Escolar Documentos
Profissional Documentos
Cultura Documentos
UNSEEN
The lnnovalive Card Magic
Erne.1!Earick
written by
Stephen Minch
~
ill.u4tratwM by
Kelly Lyles
pre-ill.u4tratille photography by
Miller Cravens, Jr.
-~-
HERMETIC PRESS, INC.
Seattle, Wa.<Jhin.gton
ACKNOWLEDGMENT
The author wishes to thank Ken Krenzel, Michael Weber,
Darwin Ortiz and Steve Freeman for their help and suggestions
on preparing this text. Special thanks are due David Michael
Evans, whose scholarship in the area ofcard magic is a continuing
boon, delight and inspiration.
And, of course, there is Mr. Ernest Earick, without whose
patience and artistic ingenuity this volume would not exist.
Reproduction or utilization of this work in any form, by any means now known
or hereinafter invented, including xerography, photocopying and recording. and
in any information storage and retrieval system, is forbidden without written
pennission &om the copyright holder.
ISBN 978-0-945296-09-6
65
......
Apologia.
Part One: Ttght Tri.ck.d ani) a Loo.de Sleight 1
Oaptrap 3
Proteus 15
Jack.Syna(ps)ces 27
Lonely at the Top 45
House Guest 53
The Longitudinal Swivel Steal 63
Thought Manifest 72
Bureau d'Echange 81
Kato-n ine- tails 91
Yours, Mine, Yours 102
Alone in a Crowd Ill
A Flippant Triumph 119
Bottomland Aces 125
Intermission: 139
Double Damned 141
Part Two: See Them Shuffling Along 151
Cross Purposes 153
Lustig for Life 165
One Shuffie-One Wmner 173
Poker Blind 178
Tandem in One 182
The Case of the Inconstant Player 192
A Little Bit Patter 199
InJex ofSleigh& 205
Erfl£<Jt Eariclc
Okay, I admit it. I love card sleights, and I am a little defensive about that.
I have spent hour after hour practicing and tinkering with all manner of'
moves culled 6rst &om books and then, later, plucked &om my own murky
depths. I hope to spend many more hours engaged so. Oearly it is one thing
to profess a love for sleight-of-hand and quite another to say that you love
sleights. It is probably a bit like expressing (with a nod in Hofzinser's
direction) a fondness for rhyme or meter but forgetting to mention that, oh
yes, you do enjoy poetry. Oh yes, that reminds me, I do enjoy sleight-of-
hand with cards. It is just that I have a special fondness for the nuts and bolts
of the craft. There is doubtless a certain superficiality inherent in this pre-
dilection. But, then again, we are talking aboutcan1trU:.kJ here. There is very
little ofprofound significance to be found anywhere within this deceitful art.
Still, I know that I can't help my ridiculous passion, and I strongly suspect
that you can't help yours either. We might as well make the best of it. The
book you are holding is a reflection of my ongoing attempt to do just that.
Some ofyou are probably smiling and nodding your heads as you read
my confession, while other more sensible readers are no doubt shaking their
heads as looks of puzzled concern spread across their faces. Lest I scare oil'
too many ofyou, I should also admit that I, too, almost always find it more
rewarding to learn a new move within the context of an interesting trick.
How many hours did you spend practicing Dai Vernon's one-handed slip
<
BY FoRcEs UNsEEN . ......... ... ··· .. ··· ............. . ... .
cut from "Cutting the Aces" in Start~ ofMagic? (Some of you are going to
have to play along here. Please just nod your heads and keep your wise-
cracks to yourselves.) How much fun would it have been without the
intrigue of the accompanying ace production? Probably even the most
sleight-obsessed among us have never completely lost sight of the fact that
these moves are primarily means to other ends. From the inception of this
project the goal has been to place my beloved sleights, wherever possible,
within some sort of practical and practicable &amework. Truthfully, some
effects began as little more than exercises devised to allow the exploitation
of certain possibilities suggested by a particular new move -sleight fodder,
ifyou will. Fortunately Stephen Minch is virtually incapable ofseeing things
in this penrerse way, repeatedly refusing to allow such willful subordination
of plot to technique. The material throughout these pages is largely reflec-
tive of my ongoing unhealthy fascination with card technique, all the while
tempered by my author-publishers canny ability to distinguish between the
essential and the superfluous. Believe me, Stephen can be a tough critic. He
has the rare and unforgivable ability to see matters from a spectator's point
of view, and never hesitates to politely point out the logical inconsistencies
within a trick. More than once when faced with such irrefutable "Minchian"
logic I kidded him by saying that he did not thin/c like a cardman. I have been
coerced into abandoning several items of potentially wide interest simply
because they were demonstrably inferior. Outrageous I On other occasions
Stephen told me that while a variant handling of mine was indeed superior
to a previously published trick, he did not think the published effect worth-
while to begin with. I suspect that other writers might have had more ofan
affinity for my peculiar brand ofsleight-driven card magic. I am certain none
could have produced a better book.
You will also notice that this book contains a wealth of literate patter and
an abundance of clever presentational ideas. While I love good magic, I
perform precious little of it, and I'm not sure that's likely to change in the
near future. Consequently such niceties (okay, necessities) have generally
eluded me. Candor thus compels me to note that nearly all the patter and
presentations included in this book are the uncredited creations of the book's
author. The one freakish exception (also freakishly sleightless I) is the most
recent addition to the book. There may be some flicker of hope for me yet.
It isn't that I don't realize that the creative challenge in the perfonnance of
entertaining magic is every bit as demanding as that posed by the mastery
vi ...................... ... ................. . ...... . APO LOG IA
........................ .... .......... . Bv FoRcEs UN SEEN
In the swruner of 1986 I was fortunate enough to visit the Magic Castle in
the company of two of the very finest young magicians in the country, Ray
Kosby and Bill Goodwin. As we entered the Castle we were met by the
talented professional magician Deane Stem. Dean instantly ushered me over
to a comer table, not allowing me time to think or become nervous, and
introduced me to Dai Vernon with some ridiculous request like, "Show the
Professor your 6nish for Triumph." Yeah, right. Once safely ensconced at
that comer table, though, I didn't fTUJve. I made myself a nuisance there all
night, subsequently meeting Lany Jennings and Michael Skinner, among
many others.
The highlight of the evening for me was the interest Vernon took in my
broadside swivel steal (see pp. 55-58). Each time I would take a carcL insert
it cleanly into the center of the deck, square the cards carefully with both
hands, then show that the selection had arrived at the face of the pack. He
must have had me do the move for about a dozen different people that night.
"Ray Grismer! H ey look at this. Do that all-around-square-up thing. You
ever seen anything like that?" I was floating on air.
Still, I wasn't quite satisfied. There was one more thing I wanted. I badly
wanted to see Dai Vernon do something with a deck of cards. Anything.
The Professor was already in his early nineties and, I was told, did not often
take up the cards in public. Earlier in the day, though, Bill Goodwin had
given me a diabolically clever tip: "Vernon truly loves the bottom palm. He
hates to see it done badly. Just start talking about the bottom palm." I
did. It worked. I showed the Professor a method I'd been working on.
He immediately took the cards away from me and proceeded to show
me the bottom palm done properly. Soon, however, I found my
excitement giving way to a bit of embarrassment as Vernon repeatedly
d id the move-fingers absolutely motionless-then each time handed
me the pack to try. Unfortunately, I was without a clue. Vernon didn't
tip the move, he just did it. Thankfully some merciful interruption
description of the reverse as I most often use it. The variant called for
in this particular trick could probably be adequately replaced by a clip-
steal in combination with a wrist-turn. And, in its general form, the
move could be seen merely as an alternative to Ken Krenzel's ever
reliable mechanical reverse. Please do give it a chance, though. Done
well, the move has a delicate, open, at-the-fingertips appearance that
other approaches do not usually have.
New sleights can often lead to the creation of new effects or to the
dramatic simplification of worthwhile existing approaches. In fact, therein,
I believe, lies the chief redemptive value of much of my work as it appears
in this book. In the end, all that I ask is that you persevere in your efforts
before abandoning any of the material as too difficult. There is much that
may seem unfamiliar in this book, but very little that is truly exotic. Nearly
all the moves have a basis in one or more standard sleights. Almost without
exception, these moves are easier to do than they might first appear. I
personally think they are all easier than, say, a smooth pinky count-though
I will grant that my objectivity here may be more than a little suspect.
years and years of appalling magic. You now lovingly suffer an older,
eccentric .6nger-flinger who consistently begs off &om nearly every
requested performance I
Thank you Ray Kosby for that wondrous night at the Castle back in
1986, and thanks also for mentioning my work to that friend ofyours named
Minch. This book is a direct result ofactions you took on my behalf. I will
not forget the kindness you've shown me.
Thank you Johann Nepomuk Hofzinser, Mr. Andrews (if that is really
your name), Dai Vernon, Ed Marlo, Henry Hay, Jean Hugard and
Frederick Braue, Lewis Ganson, Karl Fulves, Jon Racherbaumer, Richard
Kaufman, Lany Jennings, Martin Nash, Tony Slydini, Dick Cavett, Bob
Kirk, Dad Stevens, Chester Burnett, Paul Westerberg, and the entire Velvet
Underground. Sony. I got a little carried away. Thank you all.
And, thank you Teresa Neudecker for all the time we've had and all the
time we shall have. There is nothing more precious.
<
Part One:
Tight
TriclcJ
d
aLoode
Sleight
hree cards are selected, noted, then shullled back iulo
the deck. The deck is set on the table and the pedonnet'
claps his hands once. In response the first selection m~s
from the pack, turning face-up as it lands. H e claps his
hands a second time and the second selection turns fat.-e~
up and swivels out of the middle of the deck. \ Vith a
third clap, the last selection materializes sudden\y at the
tips of his fingers. Tlm~e claps produce three card s Ut
three strikingly visual ways.
' Ron:\ld l.Atbowiecki ronll-ibuted 1his maneuver to f\AA'.~P."'· Vol. 6, No. 3, March 1983,
p. 755. The idea, however, is almost certainly much older. O ne example that suflPO""
thiasuppo,.Ution apperu-s in 1'& Cu-J,Ifagirofl.e.Paul·where, on pp. 110-111 , M r. LeP~
c-xphuns a similru- jogging maneuver in the context of a false riflk shuffie. Whik DOC
wishing to 1.1ke nny thif18 "'\f:\)' from l\\r. Lubow iedO, caution would suggest chat this
~)&-lng method hns p rob.'lbly been explored and used by others O\ter the )-ears.
l ~ ~~~;0
I ~ ~·
;:;
I
y 3
5
the jogged selections (F~ 6, left thumb raised to expose the situation).
Using the left second finger and thumb, grip the bottom half and the three
selections by the left comers; and with the right second finger and thumb,
grasp the top half of the deck by the right comers. Then S\viftly separate
the halves, stripping the selections from the right hand's portion and ontn
the left hand's packet (FJgUre 7). Immediately perform a riffie shuffie. drop-
ping the top three cards of the left-hand packet (the selections) last.
Square the deck and, with the left thumb, riffie up the inner side. When
you reach the top two cards, catch a break below them with the right thumb.
and without hesitation continue the left thumb's upward riiBing action.
releasing the two cards. W rtb your left hand, undercut about a third of the
pack and place it on top, stepped a quarter inch to the left (FJgUre 8. right
thumb raised to expose the step). Repeat this undercut, transparting another
third of the pack to the top and aligning it with the stepped 6:rst block.
Conclude the running undercut by cutting all the cards below the .r\:,oht
thumb's break to the top, aligned with the previous blocks. This triple cut
positions the second and third selections at the face of the pack. jogged a
quarter inch to the right. The 6rst selection lies on top of the pack.
As the audience perceives it you have inserted three selections. int'O
different parts of the pack, then lost them with one shuffie and a quick sene.~
of cuts. With the right hand, pick up the deck by its r\:,o-ht end and place it
into left-hand dealing position, turning the jogged bottom cards iO\.v ard.
These cards are hidden throughout by the right fin..,.aers.
Shift the right band's grip. taking the deck by the eiXls; and. with the- right
thumb, push down on the injogged cards. fonnin,g a break abo\'e them.
"Though your cards are now lost in the pack. their locations can be
determined by a finely tuned set of~oers. Let me show}'OU.l'll out ~~dy
6 .......................... . ... .. ........ .... .. .. CL~~Tf!<~/l
ad
.... ... . ....... ..................... . .. Bv F o R cE s UNs Eg N
,..
I
to yow- card first." This is said to the 6.rst spectator. Swing cut something
over half the deck into yow- left hand. That is, with yow- right forefinger
li& about thirty cards at the outer end and pivot this end le&ward until you
can grip it in the fork of the left thumb (Figure 9). Draw the packet off the
deck, taking it into the le& hand.
As you complete the swing cut, use the right hand's bottom portion to
£lip the top portion face-up. Tum the face of the left hands half toward the
first spectator and, with the tip ofyow- right second finger, tap the exposed
card as you expectantly say, "Yow- card." Of cow-se, it is not, and the spec-
tator tells you as much.
In the gesture of tapping the left hand's packet, the right hand's packet
is brought over the left's and about an inch inward of it (Figure 10). When
the spectator announces yow- failure, look up in sw-prise and, as everyone
else looks up with you, release the two cards below the right thumb's break
onto the face of the left hand's packet. Due to the placement of the hands,
these cards will fall into an injogged position.
Now turn over both hands simultaneously, the left hand palm-down, the
right hand pahn-up. These movements are synchronized to conceal the
presence of the two face-down injogged cards on the face of the left hand's
packet. Yow- actions are not rushed; they are relaxed and casual. With your
left forefinger, point toward the card at the face of the right-hand packet.
"Is it this one?" you ask the first spectator. It is not.
'1 should have known better. Let me explain. This is a brand new deck
and the cards aren't accustomed to perfonning in public. Yow- card is shy
and now it's hiding from me. When this happens there is only one thing to
do." As you are saying this and mildly misdirecting attention from the deck,
perform the following actions:
Turn your right hand palm-down and slip its face-down packet
under the left hand's packet. In almost the same motion, turn the left
hand palm-up, bringing the deck face-up. Again the timed motions of
the hands conceal the two reversed cards, which now lie injogged some-
what above center in the deck.
In a continuing action, bring the right hand pahn-down over the pack
to grip it by the ends. In doing this, place the right thumb on the inner left
comer ofthe injogged pair and push it forward and rightward, anglejogging
the two cards at the inner right side of the pack (Figure l ~). Grip the deck
by its ends and revolve the right hand palm-up. This turns the deck
8 . .... . .. . . . .... . ....................... ....... .. CLAPTRAP
.......... . . . . . . . . . . . . B Y F O R CES U NSEEN
10
12
face-down and sidewise, with the
angled pair jogged fi·om the inner edge.
As the right hand turns up with I he
deck, rotate the left hand palm-down
and grasp the pack by its left end, sec-
ond finger at the outer comer, thumb at
the inner, and forefinger curled onto the back (Figure 12). Release the right
hand's grip on the pack and set the cards just in front ofyou on the table.
The deck should not be perfectly squared as you set it down. Let it settle in
J.f
a slightly untidy condition, with the top of the pack beveled toward. you at
the a-ight end (Figure 13). The right inner corner of the anglejogged double
card should project less than a quarter ofan inch &om the inner side of the
pack. The slightly unsquared condition ofthe cards and the right-end bevel
aid in concealing these projecting corners &om spectators at your sides.
The hands still do not leave the deck. F'U"St the two thumbs ri£Ile simul-
taneously up the inner side of the cards above the injogged pair. This riHle
is pronounced and obvious -so much so that you actually install a light
lengthwise crimp in the top card.
At this point you have just said, 'When this happens there is only one
thing to do." Remove your hands &om the deck and sit back. "f1ush it out.
A loud noise does it. Chosen cards hate
loud noises."
You now perform Gerald Kosky's
applause card disclosure3 to produce the
first selection. Position your hands,
palms toward each other, about a foot
apart, just behind the deck (Figure 14).
Then clap them smartly together. Done
properly, a gust of air is created, which
catches the crimped top card and blows
it forward, ofT the deck, simultaneously
llipping it face-up (F'tgure 15). There is a
knack to this. Success does not depend on
clapping the hands hard. I£ after practicing
a bit, your palms begin to feel like ham-
burger, you are clapping with too much
force. Work on clapping the hands in a
fashion that thrusts the air between them
straight forward. Keeping the hands very
close to the table top as you bring them
together is also important. Let the edges of
/ the fourth fingers graze the table swface
15 when you clap. Ifthe top card does not Sip
JRcf. Gtnu: Vol. 29, No.5, Jan. 1965, p. 266; or TbeMagicofGera/J Ko.JI.:y, p. 45. Although
this is the first printed source of this idea I am aware of. there is evidence to suggest
that the clap revelation may have been conceived prior to Mr. Kosky's discovery ofit.
over for you, try making the crimp in the card more pronounced. The crimp,
though, should not be so extreme that the audience can perceive it.
"There it is! Let's see ifwe can scare out your card too." Hereyou indicate
the second spectator. Oap y our hands again; but this time. rather than
relying on air pressure to produce the card. you physically knock it into view.
Actually, you knock out the face-up double card. Bring the hands together
directly behind the deck, just as you did a moment ago- but this time you
hit the tip of the right second finger against the inner right corner of the
anglejogged double (F~ 16), causing the two cards to swivel clockwise
as one and appear face-up, sticking &om the pack just belo...v center (Hgure
17). A certain precision is required to do this neatly. but it is not as difficult
as it might seem. Again, graze the edges of the fourth fmgers along the table
top, this time to guide the movement of the hands; and use the lefr hand as
a stop, to govern the right hand's force as it knocks the double card into view.
