the deck inspected or have the spectator
just hold the deck. Take the deck back with your left hand and transfer it to your
right hand. This will put the half card right onto the bottom of the deck. With a few
practice runs, you will be executing this move smoothly and convincingly.



Image 1


Place the deck face down on a table, or hold it face down in your left hand. The half
card should be on the end closest to you. See image 2 for the table position and
see image 3 for the hand position.



Image 2 Image 3







So, for example, you have the deck in your left hand. Under the deck is ALSO the
half card lying on your hand. The half card is toward the bottom (heel) of your hand
its edges are even with the bottom part of the deck closest to your body. Wrap
the dollar around the deck so that its half covering the partial card and half
covering the rest of the deck. See image 4.

For an exposed view of the bottom side of the deck (the audience never sees this),
please see image 5.



Image 4 Image 5


Remove about 15 to 20 cards from the deck and put them aside. The packet with
the half card should now look like this. The bill has not been wrapped around the
packet at the time. You can also remove these cards at the very beginning of the
color change. The original handling is to remove the cards at this point, but we feel
that the color change is smoother when you remove them at the beginning. See
image 6.

Wrap the bill tightly around the entire packet and then display the packet in your
left hand. See image 7.



Image 6 Image 7


Using your right fingers, push the entire packet down through the dollar bill to show
the beginning of the card changing. See image 8 and image 9.







Image 8 Image 9


Push the packet back up with your right fingers to show the STUNNING completed
change! See image 10.



Image 10


If the bill is wrapped tightly enough around the packet, when you push the packet
back up with your right fingers, the half card should stay hidden behind the bill. You
can continue pushing the packet up and down using your right fingers for practice.
In performance, simply push the packet down, once to show the bottom half of the
card that has changed, and then push the packet back up to show the top of the
changed card.

You can then slide the bill right off of the packet and steal the half card with it. If it
is the spectators bill, simply put it into your pocket and watch him squirm a bit.
After a few moments, notice that you took his bill. Remove it from your pocket,
leave the half card, and hand it back to him. If it is your bill, notice that the
audience did not get a change to check the bill out after the effect (you would have
them inspect it beforehand), remove it from your pocket, leave the half card, and
you allow them to inspect it.

References/Credits
The Tarbell Course in Magic, Book 7.
Bet-A-Dollar Color Change was created by the late Bob McAllister.

Short Biography
Bob McAllister was born in Philadelphia and raised in Norfolk, VA. At the age of 10,
he became fascinated with ventriloquism and magic. He began to pursue these
interests and by the time he reached high school, he was rewarded with a dummy
named Chauncey for getting good grades.






This dummy stayed with McAllister for many of his early years in ventriloquism. He
won a contest in 1953 on Ted Macks Amateur Hour. He moved onto hosting
childrens television shows in Norfolk and Baltimore. In 1967, he became the host
of the popular childrens television show, Wonderama.

Both the Society of American Magicians and the International Brotherhood of
Magicians have honored McAllister. He taught adult magic classes and also released
a magic video entitled Bob McAllisters Amazing Magic.

On July 21
st
, 1988, Bob McAllister passed away at the age of 63. He still lives on
through his magic and through every performer who enjoys his material. We hope
you enjoy it and respect it.







DECK SWITCHES






VI


This section features two deck switches that you can use to accomplish some truly
amazing magic. For example, imagine you have an amazing effect that requires an
extensive setup. You could have a deck freely shuffled by the audience and then
use a deck switch to subtly swap out the shuffled deck with your prepared deck.
There is also a deck switch in this section that is a killer way to introduce the Black
Deck to your audience.





BLACK DECK MORPH Chris Schuh






Effect Description
A red deck card box is handed to an audience member and he removes the red
cards and inspects them. The cards are replaced in the box and the magician
removes a piece of paper from his pocket. He proceeds to wrap the red deck with
the paper. The magician goes back to his pocket for another piece of paper and
wraps the deck again. He then borrows a lighter from the audience (or uses his
own), hold the wrapped deck at his finger tips, and lights the paper. As the paper
catches fire, the magician throws the deck into the air and the paper burns up
extremely brightly and quickly. When the deck lands in the magicians hands, the
box is now a Black Deck box. The deck is immediately handed to an audience
member and they open up the box to discover every card is now black.