Occasionally, if too much force is applied, you will knock the double
completely &om the pack. Astonishingly enough, the two cards will remain
perfectly aligned.
'With y our right hand. pick up the deck by it right end and tilt it to display
the face of the second selection more clearly. Then bt-ing the left h.wd p;Jm-
up under the double card and neatly remove it from the deck, taking it into
deep dealing grip. positioned for a gambler's cop. That is. the &ont \cit t.'t'\t1ler
of the double card should lie near the fot-k of the thumb. and the h-unt right
corner should rest on the tip of the second fu~r.
'With the right hand, smoothly set down the deck and. ifit is not :Ur"'·tdy
there, move the left hand casucJ\y inward. bringing it to rest on the.' t.tblc.-,
close to the near edge. Simultaneously, use the \clt st'<'ond fi.t'b--er to bu..-kl~·
the lower card of the double, gt;pping it lightly in grunbler$ l'op.
"Usually, when the third card hears the other two g"i't \.':m,ght. it tl;t's It'
ay away." As you say this. look at the audienct', misdir~.'tlng fi·om ~'\mr h.m,\$
while you bring the right hand b.'lck to nwet tht• ldt. Grasp the sc."'''nd
selection by its inner right corner (Figm-e 18), t\.'1110\"t' it lium tht' ldt h."tnd
and toss it gently to the table. This leaves the- third sdt~t1on hiddc.·n in \d't -
hand gambler's cop. with the hand positionl'd 1\t':u· the t:tbll' t"-~"' 1~1 r
ma."<lnlum cover.
"It happens so fast, it's almost impossible to SC\'. Look. thel~ it ~"'-'l·s. \\ i th
your eyes and right hand. trace the uwisible path of the tl,\'tl"\0 \;'.tnJ li' t\\ th<"
deck to a spot on your right .
12 ....... .................. . .... . ... . . ............ . , ,,.,.,It ,,
sc1
.................................. .. . . . Bv F o R C E S UNSEEN
\
/ \
17
......-:::
/
/
~
18
"It's hovering just there. You have to be fast to catch it." Turn to your
right, holding the right hand palm outward, about shoulder height. At a
relaxed pace, raise the left hand to join the right, while sustaining all atten-
tion on the right hand. As you move the left hand, keep it tilted up a bit, to
conceal the palmed card. At the same time, curl the left fourth finger in and
CLAPTRAP . • ••.•••••. • •. . .••••.• • .• .• •••••••••••.• • •••••• • 13
BY FoRcEs UNsEEN ......... .. ... . ........ ····· ·· ··· ·· ····
I \
19 \ 20
under the card (Figure 19). Then,
when the hands are approximately
five inches apart, straighten the left
fourth finger, swinging the palmed
card into view at the fingertips and
holding it momentarily clipped be-
tween the third and fourth fingers
(Figure 20). Simultaneous with
this action, clap the hands together,
seeming to catch the card from the
air, at the very tips of the second
fingers (Figure 21) .
"Got you!"
/ \
'\
21
14 ..... . . . . .. . .. ............ .. •. • . • •• • • •• • • . • • •. • •
CL n4 PT R AP
~HI I I'OIIt'
fi·ccly touc.:hcs any card in the pack. The card is
II ()( I"Cilll>V~·d
rr·orn its position, but is clearly shown tO
everyone bd or·e it is pushed into the deck again and lost.
Somc.·u11e d~e is asked to try to locate the card just
sd ct·tc.·d by stopping at it as the perfor'tller riflles through
the pm:k. This fledgling attempt appears to be a failure, as
t lw cnnl stoppeJ at is not the first selection. However, the
pcd 'o nncr explttins a well-kept secret of magic: The
magician doesn't have to find the chosen card-he has
only to lt ·an~ lon n any card into the chosen one. He gives
the em"< I a snap and it changes visibly into the selection.
25
the pack. This automatically loads the selection on top of the deck; yet,
from the audience's side, the card appears to go straight into the middle.
As you push the selection flush, lower both hands, bringing the deck to
a face-down horizontal position. If you also apply moderate downward
pressure to the top packet as you push it forward, friction will force the card
below it to move outward for half an inch or less. Let the spectators see the
slightly ou~ogged card at center, which they reasonably preswne to be the
card they just noted. Then slowly and fairly push it flush.1
You now do one ofseveral things: you can dribble the cards casually from
the right hand into the left; you can set the deck down on the table; or you
can ribbon-spread the pack. Each of these gestures is meant to show, . . vith-
outyour saying as much, that no breaks or jogs are being employed to keep
track of the selection.
"One of the classics of magic is the feat of fmding a chosen card that has
been lost in the deck. When it's done well it fools everyone. The reason it
fools everyone, however, is not the reason you might think; for the trick isn'r
1
Mr. Earick invented this control c. 1985-6, and shared it around that rime with ~,ff<!]
magicians. After this book was first published. he discovered the almost identical idea.
though lacking refinements, in Mnrlo:1 ;Jtft~q,zzine, No. 6, 1988. p. 46. Allan :\ ckertnan·
with his new convincing control (H~re:t My Card. 1978. pp. 82-85) also applies rhe sante
bowing principle to deliver an outjogged card to the bottom of the pack.
28
Ifyou now press inward with the tip of the r-ight fourth fmger, you can
grip the top card by its ends, between the left fourth finger at the back and
the right fingers at the front. Note that the right thumb, though it is at the
inner end of the deck, does not actively aid in holding the card.
Now place the tip ofyour left thumb on the left edge of the pack and lift
all the cards below the top one, revolving them sidewise and over (Figure
28) while moving them b"'m beneath the selection. Then lower the pack
squarely onto the card. In this action, nuse the right thumb away from the
deck, moving it aside, while keeping the selection suspended and stationary
below the right hand. YoUI· mn.nner of holding the card between the left and
right fmgers, with the right thumb obviously unemployed, creates an
extremely deceptive picture. In essence, you ;u·e holding the top card
immobile as you tum the deck over· and onto it. Yet it appears as ifyou are
simply flipping the deck face~up.
As the deck settles onto the selection. alter the left fmgers' gr;p slightly,
grasping the selection squru"<'Jy belo·w the pllck. At the s:une time, tum your
left hand back outward. This t\UtOn1.atica.lly revolves the deck to a sidewise
position and lays the end oft he out jogged ('tu""<l dit-ectly onto the r·ight for~
finger· (Figm-e 29). Bring your r·ig ht thurnb down on the face of this card
and, with a downwru-d sh-<:>pping nct1on, sr,ap it out of the deck.
The selection is now face-down uncle~· the ln(.'t;.'-Up ~lck. lf the right 6ngers
are kept together· during the sleight , the t·ight hand tlnd deck will conce-J
20 ............................. , ... .. ...... .. ..... pH. 0 T E US
.. .. . ............... . ......... .. ....... Bv FoR cEs UNs EE N
/
/
I 29
the top card &om all sides, assuring that the secret reversal is invisible.
However, to be completely deceptive, there must be no hesitation when
executing this reverse. Ifyou pause after ou~ogging the center card &om
the pack, the position of the right hand will appear too static or "cozy';
causing the hands to look rigid and suspicious. But ifyou push the card
forward. then smoothly turn the deck over and strip the card out, there is
no hint of hidden manipulation.
"Isthisyourcard? I didn't think so. Well, that's notswprising. You would
have to be pretty lucky to stop at random at the chosen card." As you say
this. rotate the left hand palm-up, turning the deck face-down under the right
hand's card. The card meets the top of the deck before the face-up selec-
tion can be seen. You now have an indifferent card face-up on the pack, and
beneath it the face-up chosen card.
"A good magician, though, isn't concerned with finding your card. Nor
does he rely on luck. Instead he tricks you into believing he has found it.
He takes any card &om the pack, just as you did now ..." With the tip of
your left thwnb, lift the top two cards at the left side. Given a light touch
and a natural bridge in the cards, you should find it reasonably easy to sepa-
rate the top pair &om the pack in this fashion.
". .. and changes it into the one you chose I" As you say this you perform
Horace Goldins snap change-but in a distinctive way: With the right hand,
grasp the raised double card at its inner non-index comer, placing the tips
ofyour second and third fingers on the face of the double, and the thumb
35
\
PROTEUS •• • ..•• •• ....•..•.•...•......•.......•••••• •• •• • 23
.............
When Mr. Earick performs this change, he adds one more refinement
to its execution. He holds the double card directly above the deck just before
the change, and extends his left thumb straight up. He then smartly taps
the face of the double card twice against the left thumb (Figure 35). As he
moves to tap the card a third time, he thrusts the right hand straight forward
five to six inches, causing the cards to snap past the left thumb, like a flat
spring over a post -and in this motion he performs the Goldin change. The
forward movement conceals the action of the change itself, and the sound
of the cards hitting the left thumb disguises the inescapable snapping sound
the cards make as they pass by each other. For over eighty years magicians
have thought of this snap as a magical sound. I suspect, though, that many
laymen, without benefit ofa magician's education, mistake this magical sound
for that of two cards snapping off each other, which indeed it does sound
very like. By hitting the double card on the left thumb, the snap made by
the change is disguised, relieving the audience of the problem of deciding
what it is they are supposed to be hearing.
After the change, the right hand is positioned to the right and just in front
of the left hand and deck. This is, fortuitously, an ideal position for stealing
the palmed card onto the pack. The card should lie at right angles to the pack,
with its free end positioned just over the deck. The outer left comer of the
card rests over the outer right comer of the pack (Figure 36). Your left fore-
finger rests at this same corner. With your left thumb, contact the back of
the card and. using the tip of the f'orefmger as a pivot post, pull the card
leftward, swiveling it square onto the pack (Figures 37 and 38). This takes
only a second, and should be done immediately following the change. The
replacement is screened by the selection, and &om the audience's view the
hands seem to be separated, making any such transfer appear impossible.
Fmish by giving the selection a fillip, showing it to be a single card and
the right hand otherwise empty. Then either toss the card casually to the
table or onto the deck.
The modifications Mr. Earick has made to the Goldin snap change and
his refined method ofloading the palmed card onto the pack improve a card
transformation that has always had strong appeal.
The bow-to-stem card control is an excellent sleight that has fooled some
very knowledgeable card experts; and it can be used not only as a contrOl.
but also as an effective sequence in an Ambitious Card routine.
24 .............................................. . . PR OT E US
.. . . . . . . . . . . 0 . . . . . . . 0 . . . . . . .... .. 0. 0 . 0
Bv FoRCES UNsEEN
I 36
; .
37
38
PROTEUS .•.•.•....••••••.........••.• .•.• .••..••.. .•.• •• 25
2!Q
.- ~- ~
And the rotation reverse can be employed to invert &om one card to
twenty-six beneath the deck. It also is as well suited for use with a small
packet as with a full pack. Please note that the reverse can be done without
first outjogging a card &om the center of the pack. Indeed, that is how Mr.
Earick normally uses it. Simply execute the reverse as you Hip the deck face-
up, transferring the cards from left hand to right in the process. The
deceptiveness of the sleight can be further enhanced if it is executed on the
oHbeat, during a moment of relaxation, a Ia Slydini. Here is an example of
good management using the idea of relaxation: With the palm-down right
hand, take the deck by its ends, forming an Erdnase break under the number
of cards you wish to reverse. Separate the hands casually as you talk and
gesture, leaning forward to help convey a sense ofintensity or interest. Then
relax, leaning back in your chair. As you do this, bring the hands together
and, without hesitation, execute the reverse. Conclude the sleight by
gripping the pack in the right hand, taking it by the outer right comer, then
give it a quarter tum clockwise and lay it into left-hand dealing position. It
must be emphasized that the move is done during the moment of relaxation,
and at the instant the hands come together on the deck.
Mr. Earick had a goal in mind when he created this reversal. He desired
a method, suitable for tablework, that wouldn't require large body turns or
an awkward tilt of the hands to cover the maneuver. T he resultant reverse
fulfills this goal admirably and is capable of wide application. It is an excel-
lent sleight and deserves yow· closest attention.
Given the above, from a technical standpoint, this is one trick that is not
greater than the sum of its pruts. A'i good as the effect is, the three sleights
it depends on offer even gt·cater utility. Having learned "Proteus" you will
have acquired thr-ee C..'<ceptional tools for creating powerhll magic.
posed pleased Mr. Earick, and he set about devising an even more direct
solution. The result is not only economical but also elegant in structttrc.
As the trick begins, the empty card case rests on the table, somewhat
forward and to your left. The aces and jacks lie honestly dispersed in tho
deck, as chance dictates - with one restriction: No ace or jud< should be
among the top four cards. One other simple arrangement is rcquin~d: the
fourth card &om the top of the pack must be the mate of' the cm-d on the
face; e.g., the flve of hearts is fourth and the five of diamonds filly~sctond .
The placement of these mates is quickly and easily accompljshcd as you toy
with the cards beforehand. Or the setup can be clone with a llofzinser 11p1~ad
pass as you run through the deck to locate the aces:
Hold the deck face-up in left-hand deaJing grip and silently note the card
on the face. Then begin to spread the cards into the palm-up 1·ight hand,
using a to-and-&o action. "I need four consp icuous cru·ds fort l1is trick; c:u'tls
that you can easily remember. Let's see." As you run tIt rough the cards,
moving the hands alternately together, then apart, watch fo r the mnle to the
card on the face of the pack. When you spot it, cull it uncle.· the r·ight hand ~
spread as follows:
With the tip of your left thumb, contact the left side ol' the e<u.J dir-e<:tly
above the one to be culled (Figure 39). Simultaneously, p ress yoUI· ldl
fingertips against the back of the mate, at its r·ig ht side, which is eXp{)scd
beneath the spread. Then, as the left thumb steadies the card above,
use the left fingers to thrust the mate to the right, beneath the spread
and into the right fingers, three of which lower slightly to receive it. The
right forefinger remains extended along the front edge of the spread
to conceal the culling action &om the audience. Push the mate to the
right until you feel its left edge disengage &om the spread. This pushing-
culling action is done as the hands approach each other, and is
completed as they move apart again. The left thumb aids in keeping the
spread from splitting as the cull is accomplished.
The back-and-forth movement of the hands and the thrusting action of
the left fingers are ideas applied by Edward Marlo to the Hofzinser spread
pass. They are superior to the older culling action, in which the right fingers
pulled the card under the spread. The thrusting or pushing action is better
concealed than the pulling action.
The culled card is caught by its right front corner between the base of
the right forefinger and the cards above it. This grip causes the left side of
the mate to remain slightl:y separated from the rest of the spread (Figure 40,
right forefinger lowered to expose the situation).
While you execute this cull, also watch for the aces as you spread through
the pack, and stop whenever one is found. Split the spread, with the ace at
the face of the left hand's packet, and thumb the ace face-up onto the table.
"The aces will do." Continue to spread through the cards until you have
located and placed all four aces on the table in a face-up spread. You will
find that these actions can be done with perfect &eedom while retaining the
culled card under the right hand's spread.
40
JACKSYNA(PS)CES • •...•.•.•• • •...•.•....•..............•..• • 29
BY FoRcEs UNSEEN ..•.•.•...•.. •..•••••••••••• •••.•••• •.•
I
I
43
the deck, dig the entire tip of the left fourth-finger into the break,
clipping the top three cards between the fourth and third fmgers. Then
straighten the left fingertips, raising the left side of the three-card block
away from the deck (Figure 44) . As this occurs, the right hand
continues to move the spread aces inward until the back of the raised
block meets the back of the spread. The face-down cards should be
aligned approximately with the right side of the spread. This assures
that the added cards are entirely hidden by the aces and the right hand,
while the exposed left edges of the spread remain single.
JA CKSYNA(PS) CES ....................... . .. ..• • .....•....... 31
LQ
44
I
I
I I 45
Without hesitation, raise the left thumb and push the spread ofaces closed
and square against it, keeping the cards well above the deck (Figure 45). The
instant the seven cards are square, grip them by their sides between the left
thumb and flngerrips. Then use the right fmgers and thumb to square the
ends of the packet. Mr. Earick further conceals the addition maneuver by
performing an almost inunediate all-around square-up. That is, as soon as
32 ...... · · · · · · · · · · · · · · · · · · · · .............. J A C K S Y N A (P S) C E S
··· ·· ·········· ··· · · · · · ..... .. . . ...... . Ov F' O R C I~S U N S I~ EN
the right fingers have squared the ends of the packet, they rcgr; p it, and the
left hand tun'\S counterclockwise with the deck, rotating it e nd for end
beneath the packet. T he left h.ngersand thumb again grip the packet briefly
by its sides, holding it well above the deck as the palm-down right hand
releases its grasp and the left hand reverses its action, rotatin g packet and
deck clockwise. As the packet completes its end-for-end tum, take it once
more in the right hand, fingers at the outer end, thumb at the inner. In
tun1 ing the packet in this manner, the added face-down cards are better
protected from exposure.
This addition procedure is a close relative in a family ofsuch maneuvers
dating back at least to 1919.2 Mr. Earick's add-on ha ndling is less subject
to angle problems than most of its predecessors because the added packet
is simply raised off the pack rather than raised and reversed. As with many
of its relatives, its most vulnerable side is from the left; but ifyou tilt the left
side of the right hand's spread downward a bit at the moment of the addi-
tion, even this angle can be overcome. Ifexecuted smoothly and with proper
timing, the addition is entirely invisible and, because the packet obviously
does not contact the deck, the maneuver is never suspected.
Continuing the action without pause, peel the aces one by one onto the
deck in this fashion: With the left thumb, contact the face of the right hand's
packet and draw the Erst ace onto the face-down deck, jogged about an inch
to the right and slightly inward. Draw the second ace onto the first, jogged
farther to the right, then the third ace onto the second, jogged farther still.
This leaves a four-card packet in the right hand, masquerading as the lone
fourth ace. The extra thickness of the packet is concealed in three ways: first,
by positioning the right fingers along the &ont edge of the packet to mask
it; second, by continuing to tilt the outer end of the packet downward, con-
siderately exposing its face to the audience; and third, by keeping the right
hand and packet in unhurried motion as you form the spread on the deck,
thus preventing the eye from focusing clearly on the edges of the cards. In
2Charles T. Jordan pioneered the idea in such tricks as "Color Divination" and "The
Amazing Aces" (Char/u T.Jor*.n:OJ/JedeJTriclvJ, pp.30-31 and 76-77, orC/xzr0Jo~an '.J
&t CvYJ Triclv!, pp. 64-65 and 133-135; both works compiled by Karl Fulves). In more
recent times others have applied and relined the concept These include Tenkai., Edward
Marlo, Doug Edwards, John Carney, John Mendoza, Harvey Rosenthal, Chris
Kenner and Ken Krenzel.
47
34 · · · ... · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ... .. JA C KS l' N A (P S) C E S
-
.... .. ........ ······· · · · · ···· ··· · .... . . BY F oRcEs UNsEEN
-y
48
JA CKSYNA(PS)CES ........•....................... .. • . •. •• .. . 35
BY FoRcEs UNSEEN ..• . •.• • • .. •.•• . . . ...•• .• • • .••••.. . •.•.
With the left fingertips, slide the case nearyou, keeping it to your left but
now positioned about a foot in front ofyou and turned sidewise. While the
right hand sets its packet crosswise on the case, withdraw the left hand with
the deck, bringing them to rest a few inches behind the case. "111 isolate the
aces here for a moment, while we find our second set of cards." Before
releasing the packet, riffie the inner ends ofthe cards o£Fyour thwnb (F'JgUre
49), letting four distinct snaps be heard. (The empo/ case acts as a sounding
board, ampliJYing the snaps.)
The action ofthe right hand shields the left hand and misdirects from it.
allowing you to push inward with the left forefinger on the outer end of the
face-up deck, squaring it with the face-down aces.
Thus far you have shown the four aces and secretly switched three of
them for ind.ifferent cards. Though the description ofthis procedure has been
necessarily long, in performance the actions are over quickly. To the audi-
ence, all you seem to have done is remove the aces &om the deck, display
them and set them on the card case.
Bringyour right hand to the face-up deck and grasp it by the outer right
comer. This allows the left hand to turn palm-up and retake the deck in face-
up dealing position.
"The jacks are another four cards that are easy to remember. Let's Snd
them." Spread the cards &om hand to hand and widely outjog the jacks as
you come to them. When the fourth jack has been dealt with, continue to
spread quickly until you reach the last few cards. In doing so, watch for the
mate to the card on the face of the pack, the five of hearts. Stop spreading
w hen you see it. Ifyou go any farther you will expose the three face-down
aces below it.
Now square the cards back into the left hand. catching a left fourth-finger
break above the mate. With your right hand, adjust the outjogged jacks,
arranging them in a fan while they are still in the deck. Pause a moment to
let the audience see them; then execute the Vernon strip-out addition:
Bring the palm-up right hand to the right side of the deck. At the same
time pull down with the left fourth finger, opening the break. This allows
the right fingers to slip into the break as you grasp the deck by its inner right
corner, thumb on the face, fingers beneath (Figure 50).
Shift your left fowth finger to the inner end of the four cards below the
break and, if it is not already there, move the left forefinger to-the outer end
~
I 49
50
of the pack. Tighten these two fingers' pressure on the ends of the packet
as you pull down, causing the packet to bow convexly along its width.
Without hesitation, move the left hand outward, carrying the packet forward
J A CK SYNA (PS)CES .......••...........••...•..••.......•...•• 37
Q
~
/~ I \
51
until it is ahnost even with the fan ofjacks (Ftgure 5 I). Lower the left thumb
onto the jacks and strip them from the deck, letting them settle over the
straddle-gripped cards. Bowing the stolen cards in this fashion assure11 that
they can't be seen as they are added to the fan.
Cage the withdrawn cards in the left fingers, squaring all eight together.
Then slide the packet neatly onto the face of the deck. Imme&a.t.cly apre.l£1
the jacks to the right and take the spread into the right hand as you ~my,
"Unlike the aces, the jacks will remain in the d eck." It i.s here that the malA;
we have been carefully tending bears fruit. When the jacks are removetJ from
the face of the pack, the five of hearts is seen below them. The subtle change
from diamonds to hearts will not be noticed, and the seeming conat:illc:y of'
the card on the face of the deck validates the honesty of your actianli.
"But I will reverse them so that we can find them again quickly." A,.
you misdirect away from the pack by g esturing with the ja.ck.s in th"
right hand, push the hve of hearts slightly to the right - just enough to
permit a fourth-6nger break to be formed under it without cxpo:~ing
the face-down cards beneath.
Bring the spread jacks back to the deck and llip them face..down, squ:trc
onto the pack. Make sure the cards are nearly squared, then tramf<:r the
fourth linger's break to the lefi second finger as you move the tip or the lt-1 l
thumb to the left edge of the pack. By exerting light but finn pr,..MtUr~
between the thumb and second finger, you can grip the five-card blt~k r.J-xwr
53
the block. and the thumb is free to move. Position the block under the deck
ou~ogged for roughly a quarter of its length. Then, with the right thumb:
immediately pull the upper card of the block slightly forward as, with the
tip of the right second finger, you thrust the lower four cards inward and
flush with the pack (Figure 55). The left forefmger can aid in aligning these
cat-ds with the deck, though its role is minimal. A single jack remains
protruding for about a third ofits length from the pack. Move the right hand
aside and turn the left hand over to display the face of the jack. Everything
looks e.xactly as it would had you actually inserted a jack low in the deck.
"The next jack goes in a bit higher; the third jack goes near center; and
the last goes in close to the top." As you say this, insert the next three face-
down cards at dilferent depths in the pack, leaving them similarly Olt~ogged.
The audience believes these to be the other three jacks, but in fact they are
the three aces previously stolen from the ace packet. And the five of
diamonds has returned to the face of the deck. silently attesting to the honesty
of the procedure.
With your right hand, grip the ends ofthe four ou~ogged cards, then raise
the hands, btieBy e-xposing the face of the jack once more. Sin ce the aces
rest behind the jack, their faces cannot be observed (the right hand's posi-
tion ensures this), but the gesture seems good-intentioned.
Lower the deck once more to a horizontal position and, in the action. use
the tip of the left forefinget· to buckle the lowCJTnOst card. (fhis small action
is nicely concealed by the pt•otntding cards.) By buckling the card you
automatically injog its inner ,;ght corner slightly as a brenk opens above it.
Release the outer ends of the outjogged cards and bring the right hand to
the right side of the pack. where you secretly clip the inner right corner of
the buckled card between the right fourth ll.nget· (above) and third finger
(below). This card is the f."lce--up five ofheru'ts./\ \ ove the right hand inward
slightly, further injogging the card (Figure 54). From this position the left
forefinger· and thumb can continue to control the deck whi.lt- lezwing the
clipped card free.
"The four jacks lie scattcr'\.-d in the deck, but cru1 be easilv found s.inC'l'
they ru-e rever-sed. " To emphasize their· placement. ) '0\1 now ~;e_fly spl"i'ad
the pack between your hru1ds. As the right hand moves m\lunJly t-\ghtwru-d
in the action of spreading the cards, the ftngers - with no c~tt. mot\:m -
cany the clipped card along. bcnt•ath the spn-ad (Figlu-e ~C,) . Then. as th~·
left thumb continues to sprt'ad through the~ k. lcr the lett ~~of the._•
40 ........................ . ..... ... ..... .. J ~ l· I.Sl· ,· •(I'S) · ~·.•
\ .................................... ... av P oR e '~" UN B I.!.~N
54
II
J
!•
I
clipped card slip into the spread approximately five cards above the
lowermost ou~ogged card. Figure 56 is an underview of the action. (Mr.
Earick designed this method for displacing and loading a card into a spread
to eliminate telltale finger motion commonly caused by such maneuvers.)
Stop spreading just before you reach the fourth ou~ogged card, as you do
not wish to expose the three face-down jacks that lie beneath it.
J A CKSYNA (Ps)CES .. . .•. . ..........•.•..........•...•. . ....• . 41
<
By F0 Rc Es u N s g I~ N .•.. . ..•.....•..•..•.••.••.•..••...•.••
Having displayed the
separation between the
projecting cards, square
the deck back into the lcl't
hand. In doing so, catch a
left fourth -finger break
below the card you have
secretly loaded into I h e
pack; that is, above about
nine cards. (fhe position or
the br·eak need not b e
exactly below the loaded
card; but the situation oFt hut Cltnl in the d eck Hid~ in Ihe act ion of forming
a b r-eak.) Then, with the right lingers, slowly nnd ncl\tly pus h the ou~oggcd
cards flush into the d eck, either· <.JI ut once o r· or'lc ut n time.
To this point, in the eyes of the audience, you hnvc removed the four aces
from the deck and set them aside while y ou lo<:ftl <:d the four jacks and
reversed them at dill'e r'Cnt s pots in the pack . From your· stMdpoint, a great
deal more has been accomplished tuHI the wor·k is nearly done . 'fhc magic
is about to happen in the spmt of u lew r-:e<:onds.
First, you must ptJm oil' the packet nl' l'luxls l,dow tlw br' <'ll l<. Mr. Earick
has developed a n admimbly dir·ed 111cl (,()(11{-,,· tt('('O II) J >litlhing thifl, in which
the Erdnase top fXJm is cxccul<-'tl in tlu.: Hl'lion ol' turning rhc deck face-
down. The r·ig ht hand. pnlm-down, ltppr()tlch t·~ tht· d<·d< (i,om behind and
grasps it by the inner c nJ . ln this 11l'l ic•n. 1h{' 1ip ( 11' tltt• r·i~ ht fourth finger is
slipped into the brca.k at the innrr· r·ig ht t·ornc 1• (J.'it(lll't· (,7). The right hand
grips the deck, (Jngcn• 0 11 I he liKe. t humh t~ ll tlw lutd<. unci tltr'MI it face
toward the audie nce, rig ht edge d ownwtu\ 1 ttnd innt·r· t•fld to y our right.
Simwtancously the lei\ hand tu rn~ palrn inwwxl h nclr•rtttlcf~ the deck in
dealing grip, but with the tip o l'thc li.nu·th liugcq •t •t~ititlltt·d 111 the lower left
comer· (Figtu-e &8). The ldlthurnb 11nd fi.wl'lin~t · · td tltc· upper' ancllower
sides respectively. hold the dn·k ~c·t'l ll'{'ly.
Both htu1ds then rnovc in l\11 i~on t h~ ld\ htu 1d I*'"' ''I'· 1h<· rig ht p<Lim-
down - t-evolving Ihe dec.:It to 11 liwr-d t>Wil. luwi 1,1,ntnl J•l•flit ion . Within this
action, the packet scpanttrd h_y the lwcttlt is pnlr 11t d i 11 th(" r·i~ht hand. The
packet is manipulated tlu·mtg lt prt'SS\11 '{' e'tcrl cd ( 11 1 ,,,. 1, 1,,,., it t' l.' t1Cl:i by the
left and tight ~oUtth tinge•~· ttnd is 1111lllt'\t vc1"C{I 1111t It·• tlar , ,~Itt ltftnd I hrough
n com bination of act ions: 1h<' Ieli f~•lwth lin(:'.I.' ' ' ,.,, A 'P-''"""" tn 1h~ rig ht,
42 ... , • , . • • . • .... . , .. • ..... , • . • • • • • ' • • • • ./II I J( ,\ ' I' N II (1• S) (' ll S
....................................... (\ \ F I l It ~ I s llN ' ,, If N
~
I I
I
I
/
I
/
pivoting the inne1· e nd of the packet r·ightwtu"d; and the leA thumb moves
outward, pivoting the inner end of 1he deck to I he ldi (Figm-c 59, right hand
raised to expose the position).
The instant the packet has been sw\mg into position beneath the palm,
the tip of the right forefinger bends in to press agajnst the outer left comer
of the packet, thus gripping the card s secw-ely by their opposite left com ers
between the forefmger and the heel of the thumb (Figure 60). This grip
allows the other right fingers to remain relaxed, while the foref'mger look.<>
natural curled onto the back of the deck. 3
1
1tmayoccurro some readers that, rather than turning the p.'\Ck in the tn<umerdesaibed,
it could be rotated end over end above the palm-up left hand. While this might seem a
more direct action, the palming of the p;~cket is likely to be d etected during suc h
Begin by spreading the face-up deck &om left hand to right, and remove
the aces as you come to them. Break the spread at each ace in turn, taking
it below the right-hand portion and depositing it face-up on the table. Place
each new ace onto the previous one, forming a short spread. When you
reach the last ace, set it on the face of the tabled spread, as you have the
others; and at the same time, while misdirecting away &om the left hand,
form a fourth-finger break under the third card &om the face of the left
hand's packet. (This packet should be roughly a third of the deck.) After
setting down the fourth ace, bring the right hand's spread back to the left
hand, and smoothly flip the spread face-down onto the left hand's face-up
packet. Immediately bring the right hand palm-down over the deck, quickly
square it and, without hesitation undercut the cards below the break,
carrying them to the left. With the left lingers, flip this packet face-down
and replace it under the deck, holding no breaks. This variety of Braue
reversal places three face-up indifferent cards approximately two-thirds
down from the top of the face-down pack. Perform this procedure casually
as you introduce the effect, drawing no attention to your actions as you talk.1
With your right hand, reach to the table and pick up the face-up spread
of aces by its ends. At the same time, while the spectator's eyes follow this
action, push over the top card of the pack just enough to form a left fourth-
..
finger break beneath it. Bring the right hand and its aces back toward the
deck and execute the elevated addition (pp. 30-33), secretly adding the top
card of the pack face-down under the spread.
After squaring the right hand's spread, smoothly draw the face-up aces
one by one &om the face of the packet square onto the deck, placing the
'Of course, other methods can be used to reverse and position these three cards.
Three procedures that come immediately to mind are a half pass, Krenzel's
mechanical reverse or Mr. Earick's rotary reverse (pp. 19-21). Any of these
sleights, followed by a simple cut, are perfectly acceptable means to our desired
end. If it is not convenient to position the aces in the pack as described above,
one of these alternative reversals may be more practical. Also, one can still use
the Braue reversal in such Stl'ictly impromptu circumstances. After placing the
aces on the table, square the face-up deck in the left hand and catch a break under
the third card from the face. Undercut roughly two-thirds of the deck and flip it
face-down onto the face-up portion. Then undercut all the cards below the break.
flip them face-down and return them under the deck. While these procedures are
less economical in action than the initial o ne, they are certainly serviceable.
grip on the cards, letting them rest on edge upon the fingers, the mild
br idge in the p ack will cause it to split both above and below the
reversed card s in the Go ttom third. Catch a left thumb break
immediately above th e three reversed c<Lrds. The right hand can aid in
forming this break (Figure 62), but there should be no hesitation or
fumbling; and as little attention as possible is focused on your actions.
63
"The simplest way is to cut them into the center." Here you do an
Endfield-style slip cut: You continue to hold the deck on edge, in a vertical
mechanic's grip, left forefinger positioned at the front end of the pack. The
tip of the left second finger should contact the top ace near its lower front
corner. Then, with the right hand, grip the packet above the break by the
opposite rear corners - thwnb on the upper; second finger on the lower-
as if commencing a Hindu shuffie. Then, as you apply. light pressure with
48 .. . ................ ............ ... ... . .. L 0 N ELy A T T /{ E T0p
............... . ..... . ................. Bv FoR c Es UNsEEN
the left second fingertip to hold back the top ace, draw the u pper portion
of the pack straight back and from under the ace (Figure 63). In a continu-
ing action, turn the left hand palm-up, letting the ace settle onto the bottom
portion of the deck (Figure 64). If' done properly, it appears as if the right
hand is undercutting the lower two-thirds of the pack.2
Move as if to set the right hand's packet onto the left's, completing the
cut - but stop before you actually place the packets together, as ifyou have
suddenly changed your mind.
"But when the aces arc face-up and aJI together. it is too easy to 6nd them.
It's much more interesting if they are face-down and separated in the deck."
Set the right hand's packet on the table, sidewise in front o f you. It appears
to be a face-down pile of cards; but in truth, under the top card are hidden
three face -up aces. The audience believes that all four aces lie face-up on
the packet in y our left hand. though only one ace is there, with three face-
up indjffcrent cards below it.
Your right hand should still grasp the tabled packet by the sides . Cut
approximately half of the tabled packet forward; then cut about half of these
cards forward again, forming thr-ee piles. Continuing the cutting action. lift
-
•
65
' In the original Endfield slip cut the fo~finger was curled around the front end of the
p.a.ck to hold back the top card. 1\'\r. Earick ~mmc.-nds t ha..t tht> ~ond finger ~rform
this task. aa deacri~ . This ~nnit3 the lt>ft hand to m.llntain a more ~lax~ posru~.
avoiding an awkward looking. claw.Jike grip. The.- foreflngc.-r. at the front of the deck.
aida only i.n k~ptng tht> top card sqW~.~"e w1th the lower packet as the cut is made.
the top four cards from the third pile and place them to the right of the
other three (Figure 65). Cutting off these four cards is not difficult,
given the natural bridge between the back-to-back groups. Just use a
light touch. (Though it is a less desirable approach, you could also riffie
the thumb up the rear of the packet until you reach a face-up card.)
This procedw-e should appear to be nothing more than the cutting offour
piles of varying sizes. The last pile consists ofthree face-up aces with a face-
down card over them.