Setup
The setup for this requires two large pieces of flash
paper in your right pants pocket or your left coat
pocket. They have to be in these pockets if you are
right handed. (If you were left handed, then it would
be your left pants pocket or your right coat pocket.
You will also need a lighter in the same pocket as
the flash paper.

In the pocket with the flash paper, you will have a
shuffled Black Deck that is in the box. In another free pocket, you will have a red
deck and the red deck shell (a deck shell is a metal container that looks like a box
of cards its open at the bottom and at one end so that it can fit over a regular
deck of cards in a regular box. No one can tell youve got a shell over your box of
cards.)
Note
If you are uncomfortable
removing the deck in
front of the spectators,
you may have the deck
already concealed in your
hand when you start the
effect.


Method
Take out just the red deck and leave the red deck shell in your pocket. Hand it to a
spectator and have him remove the cards from the box. At this point, he can either
inspect the cards fully (since it is a normal deck) or you can get him to shuffle the
deck. Personally, I prefer to have the spectator do both because it gives you ample
time for the next move.



While the spectator is shuffling the cards
and/or inspecting them, you reach into your
pocket and palm the deck shell. You want to
have the deck shell in your hand lengthwise
(like you would normally palm a card). The
open side of the shell is facing out of your
hand and the open end of the shell is facing
up. Therefore, if you were to put the deck
shell onto the table with your palm down, it
would look like a normal card case to the
audience in front of you.

Some magicians prefer to put both hands
into their pockets, I personally dont. As the
spectator starts to shuffle the deck, you can palm the deck shell and remove your
hand from your pocket. You dont want them to notice the pockets at all in this
effect.

Have the spectator put the cards back into the box and hand the box back to you.
You should then take the box back with your free hand and transfer it to the deck
shell hand. This puts the shell over the top of the deck in a clean fashion.

You can now freely display the deck and then the deck shell as a regular deck of
cards. Reach into your pocket to get the first piece of flash paper. Do this with an
empty hand because you want to pre-condition your audience to believe that every
time you go into your pocket your hands are empty. However, you have to do this
in a subtle way, you cannot just point it out and make a deal about the empty
hand. Instead, make a small gesture to the audience with your empty hand (I like
to point in the air as I make a note about the color of the cards).

Then, reach into your pocket with an empty hand and remove the first piece of
flash paper. Put it on top of the deck and start to fold it under. At this time, you let
the red, full box of cards fall out of the shell and palm it. When done in a smooth
motion, the right hand will take the red deck out of the shell as the paper is being
folded around it. You might be concerned that they will notice the palming, but
since they can still see the red case through the flash paper, they wont suspect
that anything is going on. This is actually very easy and the audience has no reason
to suspect anything.

As you go into your pocket for the second piece of flash paper, youre going to drop
off the red deck and pick up the Black Deck. You will also get the second piece of
flash paper. You can now palm the Black Deck and remove the flash paper from the
pocket with the same hand. This is done by holding the Black Deck against your
palm with your middle, ring, and pinky fingers curled under it. The flash paper is
pinched between your index finger and thumb.

Lay the flash paper on top of the other piece of flash paper (which is covering the
deck shell) and bring the hand palming in the Black Deck immediately under the
other hand. As the hands come together, you will bring all of your fingers (on both
Note
For those who do not feel
comfortable with that section of
the Black Deck Morph, they can
introduce the deck already in
the box. The magician can then
remove the cards himself and
hand them out for inspection.
That would allow the magician
not to have to palm the shell
onto the box after the audience
has inspected it.




hands) under the deck and deck shell. Your thumbs will remain on top of the deck
shell. This will allow you to maneuver the Black Deck into the red deck shell under
complete cover. This takes practice to get smooth, so be prepared to invest a little
time and effort.

Next, wrap the deck and the deck shell in the flash paper, but leave the short ends
of the paper open. Hold the deck shell and deck vertically so that the open ends are
facing up. This will allow the shell to slide off of the deck due to gravity. You can
then catch it in your right hand and immediately go for your pocket to get the
lighter. Turn your body to the side as you go for the lighter, this helps to cover the
palmed shell easily. While you get the lighter, drop off the shell and youre clean.


From here, you finish wrapping up the Black Deck
with the flash paper. Do this loosely so that the
black color doesnt show through clearly. Then,
you simply have to light the flash paper and
throw the deck up in the air. Be sure to throw it
at least 10 to 15 feet in the air so that the flash
paper completely burns up by the time you have
to catch it.