Now bring the right hand to the inner end of the left hand's packet and
grasp it by the opposite corners. Then raise both hands simultaneously,
turning them palms inward. In doing so, the right hand lifts the packet to a
vertical position (Figure 66), with the ace directed toward the audience.
With the left hand, regrip the packet in dealing grip and immediately begin
to spread the vertical cards into the right hand. After spreading about six,
gradually lower the hands, timing your actions so that the cards are once
more horizontal by the time you reach the last four, which are face-down.
The ace is in sight ahnost to the end, at which point the backs of the four
face-down cards come into view. This subtle display reinforces the illusion
that the four face-down cards are all aces.
Separate the face-down cards from the face-up spread, holding them
fanned in the left hand. Drop the top card of the four onto the inner pile,
the largest of the lot. With the right fingers, square the right hands spread
and set this packet face-down onto the inner pile, apparently bwying the
first ace.
Drop the top card of the three remaining in the left hand onto the inner
pile. Then, with your right hand, pick up the middle pile and place it onto
the inner pile.
Drop the top card of the left hand's pair onto this pile and, with the right
hand, set the outer pile onto the rest. You have just seemingly buried three
of the aces at di£ferent spots in the pack.
Snap the left hand's last card face-up, showing it to be an ace, and drop
it, still face-up, square onto the four-card pile to your right.
Now, with your right hand, pick up this pile and place it in left-hand
dealing position. With the right hand free again, u se it to spread the
remainder ofthe pack in a ninety-degree, rightward arc, keeping a few cards
bunched together at the top. Thanks to the shape of this arc, the cards at
the top of the spread will be turned with an end toward you (FJgt~.Te 67).
50 ........ . ............................... L 0 N ELy A T THE T0 p
...................................... . B y F 0 R c F s L' =-- s F F N
66
67
Remove the right hand from the spread on the table, letting it be seen
empty as you bring it palm-down over the left hand's packet to grasp it by
the ends. Remove the packet from the left hand and hold the cards about
ten inches above the top end of the spread.
"There is something strange about these aces, though. Once separated,
they refuse to remain apart. Watch." Snap your fingers or make some other
magical gesture. Then, with the left fingers, quickly backspread the lower
three cards of the right hand's packet, forming a fan of four face-up aces
(Ftgure 68).
_ . /.
/ '
\
68
Pause briefly for the cflcct to register; then, with the right hand, remove
the do uble card from the face ofthe fan (an ace with a face-down indi.lferent
card hidclen beneath it) and set it square onto the top end of the spread.
Rc-pe;U thi.!f action with the remaining three aces.
While d~ing this trick, Mr. Earick observed that in many situations
a.n uncompleted 11lip C\Jt, lJUch as that described above, can be substituted
for a top-card cover pasl'l w ithout lessenjng the overall effect. Since a slip
C\Jt ix more convincing in many magicians' hands than the more demanding
cover J'M'I, this obm:-rvati(>l'l is worth keeping in mind.
'1() aprm:ciat.c junt h<JW magical this effect appears, you must first run
through it with cards to impress yourself; then master it and take it to an
o.udien~. It llM tl•<il CJUWity of directness that scores heavily with the public.
the spectator has completed his signature, take the card &om him, holding
it face-down by one end, and insert it into the front of the pack, near center.
While gripping the deck at the outer end-left thumb at the far left corner,
left forefinger at the far right comer- use the right fingertips to push the
selection flush. However, in doing this, press mainly with the right second
finger, while curling the forefinger onto the back of the pack. This causes
the card to enter the deck at an angle, so that its right inner comer breaks
through on the right side of the pack. On completing this task the right hand
is automatically in position to grasp the deck by it ends &om above. In the
same action place the tip of the right fourth finger on the outer right corner
of the selection where it protrudes slightly from the front of the pack. The
right thumb presses against the inner left comer of the card.
Having set the selection into anglejogged position, you are very nearly
ready to perform Mr. Earick's broadside center steal. H owever, it is recom-
mended that you delay the steal action, first performing a small diversion
that seems to make any control of the card out of the question: The right
hand, which still holds the deck by its ends, carries it to the table and
performs a diagonal ribbon-spread, traveling from upper left to lower right.
The forward motion of the right hand, just before beginning the spread, is
used to conceal a much smaller action: Move the fourth finger rightward a
short distance, swiveling the selection to a rightjogged position in the deck
(Figures 69 and 70. exposed from beneath) .
69 70
54 · · · · ·············· .. . ............. . .......... . H oust G u esT
... . ..... . ... .......... ... ..... ... ..... B y F 0 R c t: s u N s I~ ·~ N
H aving no-w spread the deck, leave it on the table for a ~ew seconds a~
'
'
'··
you make some pertinent remarks to the audience. Then, with the leA: h~nd ,
. •,
lift the outer end of the spread, fingers underneath. Rest the tips of t·he n g ht
fingers lightly on the inner end of the spread to steady it, and smooth~ly scoop
up the cards. If this is done with reasonable neatness, you will find the joggt.-d
selectio n still protrudes &om the inner side of the pack. This dever· sb·ata-
gem, while far &om new, is less widely known among magicians than it
.I
deserves, and is quite d.isarming. 1
With the right hand, grip the pack by its ends, placing the second
'• and third fingers at the outer right corner, curling the forefmger on top
and centering the right thumb on the inner end. While the right hand
controls the deck, the left fingers can square any uneven cards lying
below the sidejogged selection. After this, rotate the right hand until it
is thumb up, turning the inner end of the deck upward and the
sidejogged card toward you. Turn the left hand thumb up as well, and
take the pack by its ends in a grip that closely mirrors that of the right
hand: The left thumb rests on the upper end of the pack at the outer
, corner; the left second and third fmgers lie beside their right-hand coun-
•I
terparts on the lower end, at the outer corner; the left forefinger is
curled against the face of the pack; and the tip of the fourth finger
contacts the lower corner of the sidejogged selection (Figure 71).
The right hand now shills its grip from the ends to the sides of the deck,
with the tip of the thumb contacting the inner side of the top portion near
\ /
) 71
1
In More Cali) tHanipuialionJ, No. 1, Jean Hugard credits the above jogging maneuver
and the spread delay tactic to Fred Braue. See pp. 47-48.
72
the left corner, the forefinger curled lightly onto the back of the pack,
and the other fingers aligned along the far side, the second Enger
opposite the thumb (Figure 72).
Having assumed these grips you are ready to steal the jogged
selection with one smooth maneuver. The steal is executed as the hands
turn together-the left palm-up, the right palm-down-bringing the
deck to a horizontal, face-down position. Using this larger motion as
cover, extend the left fourth Enger downward and slightly forward
while maintaining pressure against the index corner of the jogged card.
As you do this, resist the tendency to move the left third ftnger from
the end of the pack. This Enger serves as a pivot post and must remain
on the inner right corner of the deck. The action of the fourth finger
causes the selection to pivot inward around the third finger until it
reaches a position under the right hand and parallel to it (Figure 73).
When this maneuver is completed, the right edge of the pivoted card
should come to rest against the right palm, lying along the hypothenar,
the long muscle that lies at the fourth-finger side of the hand.
You should be aware that, from your extreme left, the card can be seen
as it is swiveled from the deck. If there are spectators on that side, a slight
turn to the left is necessary to conceal the maneuver from them. The same
concern for this angle applies during the later pahning and loading proce-
dures. Asking someone on your left to select and sign the card gives you
good motivation to turn toward him, thus protecting your weak side.
As the selection is swung out of the pack, the right hand moves right-
ward, squaring the sides of the cards. The fingertips move along the far edge
and the thumb glides over the near edge (Figure 74). In the process the
56 ............................................. . HousE GuEST
............ . .. ... .................. . .. Bv F oR c Es UNs EEN
73
74
thumb engages the left edge of the selection, catching it in the crease of the
outer joint and trapping the outer end of the card between the thumb and
hypothenar. In a smooth, deliberate squaring motion, the right hand
continues to the right, secretly carrying the selection with it (Figure 75) until
the card is clear of the deck. This can and should be done while the right
fingers maintain contact with the far side of the pack.
The card is now caught in modified Tenkai palm. Once the card is
palmed, halt the right hand's movement and, with the left hand, tip the left
Ho use G uesT ... . .. .......................................... 57
BY FoRcEs UNSEEN .....•.•...•.•.•••••••••. • .. ·••.•.••..••
75
end of the deck upward
while you maintain the
right hand's grip on the
sides. Then release the
deck &om the left hand.
This leaves the pack at
the right fingertips, lying
at an oblique angle to the
fingers -a position that
subtly negates the possi-
bility (albeit too late) of
your palming cards (Figure 76). At this point the right hand is brought
lightly to rest on the table, in a relaxed posture.
When the left hand leaves the pack, it does so to pick up the card case.
It approaches the case palm-down and grasps it by the ends, fingers on the
left, thumb on the right. In picking it up and moving it inward, the hand
turns palm-up. revolving the underside of the case upward and the top end
to your left.
As the left hand's action misdirects from the right hand. let the deck settle
face-down onto the table and release it. Then move the right hand to the
case, secretly introducing the outer left corner of the palmed selection
beneath the inner right comer of the case (Ftgure 77). lnunediately bring
58 ......................... . . . .............. .... H ous E G u EST
......................... . ........... . . B v F o R cEs UNsEE N
77
the tip ofthe left fourth finger in contact with the outer end of the card and
swivel the selection clockwise until it is under the case, lying parallel with it
(Flgures 78 and 79). This action is the reverse of that just used to swivel the
Ho usE GuEsT . . . ... . .. .. . .. ... . .. . . . .. ... . .. ... ......... . ... . 59
Bv FoRcEs UNSEEN ..•.... . ..•.... . ....••.. . ... . ..••..•...
card out of the deck. However, it will likely be found the most difficult
element of this sequence. The following details will aid you in learning the
move: Extend the left fourth finger fully to the right, so that the fleshy side
of the finger, not just the fingertip, contacts the face of the selection. Move
the fourth finger leftward and forward in a small arc, pivoting the card
around the tip ofthe left third finger, which rests near the inner right corner
of the case. At the same time, move the third finger about a quarter of an
inch away &om the case. These small finger motions in combination will
swing the card under the case and parallel with it. Keeping the nail of the
left fourth finger trimmed fairly short is also helpful, for the flesh of the
fingertip must remain in contact with the card throughout the maneuver.
The actions of the third and fourth fmgers are not large (which is why the
sleight is so deceptive), but discovering the precise movements that deliver
the card beneath the case will require practice.
The card should not be brought completely under the case, as there
is too great a chance that the front edge will be accidentally exposed
during the loading action. Instead, swing the card beneath the case, but
leave an eighth to a quarter of an inch projecting from the inner side
(Figure 79 again).
When mastered, this swivel-load from the right hand to the case takes
literally a second to execute. Thus, the right hand does not linger around
the card case. The instant the card is in position beneath the case, the right
fingers wiggle briefly above the case, or the hand makes a slow graceful wave
over it, in a magical fashion. Then the right hand grasps the case by its sides
from above, the right thumb pushing the card square under the case in the
action of taking it.
Smoothly tum the left hand palm-down and, with the thumb, flip open
the top of the case, pulling the flap straight outward. Keep the mouth of the
case tumed slightly toward you, so that the spectators cannot see inside.
Now extend the ftrst two fmgers of the left hand and insert the forefinger
into the mouth of the case while slipping the second fmger below the flap
(Figure 80). With the tip of the latter fmger, contact the face of the hidden
carcl. Then, using a brisk leftward and slightly upward motion, draw the
card smartly from beneath the case (Figure 81), creating the illusion that
the card is coming from inside. Snap the card face-up, showing it to be the
signed selection, and conclude.
60 .......... ... · · · · · · · · · · · · · · · · ... .. ............ H ouse G ues T
.... ... . ... .. . ... .... ..... .. . .. . . . . . . . . B y F ORCES U N SEE N
80
81
It is perhaps stating the obvious to observe that this center steal of Mr.
Earick's can be used simpbr to palm the selection &om the deck, or to convey
it secretly to the bottom of the pack. The same procedure described for
loading the card under the case can be used to load it onto the face of the
face-down deck. The right hand moves to the right, squaring the sides of
the deck as it steals the card from the center; then moves back to the left to
load the selection under the deck as it continues to square the cards.
Ofcourse, the selection does not have to be inserted into the deck before
executing the center steal. The card can be peeked at or any other selection
procedure used that sets the card into the required sidejogged position.
There are two important points to be admired about this method for steal-
ing a card from the center of the deck and conveying it under the pack or
case: FirSt, the entire procedw-e is performed entirely at the fingertips in a
slow, meticulous fashion that seems scrupulously fair. Second, the secret
finger-action that pivots the card into position for palming, because it is so
small, is completely hidden from the audience. This small movement makes
it seem that covert manipulation is impossible. The technique is a valuable
one, worth the practice necessary to master it.
Mr. Earick devised this and one other center steal twelve years ago, after
his first reading of Edward Marlo's booklet, The Side SteaL Though both
steals rely on the same principle of the fourth-fmger swivel, they differ in
technique by exactly ninet' degrees, as will be seen as we proceed to a
description of the longitudinal swivel steal.
1
This grip is also called a longitudinal angle palm. It was first
suggested in print by Edward Marlo in his 1957 booklet, The
TaiJkJ Palm, pp. 10-ll. During that same year, in Switzerland,
Piet Forton independently developed the identical palm grip and
a number of handlings and applications for it. Five years later
he published some of these inMngifdK Wdi, Vol. 11, No.5, Sept.-
Oct. 1962, pp. 149-152.
q
2The earliest I am aw;u·e of was Rot,"Cr Crosthwai te. whose w o1·k o n the lm18itudin;J
Tenkai palm (along with that ofJ ohn Gilliland) ~!X"'u·ed in I"b.:· (,~, ;\:' :1 series. :;t:u·t1ntr
in the January 1965 issue (Vol. 20. No.9: see pp. 2-f0-2-H). An ;1pp1"0.·wh by J .K.
Sclunidt can be found in & mi', Vol. 3-f. N o. 12, Aug ust 1910. pp. 523-525. ll:m:v
Lot·ayne describes another b.Y Ken l<renzd in ~(~m1CirM•r:v41Vt1l\mt~ (J1p. 1'12-
194); and still others by Jon R.·u:herbattmer (CmJ 1-iitM¥, pp. til ..()8. t :u,l t l!:r.w IJ.
pp. 158- 164) aJ,d Justin H igham (l tt1ityCIIl1Sfrt,~U.· . pp.. 3 :u1d 5) haw l.x~n publislw,\
in t-ecent years.
82
will now slide the sclecrion 11·om the deck; but rather than angle or sidejog
it slightJy. per-t he usual procedw'e, the fowth finger swivels the card counter-
d~·wise ltnti.l it lies at 1-ight angles to the pack at the inner end. This is done
by tl.uly e..-x:~nding the fowth finger to the right. As this occurs, the left second
ruld third fingers ease away f1:om the side of the pack, allowing the sidewise
mon'ment of the card; but as soon as the selection has been surely started
on its jow,1ey. the third fingertip moves in against the pack again, serving
as pivot post t()l' the swiveling card (Figures 83 and 84). It is the combination
of small actions by the left third and foW'th fmgers, working in opposition,
that makes possible the relatively large rotruy motion of the card. As the card
83
Tne LoNG IT UD ! Nt! L S 11'1 /VEL S Tt:11 L ........................ . . 65
4
BY FoRcEs UNsEEN ...................................... .
84
tums, its outer left corner is swung past the right thumb, which rests at the
left inner end of the pack, until that comer projects from the rear of the pack
(F'JgUre 85).
This secret maneuvering of the selection occurs swiftly, in one smooth
swiveling action, and positions the card perfectly for the right hand to take
it into longitudinal Tenkai palm. As the left fourth finger completes its task,
the right end of the selection should butt lightly against the right hypothenar.
Ifyou now slide the right hand to the right, squaring the ends of the pack,
the right thumb soon contacts the left end of the selection and catches it in
the crease of the outer joint. As the right hand continues its rightward
squaring action, it carries the selection with it, caught by its ends between
the thumb and the heel of the palm (Figure 86). When the right thumb
reaches the inner right corner of the pack, the palmed card will have
completely cleared the others. At this point the thumb applies gentle
pressure, bowing the palmed card concavely across its width.
The card remains in longitudinal Tenkai palm for only a moment. The
right hand moves back to the left, still squaring the ends of the pack. In doing
so, the outer left com er of the palmed card is slipped under the inner right
corner of the deck. The card is now swiveled onto the face of the pack in
the following manner:
Raise the deck to the left fmgertips. Then bring the fleshy side of the left
fourth fingertip into contact with the left end of the palmed card, and pull
leftward with that fmger as you push inward with the left third finger against
87
angled card (Figure 89) and push it into alignment with the pack, but
injogged for· at least a quarter of an inch (FtgUre 90).
Ifyou are fa.m.ili.arwith Bill Simon's taps control,.sit is also perfecdy suited
for our purposes, particularly since this sleight is done ,,;th the deck raised
above the left palm. Briefly, the selection is inserted into the outer end of
the pack and left ou~ogged for about half an inch. Be,-el the cards quickly
from side to side. loosening them; that is, lessening friction between them.
3Ref. Kaufman's CAn.>ma.qi.r. pp. 52-5.3. This control is a refinement of a much older
conrrol, •The Push Location·: which appears on p. .3.5 of Hilliard's Gm.:lt:r . If~·.
68 ..................... ... T H £ L o s G1 Tl 'DI SA L • wn·sL r£.1 L
... . . .... . . . .... ....... ... . . . . ..... .. .. B v FoRcEs UNsEEN
89
L 90
Then, with the left forefinger, give the projecting end of the card a sharp
tap, pushing it into the deck. This tap, though, is delivered with enough
power to send the selection not only into the deck, but through it and out
the back, so that it is instantly injogged.
92
70 . ... ... . .. .. ............ Tu £ L o N<i 1 fii!J 1 N " 1• ..'i w 1 v 1-:1• •'>· lt-.llf,
-
. ......................... .. . ...... .. . . Bv F o ~t c t~s UN s ~eN
It should also be mentioned that the swivel action used in this sleight can
be used as a rapid one-handed lapping maneuver. While holding the deck
in left-hand dealing grip, and having procured a left fourth-ftnger break
under the selection, rest the left hand on the near edge of the table, with the
fourth finger lying just below the tabletop. You can now swivel the card &om
the center of the pack (Figure 92) and let it drop into the lap. The fingering
is identical to that taught above, and the action is completely covered by the
table. Nevertheless, the right hand should provide some small misdirection
by, say, picking up or moving an object on the table.
The combined actions of the left third and fourth fingers that make the
steal and replacement possible will require concerted practice to master. But
when the knack has been gained, the card swivels out of the pack and, later,
under it in a wonderfully smooth and efficient manner- all without large
cover actions or detectable fmgerwork. The reader can rest assured that the
effort required to attain pro6ciency with this sleight will be amply repaid.
in contact with the sides of the cards and a break will be maintained. Do
not call attention to these actions. Do not look at the hands and cards as you
flex and riffie the pack. It should seem that you are merely toying with the
cards absentmindedly as you talk.
"Have you ever heard of chakras?"As you ask this, continue to misdi-
rect away &om the pack and raise your left hand to chest levet holding the
deck face-down. Then, with just the left fingers, execute the first action of
the longitudinal swivel steal (pp. 65-66), secretly pivoting the selection &om
the center ofthe deck to a crosswise position at the inner end. This maneuver
is admittedly more difficult when done with one hand alone, but it is perfectly
practical. Instead of depending on the right hand to control the pack, the
left thwnb and forefinger at the outer comers keep the cards steady while
the fourth and third fingers swivel out the selection. Bend the hand in a bit
at the wrist, turning the tips of the fingers toward you and the back of the
hand outward, to conceal the 6ngers' action. (If earlier you have ri!flcd the
cards into the left hand, as explained above, do not square them perfectly.
Some slight misalignment provides further cover for the swivel maneuver.)
"East Indian mystics say we have seven centers of power called chakras.
One is located at the top of the head, one in the forehead, another· in the
throat, then the heart, the spleen, the solar plexus and the base of the spine."
As you name the seven areas, you point to them, using your right hand to
gesture toward the head, forehead and throat. But when you mention the
heart, use your left hand to tap your chest, and in doing so, secretly push
the sidewise selection into the deck, aligning it with the left fingers, in posit ion
to be palmed (Figure 96). Without breaking rhythm, with your right hand
point generally toward your spleen, stomach and the base ofyou1· spine.
"Certain Chinese physi-
cians claim there is a nerve
center in the palm of the
hand." Here you display
your palm-up right hand
and point to it with the left
forefinger. This gesture
serves a subtle function. As
you extend the forefinger
to point, you also use the
left thumb to lift the &ont of 96
74 · ·· ···· ·· ······ · ·· · · · · · ··· · ·· ·· · ·· · .... J'I/OII(l/11 A1A !V II'I< ,\' I
...
. ............. .. . .... .. . .. . .. .. .... . ... By F O R CES UN S I~ I!N
97
the pack away from the palm. This gives the audience a clear view of the
face of the deck and your empty palm below it (Figure 97). It is a delight-
ful moment. Within the context ofa natural gesture the audience is allowed
to see that all is as it should be; yet at the same time the selection is virtu.Jiy
in classic palm and the sleight can be completed in an instant.
When using this subter-
fuge, you must guard against
exposure of the palmed card
to spectators on your right.
This angle problem is solved
by pointing the outer right
corner of the pack toward the
head of the rightmost person.
This done, you can be con£1-
den t that the palmed selection
remains a secret.
"This nerve center is di-
rectly connected to the chakra
C'~
move it forward while the left
hand retains the selection in
98 classic palm (Figure 98).
As you mention the left hand, bring the right hand to it, letting the latter
be seen empty as it moves. Simultaneously turn the left hand palm inward.
When the right hand reaches the left, lightly rub the back of the left hand
with the right. In doing this, the right hand screens the left fingers for a
second, allowing you to transfer the palmed card to the right hand. lYlr.
Earick employs a refmed handling of the Hofzinserpalm-to-palm transfer: 1
The moment the left fingers are concealed by the right hand, move the
left first and fourth fingers from the end of the palmed card to its sides,
placing them roughly one-third in from the right end. lmmediately bend the
left third 6nger in and behind the palmed card (Figure 101); then straighten
that fmger, swinging the card away from the palm (Figure 102) and turning
it end for end until it lies behind the right hand (Figure 103). Notice that
the positions of the straddling first and fourth fingers, inward of the right
end of the card, minimize the breadth of the swing.
'The original HofUnser sleight is not nearly as weU-known as it deseJVes to be and can
be found in J.N. Hofzin.Krd UuilCcn;iliV1g (p. 27 of the Sharpe translation).
~I
r __ 101
!OJ
Tu ou c ur M AN IFEST . ...... .. . . . . . . . . . . . . . . . . ... .. . ..... . 77
BY FoRcEs UNsEEN .. . ... . ...... .. .... . .................. .
'This tyFe ofpceseru:arional ploy for outwardly motivating a palm-to-palm transfer has
~ ~&omatrickofJe:nyAndrus'stirled "Acupressure" (ref. Genii, Vol. 53,
~ 4, Ctt 1989. pp. 244-245).
he four kings are removed from the deck and set on the
table. Next a card is freely chosen. This card the
performer places in his coat pocket. He then adds the
four kings to the face of the pack, displays them there,
and takes the deck into dealing position. Even though
the kings have been shown unquestionably on the
bottom of the deck, and the deck is held innocently in
one hand alone, when it is slowly and fairly turned face-
up, the kings have vanished and the chosen card has
appeared in their place. When the performer checks his
pocket, where the selection was placed moments
before, he finds there the four kings.
kings that change places with one noted card. In addition, within this
excellent effect are locked further riches-for the method holds two original
sleights for the student: Mr. Earick's one-handed card switch and his one-
handed bottom palm. The switch is a new approach to the convincing
control. 1 The palm is a refined method for Paul Curry's one-handed
treatment of the Erdnase two-handed bottom pahn.2 Some years back Dai
Vernon and Larry Jennings showed Mr. Earick a "dead-hand" version of
the Erdnase bottom palm. 3 While practicing the sleight Mr. Earick
discovered he could execute the palm with one hand. Unaware of Paul
Cuny's earlier work in this direction, Mr. Earick reinvented much the same
technique, but went several steps further. With the Cuny palm the hand
had to drop to the side to conceal the palming action. Mr. Earick developed
a method of maneuvering the bottom card or cards into the palm while the
hand was in full view and outwardly motionless.
Both switch and bottom palm offer wide utility, and both have drawn
unreserved praise &om prominent card experts who have seen Mr. Earick's
execution of them.
Begin by openly removing the kings &om the pack. "The kings are the
highest ranking of the royal cards in a pack. Since this is my pack and my
trick, I am taking all four kings for myself." Display the kings, then set them
face-down on the table and spread them &om left to right.
"You, however, have the opportunity to enjoy the luck of the draw. You
can have any spot card in the pack. Please touch the one you want." You
specifY a spot card to provide better contrast with the kings. Spread the face-
down deck &om left hand to right and raise the hands, allowing the audience
to see the faces of the cards. Have someone touch a card. At this point Mr.
Earick's version of the convincing control comes into play:
1
A sleight that is an embeUishment on the Hof:zinser spread pass, first explored by
Edward Victor (ref. WiJ!Jme j Metho<hforMirczclu, N o. 8: EJwmYJ Vtctord CarYl in tlx.Acu, p.
11), and much later improved on by Allan Ackerman, Larry J ennings, Edward Marlo,
Frank Simon and others.
2
Ref. Erdnase's &put al tlx CaflJ Tab/~, first method, pp. 86-88 (particularly note the
6nal paragraph); and Curry's Something Borrow~;}, Som~thing New, pp. 25-27. Dr. Jacob
Daley also devised a one-handed bottom palm (ref. StarJ ofMagic, p. l 05), as has Lany
Jennings (ref. MaxweU's Cftu.JicMagicoflarryJmningJ, p. 234) .
3
S ee Whaley, Busby and Gardner's The Man Who Wa.f &YJna.fe, pp. 194- 195, for a
discussion of this Vernon interpretation.
109
ltj
\ I~
\~ '· 110
Break the spread, taking the touched card onto the face of the right hand's
portion. Lower the left hand several inches, turning it palm-up to bring its
portion of the pack face-down. The right hand's hold on its spread is
important: The extended forefmger should lie near the outer edge of the
cards, and the tip of the second finger must securely contact the face of the
chosen card at its right side (Figure 109).
Once the card has been noted, lower the right hand while turning it palm-
up, bringing the spread face-down. However, in this action the card just
shown is invisibly switched for the card above it. This is done by moving
the right second finger rightward, pulling the selection with it, while the third
and fourth fingers ease away from the face of the spread. The tip of the first
ftnger acts as a pivot point on which the card swivels counterclockwise to a
crosswise position under the spread (Figure 110). A light, sure touch is
necessary here to assure that only the selection moves. You do not want to
pull the cards above it out ofalignment with the spread. When the right hand
comes to a halt with the spread face-down, the selection is out of sight and
the card above it shows at the left end of the spread. This card is naturally
mistaken for the one just displayed.4
~The switch of the selection can be delayed, ifyou prefer. Only partially lower the right
/
I
I
Using the tips of the left thLUnb a nd second fmger, pinch the exposed left
side of the substituted card and shift it forward, ou~ogging it on the face of
the right hand's spread (Figure 111). Then lay the left side of the spread onto
the t;ght side of the left ha nd's cards. In this action, use the left hand's packet
to liH the lelt side of the spread slightly, creating a gap between the spread
Md the left end of the sidewise selection.
Move the hands closer together, secretly introducing the end of the
selec tion under the left hand's packet (Figure 112). Then swivel the card
clockwise Md panJlel with the pack. This is done by extending the right
lwnd. ttu·ning the faces of the c:u·ds out of the spectators' line of sight, while y ou direct
t ht• li·on t t•dgc ot' t he sp•·e:1d direc tly at thei•· eyes. Having provided them with an edge-
v n view o f' the spnx1dyou c~u1swivel the selection beneath the other cards as you gesture
wit h cl.c •~ghc h:md. This gcshH'C and the ~Ulglc o f the cards assure tha t the switc h is
I lUI cJe tc<:l c<J.
third finger while slightly contracting the second finger. These combined.
small finger actions cause the card to pivot into position while the right
fo 1·e6nger separates slightly from the face of the spread, clearing a path for
rhe turning card.
\Vithout hesitation, continue to move the hands together, closing the right
hand's spread onto the pack. This secretly loads the selection onto the face
of the deck. and leaves the substituted card outjogged from the center.
The reader is urged to try these actions. While they may initially seem
daunting, they are less difficult than their description might suggest.
With the palm-down right hand, grasp the deck by its inner cor-
ners - thumb at the left, fingers at the right -and remove it from the
left hand. Then tip the face of the pack toward you for a moment and
look at it as you say, "For safe-keeping I'll put your card, the five of
hearts, in my pocket.'' The card you name is the selection, which rests
on the face of the pack. The audience believes you are looking at the
outjogged card. This miscall is a convincing touch, as you do not know
the identity of the selection until this moment, and you seem to see it
precisely where the audience believes it to be.
Lower the deck once more to a horizontal position and, with your left
hand, remove the ou~ogged card without exposing its face. Slip the card
into your left-side coat pocket a nd remove your hand, obviously empty.
With the right hand, drop
the deck neatly onto the cen-
ter of the spread kings. Then,
with the same hand, grasp the
deck and kings by the ends
and raise them &om the table,
turning their faces toward the
audience (Figure 113).
"Your flve of hearts is in my
pocket, and my four kings are
here." After giving the audience a clear view of the kings, lower the deck
into the left hand and, with the left fmgers and thumb, push the kings square;
but in doing this, pull down lightly on the right side of the spread, forming
a left fourth-6nger break above the kings.
The left hand's grip on the pack at this point is important. Place your
thwnb across the back of the deck, and rest the tip of the forefmger at the
Move the third and fourth fingers beside the second flnger on the outer
right comer of the card and pull in slightly (Figure ll7). For all practical
purposes the packet now lies in classic palm. As the fingers grip the packet,
the second finger simultaneously tightens around the side of the deck,
holding both pack and packet firmly in place.
Despite the finger motion just described, when done correctly, no
movement can be detected by the audience. The angle of the hand is partly
responsible for hiding the palming action, but other elements also come into
play: There is a tendency for the outer left comer of the packet to protrude
very slightly at the front of the pack when the fourth finger initially pivots
the kings. If, when the right hand places the deck into the left, the top of
the pack is beveled mildly outward, this bevel can effectively conceal indis-
criminate comer movement. The movement also can be covered with either
a slight motion of the left hand at the moment the fourth finger pulls; or the
right hand can reach in front of the left at the necessary moment, to gesture
or move something aside. Slightly
injogging the card or cards to be
palmed, as you position the deck in the
left hand, is another method ofavoiding
visible comer motion in front. In listing
all these solutions, the problem may
have been made to seem graver than it
is. You should be aware of front comer
motion; however, it is very small and is
easily hidden.
118 Next, to disguise the action of the I
second, third and fourth fmgers as they
move to palm the packet, dig the left I
thumb under the left side of the deck
and flip the pack rightward and face-up I
at the fingertips (Figures 118and 119).
Tip the back of the hand outward a bit
more as you turn the deck, to avoid
I
exposing the cards in the palm.
When Mr. Earick executes this
I
119 palm, the action is indetectable. You can I
watch the hand closely, yet see no hint
of covert finger motion. The palming actions can be done quite slowly and
be imperceptible. It is an amazing sight in itselfto watch him place the deck
into his left hand, then a few moments later be shown that the bottom cards
are in full palm. Practice and study of the proper angles are necessary, but
the final result is a remarkable piece of sleight-of-hand.5
But we have got a bit ahead ofour presentation. Just before the palm is
completed and the pack is flipped face-up, you say, "But if I do only this ..."
Make a magical gesture with your right hand, focusing attention on it; then
snap your fingers above the pack and complete the palm as you turn the
pack over, revealing the selection on the face. " ... my kings vanish and your
card appears in their place I"
With your palm-down right hand, grip the face-up deck by its ends from
above and remove it &om the left hand. Mr. Earick likes to slide the deck
forward as he takes it &om the left hand, drawing the left sides of the cards
across the left 6ngers in a squaring action. As the deck leaves the left hand,
turn the hand palm-down and move it back, toward your coat pocket.
"And my kings? They have taken the place ofyour card in my pocket !"
Reach into the pocket and produce the kings from it.
At the end of the trick an inclliferent card is left in the pocket. Let it remain
there ifyou can work the next effects with a 6fty-one-card pack. Or palm
it out later and retum it to the deck when attention is relaxed.
Mr. Earick, always concemed with details, comments that this effect
might be enhanced if one used the right-side coat pocket, rather than the
left. Doing so distances the deck (which is in the left hand) farther from the
pocket, and helps to negate thoughts of palming from the pack. The addi-
tion of one sleight makes this aesthetic distancing possible. The sleight is
another variant of the Hofzinser palm-to-palm transfer, and is quite similar
t.o that taught in the preceding trick (see pp. 76-79) .
First, the spectator's selection-or rather, the card that has been substi-
tuted for the selection - must be placed in the right pocket. Otherwise the
trick proceeds exactly as explained, to the point where the kings have been
palmed and the deck is turned face-up to reveal the selection in their place.
I Jere the handling changes again. The right hand removes the pack from
VJ' hough the invisibility of this palm has been stressed, it would be wrong to suggest
1hal the llleig ht should be done as a sort of challenge to detection. As Paul Cuny righdy
observed, the strength of a one-handed palm lies in the opportunity it allows the other
hand to misdi•·ect away &om rhe sleight.
120
the left hand and sets it down. Relax the left hand, letting it drop just below
the edge of the table. With the hand momentarily removed from the
audience's view and attention, execute the ftrst action of the transfer, swing-
ing the cards &om the palm to a straddled position at the fingertips.
By this time the right hand has deposited the deck on the table. As
it leaves the deck, make sure the hand is seen empty. Now relax further,
leaning back in your chair while moving the right hand toward the edge
of the table. As the right hand reaches the edge, the left hand rises to
meet it (Figure 120) and places the cards directly into the right palm.
The right hand completes the transfer by taking the cards into classic
palm (pp. 77-78, Figures 103 and 104).
The left hand, having turned palm-up, moves forward to point at the
selection on the face of the pack as you say, " ... and your card appears in
their place." With this gesture the hand is seen empty. The right hand turns
partially palm-up, concealing the cards while maintaining a relaxed posture.
The right hand then travels to the right pocket and produces the kings &om
there. The transfer is certainly a worthwhile maneuver, as it not only achieves
the desired distancing of pack from pocket, but also allows the right hand
to be seen empty just a moment before it brings forth the kings.