Additional Notes
Some magicians might be scared to perform this
because of all of the palming and switching. For
others, this effect will be pure gold. Once you let
go of your fear of palming, a huge door will open for you to walk through. Then,
youll fully realize the power that palming has and how effective it can be when
executed properly. It makes the move so much easier when you realize you can
use your body to turn to the side as you go in to your pocket, and camouflage the
palming move each time it happens. You are already one step ahead of the
audience because they dont know what you are going to do, so theyre not looking
for anything.

Some might not like the cost (two sheets of flash paper) or the difficulty, but others
will truly enjoy performing this routine. Its great for any situation, too. Close-up
performers can use it, parlor performers can use it, and it will be a tremendous
VISUAL for stage performance.

You can perform this with any color deck shell and any color deck. All that matters
is that the box and cards you give the spectator initially has to match the color of
your deck shell. The ending box and cards can be anything you want. We have
various shells available at Ellusionist, reasonably priced. I personally have a red
deck shell and have found this a very visual way to introduce the Black Deck to an
audience.

Another important thing to notice applies to those who own the Deck Shell Video by
Chuck Leach. In that video, you will learn the ABC Switch. You can use this switch
to accomplish the following all in one action:

1. Steal the red deck out from the shell.
2. Go into your pocket and ditch the red deck.
3. Get the Black Deck into your hand.
4. Get both pieces of flash paper in your hand.
5. Bring everything out and replace the Black Deck under the deck shell.
6. Wrap it all in the flash paper.

Note
Its a nice touch (and
excellent misdirection) to
have a spectator touch the
Black Deck box that is
wrapped in the flash paper
while you ditch the deck
shell and get your lighter.
His focus will be on touch
and not on sight, so they
wont notice you palming off
the deck shell at all.




You could also use the first phase of the ABC Switch to ditch the deck shell after it
has been wrapped with the flash paper. This handling was not described or included
because the Black Deck book does not include the video. I personally own the deck
shell video and the deck shell book (both by Chuck Leach) and find them both to be
incredibly valuable.


References
The Deck Shell Book has all of the precise handlings for the deck shell
sleights described in this routine.

THIS REQUIRES THE USE OF A FLAMMABLE PRODUCT KNOWN AS FLASH
PAPER. IT SHOULD NOT BE PERFORMED BY PERSONS UNDER 18 WITHOUT
THE SUPERVISION OF A PARENT OR GUARDIAN. PERSONS OVER 18 ARE
ADVISED TO FOLLOW ALL CAUTIONARY DIRECTIONS ACCOMPANYING THE
FLASH PAPER. ELLUSIONIST.COM, LLC ASSUMES NO RESPONSIBILITY FOR
INJURIES OR DAMAGES RESULTING FROM THE USE OF FLASH PAPER.







ED MARLOS STANDING DECK SWITCH





Effect Description
The magician, standing amongst the crowd, hands the deck to a spectator for
examination and shuffling. He then hands the deck to a different spectator to hold.
In these natural motions, the deck has been switched.

Introduction Note
Marlos Standing Deck Switch is a very bold switch but is covered under natural
motion of receiving the cards from one spectator and handing them to another
spectator. There are many points incorporated into this move that make it bold, but
a worthwhile study. By studying and rehearsing this switch you will learn timing,
body positioning (angles), misdirection, confidence, conviction, and precision.


Setup
Have a stacked deck of cards concealed on the right
side of the body. The deck can be concealed in a
front right jacket pocket, front right pants pocket or
back right pants pocket.

In your left hand hold a normal deck of cards in left
hand dealing position or the Mechanics Grip.

Spectator Arrangement: Spectator A should be in front of the performer and a bit to
the right. Spectator B should be in front of the performer and a bit to the left. This
arrangement between the performer and the spectators will form a V shape.


Method
With the original deck in the left hand held in
Mechanics Grip, reach over with your right hand
and grab the deck. Use your thumb on back,
index finger curled on top and the middle, ring,
and pinky fingers on the outer short end away
from your body to do this. Take the cards out of
the left hand and give the deck to Spectator A on
your right.