The transfer is done in an instant and, because it is executed at the edge
of the table, it is completely covered. Though the actions are different, in
premise this transfer is closely related to Slydini's imp-pass; and like that
sleight, it is extremely deceptive. If you neglect to learn it you will have
overlooked an exceptionally valuable tool of deception.
j
q
6Related palming maneuvers are in p•-int; e.g., Allan Ackerman's Hofzinser card pass
to a full bottom palm (Hm- :, My Gml, pp. 27-29) and Frank Simon's veJ-sarile spread
palm (Jlen,aJik CvTJMagic, pp. 145-152).
role. You will insert this card face-up into the face-down pack, then steal it
out again with a variation of S.W. Erdnase's diagonal palm shift. When Mr.
Earick executes this sleight, he prefers to do it in two steps, first setting up
the card for palming, but pausing before actually stealing the card from the
pack. He feels that, by delaying the steal in this manner, the sleight is made
more deceptive.2 If the diagonal pahn shift is done as one continuous action,
as is usually recommended, while nothing may be seen, some element of the
sleight -perhaps only the proximity of the insertion of the card with its secret
removal-can telegraph that something covert is being done. The simple
act of pausing before completing the steal eliminates this subtle flaw. The
introduction ofa pause makes a steal appear all the more impossible, as it is
accomplished so quickly and neatly. Such is the advantage of a get-ready,
which is what a pause in procedure achieves. H ere is Mr. Earick's approach
to the diagonal pahn shift:
Hold the deck face-down in left-hand dealing grip, with the thumb
stretched along the left side of the pack. Take the selection by one end, face-
up in the right hand. With the left thumb, riffie down the outer left comer
of the pack and open a break near center. Insert the selection into this break
and let the gap close, leaving the card ou~ogged for roughly a third of its
length. Adjust the right hand's position, moving it palm-down over the pack.
Curl the right forehnger onto the back of the deck, rest the tips of the other
right fmgers against the outer end of the selection, and the thumb against
the inner left comer of the deck. Then push the selection into the pack. using
mainly the right second finger. This causes the card to angle diagonally
through the pack (Figure 121).
In a preliminary squaring action, slide the tip of the right second 6nger
rightward over the &ont end of the deck, then back to the outer left comer.
At this point Mr. Earick inserts a little gesture designed to establish that the
card has been pushed completely flush: With the right hand, grip the deck
by its ends, curling the forefinger onto the back. Remove the pack &om the
left hand and rap its outer right comer sharply on the table, tapping the cards
square. The rap does not disturb the anglejogged selection. During this
1
0ne might suspect that this very thought was on Dai Vemon's mind when he wrote
his commentary on the diagonal palm shift in Revr:Wiofld, pp. 138-140. Addjng a delay
to this sleight has occurred to others as well over the years. including Ken Krenul,
who applied it to Paul LePaul's handling of the diagonal palm shift. Yet, to my knowl-
edge no detailed description of the delayed palm shift has been p~sly pubmkd.
'
\ 121
'
122
action, the right hand and deck conceal the angled card &om those in front
and on your right. If there are spectators on your left, let the left hand relax
and drop to the table, a few inches to the left ofthe pack as you tap the cards
square (Figure 122). This shields the angled card from leftward eyes.
Immediately after rapping the comer of the deck against the table, return
the pack to left-hand dealing position.
Without the least hesitation, bring the tip ofyour left thumb against the
outer left comer of the selection, and press the left fourth finger against the
b
BY FORCES UNS EE N .......... . ............ . . · · ··•·······•·
inner right corner of the card to anchor the outer lef-1· corner on the thwnb.
Then draw the thumb back along I he side of the deck in a squaring action.
The left fingers naturally come into contact with the right edge of the angled
card and aid in controlling it as it is slid inward (Fi[:,rurc 123). Now, with
the left fourth fingcc swing the selection clockwise, using the right thwnb
as a pivot post. w1til the card lies parallel with the left fingers (Figure 124).
The card is now in position to be gripp<.-d in left-hand classic palm. T he left
94 ... ........ .............................. K 111'0-N INE - TII!LS
............. . ........ .. ...... ....... BY FoRcEs UNsEEN
fingers do just tha t, moving onto the right end of the card. However, a large
portion of 1he outer left corner of the card still lies in the deck. Rather than
moving the left hand inward to disengage the selection, instead move the
left hand forward , sliding the angled and nearly palmed card deeper into
the deck. In doing this the left hand should appear only to be making a
forward side-squaring action. You will have to lift the tip of the right thumb
f1"<>m the corner of the deck to let the card pass. The ball of the thumb,
however, remains in contact with this comer of the upper half of the pack,
helping to control the cards. Also, throughout this maneuvering ofthe card,
keep the left forefinger straight and in light contact with the face of the deck.
This ensw·es that the selection isn't accidentally exposed through the fork
of the lett thumb as you pivot the card into position.
The selection now lies crosswise
in the pack. Even though it remains
in the deck, your left hand grips it as
if it were in classic palm (Figure
125). Shortly will be, but for now
you wait and talk:
"One element important to magic
is surprise.lf magic weren't surpris-
ing, people would take it for granted,
as they do most things." While you
say this, gesture suitably with one or
125 both hands, moving the right hand
&om the pack.
"In a few moments something very surprising is going to happen with
your card. There, now! I've just done something other magicians would
never do: I warned you that you are about to be surprised. That makes my
job much harder. To make it even more difficult, I'll tell you the very second
it will happen: in just five seconds. So that you won't be surprised when five
seconds are up, I want you to count the seconds offfor us." Here you indicate
anyone in the audience by looking at him and pointing with your left
forefinger. Here you implement the subtle palm-display explained in
"Thought Nlanifest" (p. 75, Figure 97). Though the selection is positioned
for an immediate steal, the left palm is seen empty.
Bring the right hand back to the deck, grasp it &om above by the ends,
and draw it forward, removing it &om the left hand. Simultaneously tilt the
KATO-N!NE-TAILS •..•• . •••• •. • . ......•..•.••..••.•....... • ... 95
-
BY FORCES UNSE EN .. ·······•········· · ·•··· · ·············
left hand slightly upward, so that the audience cannot see the card it has
retained in classic pahn. Set the deck face-down on the table, approximately
eighteen inches in front ofyou.
"Are you ready? Good." As you say this, hunyour left hand pahn inward,
near chest level, and bring the right hand to it, casually letting this hand be
seen empty as it moves. You are now going to transfer the palmed card
secretly to your right hand. In "Thought Manifest" Mr. Earick's handling
of the Hofzinser palm-to-palm transfer was explained (pp. 76-79). But here
we wish to deliver the card to right-hand gambler's flat palm. To do this, a
completely original palm-to-palm transfer comes into play:
Place the tip of the right fiJ'st finger onto the depression between the
knuckles of the left second and third fingers; and the right second
fmgertip onto the depression between the knuckles of the left third and
fourth fingers (Figure 126). Use the two right fingertips to rub the left
knuckles they rest on. At the same time, stretch and spread the fingers
of both hands, spreading the left fiJ'st and second fingers last to avoid
exposing the palmed card. If the other left fingers spread an instant
before, they will shift the upper edge of the card downward, just below
the top of the second finger. This spreading, stretching motion of the
fingers is a natural action used when flexing one's hands. It would
appear that no card could be concealed during such an action; but, as
Figures 127 and 128 reveal, this is a convenient misconception.
After a flexing action such as that just performed, one naturally relaxes
the stretched muscles. It is during this moment of relaxation that the card
is transferred &om left hand to right. Let the fingers of both hands relax,
127
and bend the right fourth finger inward a bit, until its middle joint can contact
the lower right edge of the palmed card. Simultaneously, place the tip ofthe
right thumb on the upper right edge of the card (Figure 129) .Immediately
move the left hand to the left while brushing the right fingertips across the
backs of the left fingers. At the same time, you grip the card between the
right thumb and fourth finger. The left hand releases its grip on the card,
but the tip of the left third finger catches the right end, causing the card to
KA TO-NINE-TAILS •• .. •...••..•....•...••.•.• • ...•...••....... 97
BY FoRcEs UNsEEN .................... . ....... . ..... . ... .
pivot between the right thumb and fourth finger; turning end for end (Figure
130). By the time the right 6ngertips reach the outer phalanges of the left
fingers, the card will have pivoted neatly into right-hand gambler's flat palm
(Figure 131). That is, it is clipped by its left comers between the side of the
thumb and the inner side of the fourth finger.
This transfer, while in no way rushed, takes only a second or two to
accomplish, and is done before you can 6nish saying, "Start counting now."
On completing the transfer of the card, allow the left fingers to spread a bit
and turn the left hand partially palm-down, permitting it to be seen empty.
At this point your right forefinger and thumb close together on the tip of
the left third finger and give it a gentle tug, as iflimbering it (Figure 132).
Outwardly, the action of the transfer appears to be one of lightly stroking
or massaging the left fingers.
98 ... .... .... .............. .... ...... . ..... K /t TO-N I N E-TA JLS
st1
>
....... ....................... .. ...... . B v F o H cEs UN S EI:: N
Release the tip of the thir·d finger and pull on the tip of the second fmger
in the sam e fashion. By now the spectator should have begun counting. After
tugging on the second finger, do the same for the first. Ignore the hands as
you perfonn this ritual, but assume a look of concent1·ation, similar to an
athlete's when limbering up and mentally preparing for a difficult feat.
When the spectator counts "three': drop
your right hand casually to the table, letting it
rest palm-down, fingers curled loosely in. The
hand should lie about eight inches directly
behind the deck. Though the hand appears
relaxed, you have lowered the thumb, moving
the c<u·d away from the palm, and clipped the
outer left corner between the tips of the ftrst
JJJ two fingers (Figure 133). The hand is poised
to toss the card forward on the count of five.
KA TO-N IN E-TA IL S •.......•.•.........•......•........••..•.•. 99
BY FORCES UNSEEN .................•.....................
right, distancing itself farther from the deck. This movement helps to con-
ceal the smaller motion of the right fingers as they scale the card. Do not
exaggerate the tum. Study the body mot ion you naturally make when
slapping down the left hand; then duplicate it when malcing the throw.
Smacking the deck will probably startle many of"your spectators. If it is
in character, you can amplifY the reaction by shouting as you bring down
the hand. Pause for several seconds, buiJding the drama of the moment; then
widely spread the left fingers and raise the hand, exposing the face-up card
on top of the deck. If this sudden appearance doesn't surprise your audi-
ence as promised, vital signs shouJd be taken.
Some readers may remember an item published in 1969 under the title
"K.ato's Card Happening':3 This article explained a wonderful and little-
known sleight by Hideo K.ato in which a chosen card appeared suddenly
under an empty hand as it was slapped onto the table. The secret was inge-
nious. The selection was controlled to the top of the pack and anglejogged
slightly as the deck was set on the table. Then, as one hand was slapped onto
the table in &ant of the pack, the other hand flicked the card off the deck
and under the descending hand.
Mr. Earick developed his production without knowledge of "Kato's Card
Happening". Yet the two sleights are unquestionably similar in concept, and
Mr. Kato's clever invention should be recognized. Note, though, how the
Earick technique makes it possible to eliminate the deck completely from
the performance area while doing the K.ato effect. We'll call the sleight the
Katosoarus toss.
In passing. Mr. Earick also mentioned that the classic-palm-to-Oat-palm
transfer taught above can be accomplished as you remove a ring from the
left third finger. This act perfectly covers the motions of the transfer. The
ring, of course, should be a loose-fitting one.
The reader is strongly encouraged to study the sleights just explained.
In mastering them he will have gained not only a most impressive effect, but
also new tools that make possible a wide range of excellent magic. In proof
of this, witness the next item.
3
Re£ Genii, Vol. 34, No. l, p. 23.
other is mine. Your object will be a coin. A quarter is best." If the spectator
doesn't have a quarter, have her borrow one &om someone in the group. If
a quarter can't be found, a nickel, a penny, even a dime, can be used.
"Good. Just set it in front ofyou for a moment. My object will be a card
from this deck. But to keep me honest, why don't you pick my card for me.
Cut the cards anywhere. Do you know what card you have cut to? Of
course not. No one could know." Turn over the top card of the bottom
portion and let everyone see it. Then gather the deck and place it face-down
in left-hand dealing position.
"All right, this card is mine. We1l place it back in the middle of the deck
for the moment." Insert the selection face-down into the deck and execute
Mr. Earick's delayed diagonal palm shift, maneuvering the card crosswise
in the pack, but interrupting the steal while you say:
"Now I want you to put your initials on your coin, to keep yourself
honest." Either on the table or in a pocket convenient to your empty right
hand you should have a marking pen that will write on coins. Hand it to
the spectator with your request, while pointing at her coin with your left
forefinger. This casual gesture serves to display the face of the deck and your
empty left palm (seep. 75, Figure 97).
As the spectator initials the coin, and attention is naturally on her,
complete the diagonal palm shift, removing the deck from your left hand
and setting it down in front ofyou. When the spectator has fmished writing,
say, "Good. Please cap the pen." As she does this, you perform Mr. Earick's
palm-to-flat-palm transfer (pp. %-98), secredy conveying the selection from
left-hand classic palm to right-hand gambler's flat palm. Then, as the right
hand assumes a relaxed position, resting on the table, reach out with your
empty left hand and pick up the coin.
"Is the ink dry?" Blow on the initials, then let the coin setde, marked-side
down on your open left palm. You will now take the coin at the right
fingertips and, at the same time, secretly transfer the palmed card back to
the left hand. Another ofMr. Earick's original palm-to-palm transfers accom-
plishes this task. It is once more based on a Hofzinser sleight, the Viennese
master's bottom palm.2
Bring the right hand palm-down to the left hand and, with the right
thumb and second fmger, grasp the coin by its opposite edges. In assuming
2
A good description of this palm appears in Hugard and Braue's &pert Cam Technique,
p.59.
142
on the tip of the third finger, and that finger is curled in behind the card
(Figure 141). This manner of concealing the coin allows the right
fingers to assume a relaxed and open posture that is quite disarming
(Figure 142).
There must be no hesitation as the substitution is made. The left hand
performs its upward pass in a smooth and graceful fashion, and the coin
seems to change to the card in the blink of an eye. The change is visually
startling and unexpected; particularly so since the hands are seen empty of
everything but the coin just moments before the card appears.
Pause for just a moment to let the change register in the minds of the
spectators. Then bring the left hand palm-up to the left end of the card and
cJjp its upper left corner between the first and second fingers, first finger on
106 . . .... . ....... . ..... .. · · · · ........... Yo u Rs, MINE, YouRs
>
. . . . .. ..... . ....................... . ... Bv FoRCEs UNsEEN
144
the face, second finger on the back (Figure 143). Now twist the card clock-
wise by moving the left hand foiWard and down while you pivot the card
around the tip of the right forefinger. At the completion of this move you
should be holding the card with its opposite index corners clipped between
the first two fmgers of each hand (Figure 144). The face of the card is tilted
toward the audience, and the coin remains hidden behind the card.
Let the outer index comer of the card snap free of the left fingers and
pause for a moment. Then, with the left hand, take the card from the right
fingers and toss it face-up onto the table. As you do this, curl the right fingers
loosely inward, pointing the tips the third and fourth fingers toward your
body to keep the coin concealed. The hand, though, should maintain its open
and relaxed pose (FJgUre 145).
After sailing the card onto the table, your left hand moves toward the deck
and begins to cut off the top half: however, it raises the packet at the right
side only. The right hand trails behind the left and reaches the deck just as
the gap is opened. Turn the right hand outward at the wrist and simulta-
neously straighten the third hngeii slipping its tip and the coin balanced on
it smoothly into the gap (FJgUre 146). This is done with just enough speed
to propel the coin off the finger and into the deck. In other words, you gen-
tly toss the coin between the halves of the pack. Because the left edges of
the halves are still togetheii the coin cannot shoot out the left side of the deck.
If these actions are properly timed, the coin is never exposed to the
audience. Without the slightest hesitation, grip the top half of the deck
between the right thumb and fingers, and cany it to the right, reveal-
ing the coin, initialed side up, resting on the bottom half (Figure 147) .
'i\nd thw is your.~!"
Withyourpalm-down left hand, grasp the tabled halfby its left comers
and raise it slightly to allow the right hand to slip its packet beneath. Leave
the deck on the table, with the coin resting on top.
You will find the loading of the coin into the deck to be a delight-
fully easy task. However, as the coin is tossed between the packets some
telltale noise will occur. With practice the noise can be diminished, but
it is virtually impossible to eliminate it completely without unwanted
h esitation . Consequently, you deliver the final line- "And thiJ is
108 . . . . .. .. ... ... · · ·. · · · · · · · · · · ..... .. .. You Rs, M INE, You Rs
p
. . . . . . . . . . . .. . ... . .. .. . . . . . . . . . . . . . . . . . B Y F ORCES UNS E.E. N
146
your<~ I "-with appropriate force and drama, drowning out the tap of the
coin as it settles onto the lower packet.
The actions of the change and the production of the coin &om the deck
are done in a soft, relaxed manner, but the pace of the sequence is kept fairly
brisk. The speed should be governed by the time it takes you to say, "Now
this is yourd, right? And this is mine. And thiJ is yourd!" Delivered in this
fashion, the sudden transposition of coin and card will elicit audible gasps
of amazement.
One final note: Those familiar with Larry Jennings's "Coin Cut"4 will
wonder ifit might not be applied to this trick. Mr. Earick observes that the
Jennings move becomes much more difficult to execute deceptively with a
coin smaller than a half dollar. Since, these days, a half dollar is rarely found
YouRs, MINE, YouRs ........ . ...... ... ......... . ...... . . ... . 109
BY FoR cEs UN SEEN ........ . .. ... . . . .................... ..
outside a magician's coin pw-se, it is most unlikely that a spectator will offer
you one. These considerations led to the development of the fingertip
approach just taught. This method has an additional advantage in the trick
just described: the coin needn't be transferred from fingertip to classic palm
before loading it into the deck. Ifyou try the sleight, you will find it has an
honest, at-the-fingertips appearance that is quite persuasive.