Gesture with the left hand and then drop it to the
side of your body. While giving the spectator
directions on shuffling or any other verbal
presentation, use your right hand to secretly
reach into your pocket that conceals the second deck. Remove the deck and hold it
in your right hand down at your side. Your left hand mimics the same position as
the right hand.
Note
For clarity in these
pictures, you will see a
red deck of cards being
switched for the Black
Deck cards. During a
performance the decks
being switched must be
the same color.
Note
When you hand Spectator A
the deck, pivot your body
and have your feet
pointing to Spectator A. By
positioning your body like
this you will conceal the
right side of your body from
Spectator B. Spectator A will
not see what is going on
because he is preoccupied
with a task.





Image 1 Image 2


The deck that is going to be switched in is concealed in the performers right hand
while the left hand mimics the position of the right hand. See image 1. The second
deck is secretly concealed in the performers right hand. See image 2 for the
exposed view. After Spectator A has shuffled and inspected the cards, extend your
left arm to receive the deck. Hold the deck in left hand dealing position and close to
your stomach (below the rib cage and above the navel). With your left hand index
finger, push the deck so that the outer short end of the deck is below the first
finger and is held by the middle, ring and pinky finger. This is known as a
Gamblers Cop Palm. See image 3 for the performers view.



Image 3 Image 4


The right hand comes over to apparently square the deck. In fact, the right hand is
actually loading the second deck into position. The index finger is pushing the first
deck to be gripped by the middle, ring, and pinky finger while the second deck is
being loaded on top. See image 4.



Image 5 Image 6

While the right hand comes over to square the deck, you simply load the second
deck on top of the first deck at an angle. See image 5 for a performers view.


See image 6 for an exposed view of how both decks should be held in the left hand.
The performers right hand is removed for clarity on how both decks are held, but
in a performance he would never let go of the second deck (the one on top).

Your right hand remains on the deck with the first finger curled on top, middle,
ring, and pinky fingers on the front short end and thumb in back. You are now
facing Spectator B holding two decks in your hand and shielding the right side from
Spectator A with your right hand, forearm, and wrist. The performer is concealing
the first deck in a Gamblers Cop Palm. See image 7. Turn your left hand palm
inward and rotate your wrist slightly clockwise. Your right hand holds the second
deck in place so that none of the cards move. While your left hand is turning in and
your wrist is rotating clockwise, drop your left hand to the side as you lean forward.



Image 7



Extend your right hand to give Spectator B the
deck. The performers left hand turns palm
inward, clockwise and lowered to the left side.
See image 8.

The performers hand is turning clockwise and
being lowered to the left side as the right hand
reaches over by leaning to the left to give
Spectator B the deck. See image 9.




Image 8 Image 9


While you are turned toward Spectator B and leaning forward to hand them the
deck with your right hand, your left hand drops to the side to ditch the first deck of
cards into the front left coat pocket, the front left pants pocket or back left pants
pocket.


Note
During this process you
are simply turning to
face the direction of
Spectator B. The action
looks like you are
receiving the deck from
Spectator A and
squaring the cards as
you turn to Spectator B.



If you are nervous about ditching the deck, you may cover that motion by removing
flash paper, a pen, another deck of cards, a note pad, and so on from your pocket
as you ditch the deck.


Additional Notes
While you are performing this deck switch, do not look at your hands. Instead, look
at the audience and talk with them. Remember that they will look where you look.
Relax and act casual because all you are
doing is taking the shuffled deck back from
one spectator and handing it to another
spectator. This is where practice, timing,
and confidence become extremely
important. Practice this switch in front of a
mirror for smoothness and naturalness. If
you have a tri-fold standing mirror, that will
be the ultimate aid in your practice.

Also during your practice and rehearsal
sessions, wear the clothes you will be
wearing during your actual performance.
This will help you build the precision to
quickly and secretly remove and ditch the
decks without fumbling or delays.


Additional Ideas
You can perform this deck switch
seated at a table. Have the deck
you want switched resting on your
knee. When the switch occurs, ditch the deck from the left hand into your
lap or pocket. This is so easy its not funny. Do it on the offbeat.
You can use this to switch cards that are in card boxes for any trick deck in
a box.
You can use this technique to switch single cards.
You can have a red deck in a black box be examined, and change it into a
Black Deck in a black box with this switch.


Reference
Ed Marlo Private Studies: The Video by Marlo/Wakeman.