The plot is Dai Vernon's "It Stands Alone': from Tlx ~mon Chronic!M, Vo/J.um
2: Mo~ l.odt Inner &crd.J. 1 The method is an ingenious combination ofclever
ideas. Among the sleights used are the llicker glimpse, a fresh handling of
the turnover pass and an astonishing variant of Looy Simonoff's flippant.
Shuffle the deck or have it shuffied. Then hold it face-down in left-hand
dealing grip and ask someone to call stop as you riffie your left thumb down
the outer left comer of the pack. Riflle slowly, so that the spectator stops
you somewhere in the upper half of the deck. With your right hand, neatly
lift all the cards above the thumb's break and set this top packet aside. With
your left thumb, push over the top card of the remaining packet: the card
the spectator stopped you at. Take this card into your right hand, gripping
it near its outer right corner, thwnb on top, first and second fingers beneath.
The third and fourth fingers should be curled loosely in, so that they rest
above the card. Lift the card from the packet and hold it vertically, its face
turned fully toward the audience. "Please remember the card you stopped
me on." As you say this, straighten the right third finger, flicking the card
in casual emphasis. It is this flicking action that allows you to glimpse the
face of the card:
As the third finger hits the back
of the card, it bows the bottom end
momentarily outward, permitting
you to glimpse the lower index (Fig-
ure 148). Ifyou ease the second
finger away from the card, moving
it outward with the third finger as
you make the flick, a broader
movement of the card is permitted,
aiding in the glimpse. You can flick
the card two or three times, ifyou fail
to get a clear glimpse on the first
llick. This remarkably subtle method
of glimpsing a card is little known 148
and will fool the most astute.2
IPp. 195-198.
2
This glimpse has quietly circulated for at least three decades, but I have been unable
to ascer("ajn the inventor. It is described in Jeny Mentzer's 1977 book Uvi) Cavalcalk
( )nn· t·v ·ry orw hns 11otcd the card (they openly, you secretly), insert it
f:1n·-<low n ir1to tht· lcli hand's packet, somewhat above center, and cleanly
P"~'~ J, it lln t-~ h. Tlwn, with y o ur J>::Jm-down right hand, grasp the packet by
itl'l (·ru ll'l, lif't it scvenJ inc.;hcs and dribble the cards back into the left hand,
cli.-.play ing I lint absolutely no control is being exercised over the card. Next
pidt 11p the IHhlcd pile and dribble it onto the rest. At this point the specta-
tors s hould be I horoughly con vinced that the <=<vd is lost in the pack.
'' I::.vcryonc knows what the card is but me. I'm the only one who didn't
look a t it. If I had, I hcr·e would be no p oint to th is demonstration . However;
the c;u'() is not <IS los t as you might think. I may not know what it is, or where
it is, b11t I do know the general neighborhood, because no one has shuffied
the c;u·ds." 'l'urn the deck l~lcc-up and take it by its ends in the palm-down
rig ht ha nd. Neatly dribble about a third of the cards into a pile to your left.
''It is n't in that group." D1ibble another third of the pack to the right of
the lir·st pile. "Uh-huh I" Nod your head, then dribble t he remaining third
oft he pack into a pile to your right. '1\nd it's not here."
Pick up the center pile and pretend to weigh it in your hand. "I still don't
know which card is yours, but I've narrowed it down to this group ofabout
twenty." Spread I he packet bet-ween your hands and quickly sight the card
you g limpsed . Pause long e nough here to let the audience see that the
select ion is indeed in the middle of the spread; then close the cards into your
left hand, catching a left fourth-finger break above the selection. You will
now secretly bring this card to the face of the packet with a turnover pass.
Mr. Earick u ses a turnover pass of his own devising.3
Bring the right hand palm-down over the left hand's cards in an end-
squaring action, and curl the right forefinger onto the face of the packet. Also
curl the left forefinger under the packet. Lift all the cards above the fourth-
finger's break at the inner end, tilting them face outward toward the audience
(Figure 149). "I also am sure that this ftrst card is not yours." Here you refer
to the card exhibited at the face of the packet. The instant you have raised
Four (pp. 54-56) with no indication of origin. Steve Freeman remembers Dai Vernon
showing this glimpse to him in 1974; and Bruce Cervon learned it &om the Professor
in the 1960s. But neither gentleman knows the author of the idea.
3
This tum over pass employs a Marlo screening idea and the mechanics of the Herrmann
pass. It therefore bears some resemblance to AJex Elmsley's tipsy turnover pass (ref.
The CollecteJ WiJrA'J ofAkx Elnuley, ~L I, pp. 112-113), but there are handling differences
that distinguish Mr. Earick's pass from others and make it artistically quite satisfYing.
4 This screening concept was first suggested by Edward Marlo. in the context of a half
pass; see Cla..wical FourJOtne, p. 5.
..
. . . . . . .. .. .. ... . . . . . . . . . . . . .. . . . . . . . . . . B Y F ORCES UNSEE N
~
Pick up the face-up pile to
your right and dribble it onto
· ·---.... the face-down cards.
Pick up the pack, taking it
into left-hand dealing grip,
and spread the cards between
the hands, displaying the face-
down section between face-up
cards. As you close the spread
back into the left hand, catch
a left fourth-finger break
above the lowermost face -
down card (the selection), and
a left third-finger break above
the uppermost face-down
( J52 card. Then,asyourrighthand
aids in squaring the pack,
adjust the upper break from the third finger to the heel of the left thumb.
You now hold a Z -break (Mr. Earick calls it a "Zorro break') at the inner
153
end of the deck (Figure 154). Rest yow- left thumb on the face of the pack,
applying downward pressw-e to prevent the heel break &om gapping at the
front of the deck.
At this point you can, if you wish, ri£Ile the &ont ends of the cards off
the right fingers, once more displaying the face-down packet in the middle
of the face-up deck.
"If I can get this far, the cards will do the rest. AJI I do is give them
a little shake." You now execute Mr. Earick's covered varia nt of Looy
SimonofFs £1ippant.5
Hold the deck perfectly horizontal in left-
hand dealing grip, and shift yow- left thumb
to the left side of the pack, pressing it lightly
against the edge of the center section, but
contacting the upper portion as little as
possible. This section should rest loose on the
deck. Drop the hand s harply w h ile you
release yow- grasp on the cards above the
fourth finger's break . T his drop of two to
three inches must be straight d own, and pw--
posely leaves the upper packet floating an
instant in midair. The face-dow n center 154
section is also made airborne - but its leA. side
5
See Apocalypt~t, Vol. J No. 9. PP· I 03-105, ror I he Simonofr sleight :
I
As you gain proficiency with the sleight, the action w ill become faster
and faster, until the flight and rotation of the packets cannot be perceive<J.
There will, however, be a flop or <~mack as the packets land back on the deck.
Since this noise is unavoidable, make a point of it in your presentation:
"Did you hear that? They just did it. The cards fo und your selection f01·
me. Look!" The face-down selection lies roughly two-thirds down in the
pack. Ribbon-spread the face-up deck on the table, deliberately spreading
the lower portion widely and the upper portion more narrowly to center
the selection visually in the spread.
'J\11 the center cards have turned face-up - all but one." Point to the face-
down card. Then slip it neatly from the spread and turn it face-up. "Your.' I"
Mr. Earick's covered flippant can be used for other purposes than the
righting or reversing of cards in the pack. Like its parent, it also can ell'ect
the transformation of one or more cards. H ere is one eOicient way to handle
such an effect. Secretly manage to the face of the deck the card you w ish to
appear, and form a heel break above it. Face-up on top of the pack, openly
place the card destined to be transformed, and catch a leH fourth-linger break
beneath it. Now cut the face-up card into the pack, taking over the fourth
finger's break with the right thumb as you make the cut. On completing thE:-
cut, transfer the right thumb's bl'(~ak back to the left lourth finger. l\11 thl'
while, maintain the heel b1·eak. This brings the face-up ca f'd and its face-
down replacement together in the middle of the pack, with R Zorro break
separating the face-to-face pair from the cards above and below. Il'you now
execute the covered flippant, reversing the two ca~·ds in the middle of the
deck, the change is accomplished; and it is done w ith no llash o Frevolving
faces, as the turning cards arc face to face.
Admittedly, such a change is generally mof'e e lTective done visibly
on top of the pack, making flippant the p r efer·able sleight for· ~u ch
applications. However, possibilities for subtl er· elfects using the covere<l
Aippant are awaiting discovery, as Ke n Krenzel h <lS a lready proven.
Immediately after reading th is book in ma nu sc ript , Dr. Kren zel
d eveloped several tricks using the sleig ht.
118 .......... . ............... ...... .... ..... AI, ONI<' IN11 ( 'Rolf'/'
p
control it to a position third from the top. There are many ways of
accomplishing this. Here is a simple one that fits nicely into the present
structure: Set the deck face-down and sidewise before you on the table.
With your right hand, take the selection from its chooser and, as you
riffle your left thumb up the near side of the pack, casually toss the card
face-down into the center, letting it lodge in the deck, jogged from the
right end for roughly a third of its length. Then perform the automatic
rear jog (pp. 3-5), apparently pushing the card flush while actually
jogging it slightly from the near side of the deck. Your outward attitude,
as you perform these actions, should suggest to the audience that the
location of the card in the deck is of no concern to you. It is just tossed
into the middle and knocked square.
Now, with both hands, grasp the deck by its ends, in preparation for a
cut. With your right thumb, push down and in on the injogged selection,
fonning a break above it, and immediately cut all the cards above the break
to the left. Proceed with a tabled riffie shuffie, holding back two cards with
the left thumb and letting them fall last onto the selection. Square the cards.
The chosen card is now third &om the top of the pack.
Divide the deck for another shuffie, cutting the top half to the left. This
time, though, before you perform the shuffie, flip the right-hand half face-
up in place.
Proceed with a Zarrow shuffie. It is likely that anyone reading this te..'\.-t
will be familiar with this excellent false shuffie. A basic description will be
provided, but for further details and fine points of handling, these works
are recommended: Ganson's More Inner Secret<~ of Carr) Magic (pp. 49-51),
Kau&nan's Complete Wori:JofD~kDingfe (pp.l37-139), and Fulves'sRi/flc
Shuffle Tech,W,ue. Part One (pp. 24-27).
The shuffie is begun normally enough, by riffiing cards off the thumbs
and interlacing the inner adjacent comers of the two packets. As the thumbs
near the tops of the packets, hold back three cards on the left and a few on
the right. Release the right hand's fmal cards, and drop the three cards &om
the left thum.b on top.
As the last cards &om both packets are released, the forefingers slide them
toward each other and slightly outward, forming small converging spreads
on each half (Figure 156). The hands now straighten d1e packets, so that
they lie parallel to each other; and in doing so, the meshed inner comers of
the cards are secretly disengaged (Figure 157). The spread upper cards
conceal this &om the audience.
120 ...................................... A F L! PPA NT TR!l' )fl'H
l
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BY F oRcE.s UNSEEN
158
\\lith the thumbs, lift the packets slightly at their inner sides. Also lift the
right hand's packet a bit higher than the left's to form a separation between
the top thre~card spread and the cards below it. Then push the packets
together, slipping the right hand's packet as a unit into the gap (Figure 158).
As you square the cards into each other, don't just slide them effortlessly
together. There is friction when interlaced cards are squared. Pretend to
ex-perience this natural binding as you push the packets flush. Do not,
however; overact. Carefully study your actions during a normal shuffle and
mimic them as closely as possible when doing the Zarrow shuffie.
A FLIPPANT TR! U AfPH ......................................... 121
BY FoRc Es UNsEEN ........................... . .. . .... . .. .
The forward spread of the top cards, combined with the raising of the
packets at their near sides, effectively obscures the front edges while you
slip the right hand's block under the three left-hand cards and push the
packets flush.
Ifyou have performedyour shuffles deceptively, the audience should be
convinced that the selection is lost and the cards are thoroughly mixed, face-
up into face-down. With your left thumb, riffie up the back edge of the pack.
As the thumb reaches the top two cards, press the right thumb 6..rmly against
the right inner comer of the pack, thus catching a break under these two
cards as the left thumb releases them. There should be no perceptible hesi-
tation in the left thumb's riflling as this break is formed and caught by the
right thumb.
With the left hand, undercut something more than half the cards, carrying
them forward; then set them square on top of the deck. Since this cut is made
somewhere in the reversed upper section, a face-up card is seen. Smoothly
follow this left-hand undercut with another, cutting all the cards below the
right thumb's break to the top. A face-down card (this time the selection) is
again on top of the pack.
During this double cut, face-down and face-up cards have been
shown, reinforcing the illusion of the pack being thoroughly jumbled.
In reality, the cards lie as follows: face-down selection, face-up half
deck. face-down half deck. '
We have now reached the point where standard procedures end and Mr.
Earick's creativity takes over. Pick up the deck and place it into left-hand
dealing grip. With y our right hand, casually cut the cards at the natural
bridge between the back-to-hack halves. Flash the underside of the upper
1
A simpler handling may occur ro some readers: If the selection is controlled to the top
of the pack. you can Zarrow shuffle the face-up cards under the single selection and
arrive at the identical position just described, w hile eliminating the need for a double
cut. So why does Sk Earick prefer tO use the three-card cover? Over the years he
has observed that executing the Zarrow shuffie under a single card is very seldom
convincing. even in expert hands. Consequently, he feels the added double undercut
is a small price to pay for a more deceptive shuffle. Indeed, as already noted, the cuts
in this case enhance the desired illusion. At chis point, ifyou like, you can further drive
home the mixed narure of the cards b_v performing Daryl's P uerto Rican cutting display.
Sine~ this se<ju.e.nce is incidental ro our current purpose. its description will be left to
other tex:ts: e.g.• 5a:rd.. ofa w~ Rican Gl1J11/kr': pp. 61-64.
packet. s howing another hac k, <aniJ 8ay, '"The cards are completely mixed,
some face-down . ·." Repi:AC<: the top packet on the deck, but catch a left
fourth-finger break hcncath it.
".. .and some face-up." Cut higher in the deck to expose a face-up carcl.
Then repla.cc the cut. As you J o this, lilt the inner end of the top card and
form a heel break under il. I laving achi~:.-ved this, remove the right hand &om
the pack and focus all attention on the cards. N ter a suitably dramatic pause,
perform Looy S imonoff'n fl ippant sleight, rapidly reversing all the cards
above the fourth finger's break. For those unfamiliar with £lippant, it can
be gathered from the pre-vious trick. The action o£' Hippant is essentially the
same as that of the covered fH ppant, but the top packet is sent spinning
rapidly in the air, rather than a center packet. As the left hand suddenly snaps
downward several inches, the fingers rclease pressure on the packet above
the fourth-finger break. This packet is left floating in midair, but it is also
tripped over the left thumb (which lies along the left side of the pack). This
causes the packet to flip over sidewise in a counterclockwise direction.
However. another element has been add ed here: the heel break under the
top card of the pack . This break introduces air under the top card, which
causes it to separate &om the packet as both are rotating. As a result, the
card becomes outjogged and side-
jogged a s the two packets come
suddenly together (Figure 159).2
In appearance, you seem to have
given the deck a small shake and, with
a p op, the selection jumps face-up
&om the center. Pause a moment to let
the effect register; then ribbon-spread
the cards widely on the table, with the
selection still projecting &om the pack,
'\
to show that all the cards have been
I '
/ \ magically righted.
Ifilippantisalready an item inyour
159 repertoire, some extra practice will be
2
Mr. Earick notes that, with many decks, the break is not strictly necessary to foster
the jogging of the card. If the card is merely lifted slightly, then released, before flip-
pant is pertonned, it will be loosened enough to cause the card to separate in flight.
However, the break provides more control over the action.
necessary to assure that you can catch the selection ou~ogged between the
packets every time. Ifyou do not perform the normal flippant sleight, I would
recommend you master it before attempting this variation. Note that, even
if the selection does not become ou~ogged during its revolution, the effect
can still be successfully concluded with only a small loss to the visual impact.
While Mr. Earick devised this variant more than ten years ago, without
knowledge of others' work in the area, it is only fair to recognize a similar
idea in print. Tom Potente contributed his flip revelation to Harry Lorayne's
magazine, Apocalypt~~. in 1989:3 Mr. Potente's sleight does not begin with a
packet reversed under the top card. Rather, aU cards are face-down. A
fourth-finger break is formed near the center of the deck, and a heel break
is held beneath the top card. Flippant is then performed, but the top packet
is sent on a full three-hundred-sixty-degree tum while the separated top card
rotates only half that far and is caught face-up between the bottom packet
and the returning top packet. The same physics apply to both the Potente
and Earick sleights, but Mr. Potente's maneuver requires the top half to ffip
over twice before it lands .
Ed
he four aces are clearly distributed throughout the pack
and a spectator shuffies the cards to assure that the aces
are lost. The performer retrieves the shuffied cards and
explains that, with a quick glance through the deck he
will sight the locations of the aces, then cut unerringly
to them. He riffies rapidly through the cards, taking less
than a second to do so. "Now that I know where each
ace is, 111 cut the deck into four piles, each with an ace
at the top. To make it even more of a challenge, I'll do
this by touch alone." He covers his eyes with one hand
while using the other to cut the deck into four face-up
piles. When he looks again at the cards he sees with
everyone else that no ace lies in view on any of the piles.
"If I had cut the aces to the faces of the piles, you
might think that I had somehow peeked a nd spotted
them. So I promised to cut the aces to the tops of the
piles, and I have. These aren't the tops of the piles." He
indicates the faces of the piles. "ThMe are the tops." With
this, he turns the piles face-down and shows the top
card of each-one, two, three, four aces, as promised.