Note
By having your right hand in this
position (image 7) on the deck
you shield the two images from
Spectator A on your right. The
wrist and forearm of the right
hand also aid in concealing the
first deck that is in the Gamblers
Cop Palm from Spectator A. Be
careful not to tilt the deck too far
up or too far down, as it might
flash the decks to the audience.
At the same time, dont make a
big deal out of this. No one
knows what you are doing and
the LAST thing theyre thinking is
that youre going to switch decks;
its not even on their radar
screen. Relax, and just carry
through with your business.


WORKING WITH
THE ELLUSIONIST
BLACK TIGER GAFF DECK



VII


BONUS SECTION






Rejuvenating the playing card industry, the Ellusionist Bicycle Black Tiger Deck has
been an instant, breakthrough success in every market of the world. Today, less
than a year later, a new world of effects is possible using the first collection of
gaffed (specially designed) cards for use with (or without, be creative!) the Black
Tiger Deck.

Drawing suggestions from some of the best minds in the industry, Ellusionist has
teamed with the United States Playing Card Company (USPCC) to create this
compilation of specially designed cards. Each card is specifically designed for a
variety of uses the possibilities are endless. In addition, we do not doubt that you
will come up with your own, unique ideas just by holding them in your hands. They
are an open invitation for the creation of a brilliant routine.

The Gaff Deck is divided into two categories: general utility gaff cards and special
artwork gaff cards. The cards listed first are utility cards. They ensure that you can
perform virtually anything you want to with the Black Deck. Some standard, well-
known tricks require a double backed card; some require a double-faced card, and
so on. These cards are used in many effects and now youll have what you need to
perform these effects with the Black Deck also.


General Utility Gaff Cards
The utility gaff cards are used in tricks that demand a gimmicked card or two.
These are standard tricks that until now you could only perform with a white deck.
Now you can use your Black Tiger Deck.

Double Backed Card - Black/Black
Double Backed Card - Black/Red
Double Backed Card - Black/Blue
Black Face/Red Back
Black Face/Blue Back
Blank Black Face/Black Back
Blank Black Face/Blue Back
Blank Black Face/Red Back
Blank Face/Blank Back




Split Faces Vertically (6 of Spades/6 of Clubs)
Split Faces Horizontally (2 of Clubs/2 of Spades)
White Faces/Black Backs (9 of Spades)
White Faces Black Backs (King of Hearts)
Double Black Queen (Spades and Clubs)
Double Red Queen (Hearts and Diamonds)


Special Artwork Gaff Cards
This section details several ideas for using the special artwork cards found in the
Black Tiger Gaff Deck. We aim to get you started and then its up to you to let your
OWN creativity shine through and take over. The sky is the limit, and some tricks
will not at first be apparent until you really begin to work with the cards and think
about them and get them into your hands.

Four of Spades with Fingerprint

Using your Black Deck, force a regular (non-fingerprinted) Four of Spades onto a
spectator using your favorite method. Have the gaffed Four of Spades third from
the top. Youll take the next card on top and turn it face up and press your thumb
into the middle of the face. Get the spectator to do the same with his card, but
ensure you dont see the card at all. Then, have the spectator place it back into the
middle of the deck. Control the card to the top and then go through the cards face
up. Locate the gaffed Four of Spades (since the regular one is on the bottom of the
face up pack) and outjog it without showing the fingerprint. You can then show the
audience how you knew it was the card that was picked by revealing the fingerprint
on it.

Three Fractured-Pip Aces and the Swirled Ace of Spades

These Aces are great. Virtually any Ace routine can be greatly enhanced by using
these cards. You can cut to the Four Aces and say that the reason you knew where
they were in the deck was because they were all different. You could transform
regular Aces into these via a series of different color changes. They could even be
used for a gag when someone asks you to do something cool with the Aces, you
can say you dont like to work with them because they always end up being broken
at the end. Start thinking about what you can do with these Aces perhaps a
surprise kicker at the end of a standard Four Ace Routine? Switch them out for the
normal ones and have your spectator turn them over.

Three ! of Clubs

This is an interesting concept. What you would do is force a Seven of Clubs on
someone. Then, you would take that card and split it into two cards. Since Seven
does not divide by Two evenly, you would be left with two cards, each worth three.
Figure out how to do this: maybe triple lift, showing the Seven, then pretend to
take the Seven off the deck, but in reality take only the Threes which were part of
the triple lift. With a shake, split them. Wild, baby!

Various methods of the following will be discussed in the Ellusionist Black Deck
Discussion Forum (part of your bonus in the purchase of this book).

Pips in Uncommon Corner/(Four of Spades) (4 pips in one corner)
Pips in Uncommon Corner/(Four of Spades) (3 pips in one corner,
1 in regular corner)
Pips in Uncommon Corner/(Four of Spades) (2 pips in one corner,
2 in regular corner)




You could force a regular Four of Spades on a spectator and then visually move the
pips, one by one, into one corner of the card. Then, that card can be handed out for
examination. A method for this is taught on Ellusionists Army of 52 DVD.

Mirror Image Joker

This would go nicely with the Blank Face Gaffed card. You could freely display the
regular Joker to the audience. Then, you could visually change it into a blank. From
there, you put that blank face card to the face of another card and (using standard
color change methods) the image of the Joker is mirrored onto the new card. It can
be immediately handed out and inspected. Various methods of this will be posted in
the Forum.

Tiger Hanging on Face (4 of Spades)

You would force a regular Four of Spades onto a spectator and then use your
favorite color change (we prefer to use the Erdnase Classic Color Change taught on
How to Do Street Magic) to visually put the tiger onto the card. This also works well
with the Two of Spades that has the claw marks slashed through its face. Figure out
a routine and story! Send the tiger out searching for the spectators card the tiger
always gets his man! Maybe tell a story about a man-eating tigers in India and how
one man evaded the tiger for years (normal 4 of Spades) until finally the tiger
caught him on a dark windy, rainy night! Remember there is also a tiger-alone-on-
a-black-card (no pips!) to display the tiger in the dark night.

Uncommon Pips (13 of Spades)

This works out well for changing a King of Spades (value of 13 in many card
games) to a card with pips of the same value. We like to use the Downs Change
taught on Ninja 1. What about a trick where you BET the spectator that you will
find the card that has EXACTLY as many pips as hes thinking of (after forcing the
King of Spades); he knows you cant do it because Kings dont have pips, but you
can. He could even be holding the 13 pipper in his hand (a Two Card Monte) when
you are done!

Pips from Face of a Card on Back (4 of Spades)

This works well without forcing a card at all. Instead, take out the regular 4 of
Spades and then put it on the bottom of the deck. Perform an Erdnase Classic Color
Change (taught on How to Do Street Magic) to transform it to a blank card
(included with the Black Gaff Deck). Suddenly the pips are on the BACK of the card!

Missing Center Pip (Five of Spades)

With this card, you can literally remove a pip from the center and have the card
freely inspected after youve magically altered it. This is the card that works well
with Brads Time Splitter taught earlier what a killer trick!

Ten of Clubs with Red Pips

This works out beautifully with a Red-Pipped Black Deck. You can force a regular 10
of Clubs on a spectator, comment about how the colors are different for the red and
black cards, and then visually change it to the same card, but with red pips. We like
to use Shapeshifter (taught on the Shapeshifter DVD) for this effect.

Card with Tiger Claw Marks on the Face (Two of Spades)





Another interesting concept we have is this gaffed card. This works exceptionally
well with the gaffed card that has the Black Deck Tiger hanging from the top two
pips of the Four of Spades. The tiger slides off, leaving the claw marks but taking
two of the pips with him! Find him alone sitting on the next blank face card
underneath the claw card. Or maybe the spectator had selected the 2 of Spades
earlier and now here it is!

Joker Holding a Face Down card
Joker Holding a Face Up (Ace of Spades)

These two cards work out quite nicely in an Ace routine, or as a stand-alone effect.
You would need to force the Ace of Spades on a spectator (since this is a high
profile card we recommend using a Classic Force). You could then show a regular
Joker and place the selection face down on top of it. Then, by executing an Erdnase
Classic Color Change (taught on How to Do Street Magic). To reveal the face up
gaffed Joker, you would then execute the Shapeshifter color change (taught on the
Shapeshifter DVD) and hand it out for full inspection.

Voodoo Card without Needles
Voodoo Card with Needles and Card Revealed

This is a creepy pair of cards. Once you see them, you will know what we mean.
You would force the 4 of Hearts onto a spectator and then introduce the first gaffed
card (the one without the needles). Then, you could perform an Erdnase Classic
Color Change (taught on How to Do Street Magic) to slowly and visually change it
to the one with the needles. This one is creepy, so be careful where you perform it.
Many voodoo themes come totally alive with this set of scary-yet-beautiful cards.

King with Bleeding Sword

This one works well with the Two of Spades that has the claw marks because they
could also be slash marks made by the sword. You could force the regular Two of
Spades on the spectator and then switch it secretly using a top change to the
slashed one. You could then introduce (or force) the regular King and have it shown
around. Execute your favorite color change (we like to use Shapeshifter here, which
is taught on the Shapeshifter DVD) and say that he actually attacked another card.
You could then reveal the slashed Two of Spades to say that this is how the King
regained his throne.

A full script of this effect (with a detailed handling) will be In the Forum. Get in
there!

Smudged Face Three Clubs

This is a nice one, as you can use it with the normal white-faced Three of Clubs
(included currently in every normal tiger deck). Simply force the white-faced Three
of Clubs on the spectator. Then, use Shapeshifter (taught on the Shapeshifter DVD)
to instantly and visually change it to the black-faced Three of Clubs. From there,
you can take that new card, have it inspected, and then smudge the ink on it by
using the Erdnase Classic Color Change (taught in How to Do Street Magic).

Faded White Edges on the Back of the Three of Clubs

We had this card printed so that the edges would blend in perfectly with a regular
white deck of Bicycle cards. Cool!




Black Deck The Web (Web and Spider)
Black Deck The Web (Web only)
Black Deck Blank Face (For Web Effect)
Black Deck Blank Face (For Web Effect)
Black Deck Blank Face (For Web Effect)

This is for use with performing the effect known as The Web by Jim Pace. You will
need to purchase that effect to know how to properly use these cards in the
routine. In this trick, a large hairy, realistic spider appears on the spectators hand
at the very end of the routine. We cant recommend the trick enough.

Blurred Black Face Speed Warp (5 of Clubs)

Begin by having the Five of Clubs forced onto the spectator. Then, you could
display it on top of the deck. You could use a variation of the Snap Change taught
in the Shapeshifter DVD to change it into the blurry version of the Five of Clubs. We
like this color change for this effect because it has you shaking the single card
(regular Five of Clubs) and it visually blurs until you can freely show the gaffed Five
of Clubs.

Black Back/Skull (Ace of Spades)

For those who have heard the myth that the Ace of Spaces is the Death Card, then
this can add a huge boost to that type of effect. Even by simply removing the Ace
of Spades from the Black Deck and talking about it, then doing a simple color
change to this card, will floor your spectators. The changes that work best are
either extremely slow ones (Erdnase Classic Color Change) or instant ones
(Shapeshifter). How about doing Two Card Monte and having normal cards change
to two of these?

The following cards are grouped together with the cards that they are intended to
be used with.

Ace of Diamonds (White)/Seven of Clubs Double Faced Card
Ace of Hearts (White)/Four of Spades Double Faced Card
Ace of Clubs (White)/Seven of Spades Double Faced Card
Ace of Diamonds/Seven of Clubs (Red) Double Faced Card
Ace of Hearts (Red)/Four of Spades Double Faced Card
Ace of Clubs (White)/Seven of Clubs Double Faced Card

These cards are for Gary Ouellets effect called Dream of Aces, produced by the
Camirand Academy of Magic in Montreal. Garys effect is based on an older trick
called MacDonalds $100 Dollar Four Ace Trick by Frank Garcia, first printed in the
Stars of Magic in 1972, by Louis Tannen (Tannens Magic) and is still available from
them.

The Aces come in BOTH original and red versions of the Black Deck. Though we are
printing the cards we will NOT be printing the effect, as it is not ours to print.
However, we urge you to pick up either of the two wonderful effects.






CLOSING WORDS






This ends the first and currently only work on the Black Deck. You are armed with
killer material and ideas from the book, but the REAL work will come from you from
this point on. Take your beautiful black cards, sit quietly with them, and let your
imagination run wild. The cards hold an amazing amount of mystery in them
naturally and you can only enhance that mystery with your own imagination. Get
into the Ellusionist Deck Forum and start to create. You are at the edge of a
precipice leap off and take your Black Deck to the limit.