4
The cards are completely unprepared and the cuts are honest; no slip-cuts
are used. The method instead relies on an extremely cunning combination
of sleights and subtlety. We will draw on techniques taught earlier in this
book, and add two new sleights that open further vistas of possibility.
You should be seated at a table when performing this, and have the
aces already removed from the pack as the result of a previous trick.
(This avoids the illogical procedure of searching for them so that you
can lose them.) You also must position two mates (say, the black nines)
or pseudo-mates (such as the eight and nine of clubs) at the top and
face of the pack. The aces lie face-up to your right and you hold the
deck face-down in left-hand dealing position.
"Do any of you play cards?" you begin. "Have you ever thought how
handy it would be ifyou could cut to any card in the deck you wished? Well,
you're not alone. Gamblers have thought just that thought for centuries, and
certain card cheats have figured out a way to do it, though it takes years of
practice to develop the necessary skill. I can demonstrate the technique with
these aces."
As you are thus setting the scene, your hands are setting the deck for the
Veeser-Dingle bluffshift, by getting a left fourth-finger break under the top
card (one of the mates). With your right hand, pick up the pile of face-up
aces, the ace ofspades lowermost. Then, with the left thumb, draw the upper
ace onto the pack and use the packet to flip it face-down. Repeat this
procedure with each of the aces, using the right fingertips to llip the last ace
face-down. Next remove the block of five cards above the break, handling
it as one card. Pretend to insert it low in pack, actually slipping it to the
bottom, and leave the top card of the block outjogged. (Refer to pages 39-
40 for a full description of this bluff shift action.) Quickly insert the next
three cards into the pack at various depths. When you are hnished there
should be four cards protruding from the front of the pack for about a third
of their lengths. Let the audience clearly see the separation of the cards. Then
turn the face of the deck outward as you fairly push the four cards flush.
The ace of spades is seen at the face of the jogged cards, subtly suggesting
that all is as it should be. (fhe spade is purposely set in this position because
it is more conspicuous and is therefore more likely to be noticed in passing.)
Turn the deck face-up in the left hand. Then, with the palm-down
right hand, grasp it by the ends, raise it several inches and dribble the
cards back into the left hand. You are obviously holding no breaks. Set
l
............... . . . ..................... BY FoRcEs UNs EE N
BOTTOMLA ND ACES ...• ... ... ........ ... . . ........ . ..•........ 127
Bv FoRcEs UNSEEN ........•.....................•.•......
161
and right thumb, its right end swinging inward, its left end outward (Figure
161). The instant the packet comes parallel with the left hand, it is gripped
in lateral palm; that is, it is securely caught by its outer comers, the right
lodged against the tip ofthe second finger and the left pressed lightly against
the fleshy pad at the base of the second and third fingers (Figure 162). This
permits the right thumb to ease its pressure on the inner left comer of the
packet and move to a &ee and relaxed position.2
2EUsworth yrman was the first to describe the lateral palm grip in print. See M-U-M,
Vol. 44, No.1, June 1951 , p. 30.
The left hand's lateral palm is transitory. The left thumb immediately
extends across the back of the cards and engages the packet at its right side,
near the outer right corner. With the thumb's grip secured. the second finger
can relax alongside the other fingers, assuming a more open posture. This
leaves the packet in modified Tenkai palm, held by its outer end between
the thumb and hypothenar (F'lgure 163).
No time is wasted in getting the packet into this palm. The hands move
briskly upward and together, in a gesture ofabandoning the deck. To cover
the action further, the right fingers brush or massage the backs of the left
fingers briefly. Then the hands separate.
BoTTOMLAND A ces ............... . ........ . ......... . ........ 129
..______
BY FORCES UNSEEN . . · ···············•····················
While this palm can be done imperceptibly with the deck face-down, Mr.
Earick shows here that it can be done just as deceptively with the deck face-
up, through the application of a very old idea: the use of mates to disguise
an addjtion or a steal &om the face of the pack. When the lazy-Susan tabled
palm (as we shall call it) is done with the deck face-up it causes, in effect, a
transformation of the top card. (Indeed, it is conceivable that this sleight
could be used as a tabled color change.) But here, no attention is called to
the identity of the card, and the transformation is subtle. Ifusing mates, only
the suit changes. With pseudo-mates the value changes slightly while suit
and color remain the same. As the hands execute the palm, they block the
audience's view of the pack for an instant; and that instant, swprisingly, is
enough to obscure the change of the top card. This may seem overly bold,
but it is wholly deceptive, even in astute company.
When you separate the hands, draw the left inward to the near edge of
the table and bring it to r·est there, ftngers lying on the table top. This posi-
tion places the palmed packet out of sight, slightly below the table edge
(Figure 164). At the same time, use your clearly empty right hand to point
to someone who has indicated that they can perform a ri.ille shu.ffie. "It's
better ifyou shuffie them." With the same hand, flip the deck forward and
face-down, moving it toward the spectator.
The d eck is flve cards light, but if it is shuffied on the table, it is unlikely
that even an experienced card player will d etect the shortage; and if the
person picks up the deck to per·fo nn a n in-the-hands dovetail shuffie, you
can be reasonably assured tha t he isn't experienced enough to notice the
absence of five cards. Mr. &trick r'CCommends leaving two jokers in the pack,
the presence of whjch lessens the discrepant thinness.
164
J30 ............................... . ... .. .. . B vrrot~nAND A c es
.... ... .......................... . B Y F oRct:: s UNsEEN
~-.
165
While the spectator shuffles the deck, you lean back and relax, dropping
your hands casually to your lap. There, tum the left hand palm-up and shift
the palmed packet to face-down dealing position. You now tum the top two
,, aces face-up and alternate them with the three face-down cards. The quickest
~ way to do this is to fan over the top two cards and take them into the palm-
down right hand. Revolve this hand palm-up, turning its two aces face-up
while keeping them spread. Simultaneously, push the top card of the left
hand's packet to the right. Then slip the right hand's upper ace between the
top two cards in the left hand. Next, use the left forefinger to buckle the
bottom card of the packet, and slip the right hand's lower ace between the
bottom two cards (Figure 165). This simple adjustment can be accomplished
in two to three seconds. The rearrangement can be done with one hand,
though the process will take longer, its only benefit being an onanistic sense
of gratification for the performer. In either case, try to accomplish the
adjustment of the cards wholly by touch, for ifyour eyes stray even briefly
to your lap, suspicion will result.
Don't bother squaring the packet with both hands. The left hand can
manage this on its own. Instead, raise the right hand nonchalantly to the
edge of the table and rest it there as you continue to watch the spectator
shuffie the cards, keeping attention focused on him.
Meanwhile, with the left hand, maneuver the packet into position to do
Mr. Earick's table edge variant of the Hofzinser transfer (pp. 88-89). That
is, turn the packet so that it lies parallel with the length of the fingers, and
straddle grip it between the thumb, at the left side, and the fourth finger, at
167
Move the right hand, still palm-down, to the near end of the deck and
grasp the lower half (less the two separated aces) by its inner corners. Pull
this half inward, stripping it from the pack Hindu-shuffie style (Figure 168),
and let the upper half drop flush onto the aces held back by the fourth flnger.
Gently toss the right hand's half onto the left's so that it lands in a slightly
injogged condition. Immediately let it slide forward until it is aligned with
the lower half. Friction will cause the lower card (or cards) of the packet to
~This long-standing stratagem is an idea of Ben &ens's {ref. T~ Seven Circle,, Vol. l,
No. 3, June 193 1. p. 19).
170
place your left hand over your eyes and turn your head to the side. Then
proceed to cut the face-up pack into four piles:
'Watch as I cut an ace to the top of each pile." Drop the lower qucutcr
of the pack forward and to the left. Drop the second quarter- all the cards
below the thwnb's break -to the right of the fu-st. Drop the third quartet·
of the pack behind the first. And lay the remaining packet behind the second.
You have thus formed a rectangle of four piles (Figure 170). Each of the
left-hand piles has a pair of faced aces at the back.
Pause for a moment. Then remove your hand from your eyes and look
at your work: four face-up piles with no ace in sight. Pause again, letting
the humor of the situation (or at least some wonder at your seeming fail -
ure) develop. Look around at the spectators' expressions.
"You don't seem overwhelmed." Pause. "At the moment I don't blame
you. But I have one thing yet to tell you. You see, if! had cut the aces to the
faces of the piles, you would think that I had somehow peeked and spotted
them. So I promised to cut the aces to the tops ofthe piles, and I have. These
aren't the tops ofthe piles." Point to the faces of the piles. "TixcJe are the tops."
With palm-down hands, pick up the two forward piles by their sides.
Then tum the hands palm-up, holding the packets in dealing grip. You will
now produce an ace from the top of each packet, using a cunning deal-and-
load sequence of Mr. Earick's invention.
B OTTOM LA ND A CES ................ . .... ......... ... .... .... .. 135
Bv FoR cEs UNSEEN ........... .. ......................... .
First, do a two-card block push-off with the left thumb. These two cards
arc the face-to-face aces. Ifyour deck is in good condition, this push-off can
be accomplished without a break. Place your left thumb at the outer left
comer of the packet, resting on the very edge of the top cards. Then, with
a light pressure, push the top two cards as one to the right. If the deck has
even the slightest bridge in it, drag between the back-to-back second and
third cards is diminished, making it possible to push over the top two cards
in perfect alignment.~> The push-off can be aided by a slight rightward bevel
in the left side of the pack, which can be quickly installed by the left thumb.
lf this is your first exposure to the breakless push-off, the sleight will
pmbably seem impmctical. Surprisingly. it is much easier than it might seem.
T he secret is a light touch at the very edges of the cards. Nevertheless, if
the cards you are wot·king with won't separate properly, there is another
alternative. Execute a pinkie count, using the tip of the left fourth finger to
release the top two cards, secretly fanning a break beneath them. You can
now execute a standard two-card push-off. However, if this course is taken,
thet·e must be no hesitation in procw·ing the break.
Having pushed over the two cards as one, you now tum y our right hand
palm-down and grip the double card by its right side, using the right thumb
to clip it under the tight hand's face-up packet (Figure 171). Smoothly tum
the t-ight hand palm-up again, and in this motion use the right thumb to draw
the card immediately under· it squal'e onto the packet (Figure 172) while,
w id1 the r·ight fu•get·tips, you push the second ca.r·d of the double outward.
T his push-pull action of thumb and hngers is simihu· to that used when doing
a Down..<; change.
When the right hand is fUlly palm-up, it is seen to be holding a face-up
ace at the linget·tips. To the audience it appears as if you have merely
t•cmovcd I he top cal'(~ from the left hand's packet and turned it over. Yet you
have sect-ctly loaded a n ace onto the right hand's packet as weU.
Let the ace hJl from your lingers and onto the table at roughly the posi-
tion the right hancrs p.1cket pt-eviously occupied (Figure 173). Then tum
tlu· ldi h;~nd palm-clown as you push ovet· the top card of the r·ight hand's
packet. \ Vith the lcli fmgers and thumb, grasp this ca.r·d by its left side.
mimicking the t-ight hand's c;u·lict· actions, and tum the left hand palm-up,
revealing anothct· ;tee at the flngettips.
13ll ........ . ..... . ........ ... ..... .... . .... B oTTONL .1 .vn A cES
-
..... . .. . .. . . . . . . . . . . . .. . .... .. .. .. . .. . B Y F ORCES U NS E EN
173
B OTTOMLAND A CES . ............ . . . . . .... .. ................... 137
B Y F o RCES UNS EE N ......... .... ....... .............. .... .
Drop this ace onto the first; then curl your forefingers under their
respe tive packets and straighten them, llipping the pac kets lace-up at the
fingertips. Add one pa.ckct to the other and set the combined cru·d.s lace-up
to your left.
Pick up the 1-cmaining two piles, just as you did the first two, and rcprul
the deal-;md-)oad sequence tO produce an ace from the lop of Cr! Ch p<IJ'I< el.
Drop these aces with the others, combine the packets and sel them onto Lht
tabled pile. You have just made good your promise in II slightly surr}l'illing
and very impressive fashion.
As with most tricks in this collection, along with some excelle,11 mugic
you have been given severa1 valuable new sleights. fn this case we havr un
extremely deceptive tabled palm (which can be perfonned with the rfrcl<
either (i:,ce-down or face-up) and a novel deaJ-and-load lechniq11e cupul,le
of hwther application .
·,..
.:\
,..
Q
-
spectator decides who gets every card of the ten. Nevertheless, when the
instructions tell the spectator to turn up the two hole cards, the performer
is found to have the better hand, thus winning the game and - much to his
relief-keeping his money, just as the instructions promised.
Having come this many pages, the reader is likely ready for a sh01t break
during which he can stretch his f1ngers and relax. Welcome to the rest-stop.
In the description just given, some may recognize a plot that sounds
very much like the old Ten-card Poker Deal; and they would be t'ight.
Those same astute readers wiJl remember that the princip le of the Ten-
card Poker Deal revolves on a 'Jonah card'; one card in the set of ten
that condemns its owner to lose, no mattet· what his other· c;u·ds arc.
As long as the Jonah card is somehow forced on the spectat01·, the
performer will always have the better poker hand. Knowing this, the
reader's curios ity should be aroused by the elTect desct·ibed above, for
the spectator is allowed to govern who gets every cat·d in the deal. I low.
then, can the performer be assured of winning cvety time?
Mr. Ea.rick's solution to this problem sprang {i·om a discussion with
Chuck Smith who, during a phone conversation, said that he had come up
with a method fordoing the Ten-card Poker Deal that allowed the si)C{'Iator·
a fair choice of all ten cards. Without knowing his (riend's method. Mt·.
Earick immediately suggested that the use oftwo Jonah cards could achi~w
this end. Indeed, this was the crux of Mr. Smith's method.'
Having been given this seminal concept, Mt·. Earick proceeded t o
develop a full method and pt-c..<;entation. When he latet· t-r·adcd mel hods with
C huck Smith, they found their solutions were significantly difJe,·<•t11. l n l\ \r.
Smith's method, the entire deck was used, and sleight -of-hand was t·cquir~'<l
as a continge ncy. Mr. Earick worked with only sixteen cards, and dcwlnp~~'< I
1
1t was PalLl Cun y, in 1974, who llrst pr·oposcd using two Jonah caJ"ds, thus 1wrmiuint:.
the spectator a ge nuine c hoice of all five cards in his hand (rc C "Cider" in Jltwl l /my
l~r.>mf<~. pp. 28-3 1) . Mr. Cuny's applic:~rion of this idea wa~ typically b.illiant. II i:~ two-
Jonahs concept is the basis of the pr-esent tt;ck. Stewart .lud;J, and Bruce Hc1n:!tein
huvc do ne reb ted wor'k in whic h vmious cards serve intcn•h;u'8cably as J 0 11.1hs , h1nng
di.llt-rr nt p hases of a r-outine. Sec:- Pt~llbt-n,YrJ JV.,,~..~ 1rnth l·i./t~>, Pnrl 1;,.,,, p . ~f,[,, .• ml
Bo·rnstcin 's PJ,y..·h-,~ttf manuscript. J\'k E:uick 's mcthcxl, howcv.: 1~ is quit<= dill~·r,·nt li'l>ll\
~u"\y o f its P"" lc<'essors.
The Never-lose
Miracle Poker Challenge
(Warning: It is imperative that you read the
following instructions carefully before attempting
to perfor.m this t rick .)
Explain to your audience that you will remove a
few cards from the deck for a gambling
demonstration. Remove a number of high val ue cards;
at least a dozen, but no more than twenty . If the
spectators appear bored, have someone assist you by
mixing the cards as you remove them.
Gather the cards and give them a cut . Then
perform the Blancmange shuffle. (See page 3 for
instructions if you are unfamiliar with this
shuffle.) The unusual appearance of this shuffle
will likely arouse corrments such as "Wow, you
expect me to play cards with you after seeing
that!" Explain to your audience that the rules of
this game make sleight-of-hand and cheating
impossible. Then remind them that risk is an
i nt r insic element of gambling. Without risk,
gambling would lose much of its charm.
Having finished the Blancmange shuffle, remove
the cards from behind your ear and place them on
the table .
You will not touch the cards again!
Remove a bill from your wallet and place it on
the table. This should be the largest bill you
have; preferably a $50 or $100 bill . Tell your
assistant that this will be his reward, should he
have the winning hand in your little game of stud
poker. Now explain the rules of the game :
The two of you will be playing one hand of five-
card stud.
The spectator will deal one card (a hole card) to
each of you. These cards are to be dealt face-down,
and no one can look at the cards as they are dealt .
Your assistant has complete control over which of
you receives which card-but he cannot look at the
cards before making his choice.
When your assistant has made his decision, remind
him that it is irrevocable, and is the closest
thing to an element of risk (other than your
remarkable skill with the cards) he will have to
take . His choice of hole cards is completely free,
but must be made blindly.
Explain that the rest of the cards will be turned
face-up before they are dealt, and your assistant
will decide who receives each card. He is to deal
the next eight cards face-up, four to each of you ,
completing your two poker hands.
When your assistant has finished dealing, remind
him that his choice of face-down hole cards was
irrevocable, and these cards cannot be changed.
However, give him the opportunity to switch any of
his face-up cards with any of yours.
When your assistant has finished choosing his
hand, sum up as follows:
1) The cards were thoroughly mixed, with
consummate skill.
2) You have not touched the cards since your
assistant began dealing.
3) He decided from first card to last which cards
he would keep and which he would give to you.
4) The bill you placed on the table is his to
keep should he have the better hand.
Have him turn over the hole cards.
Take back your large bill and thank htm for being
such a good sport .
BY F oRc Es UNSEEN . ........... .... ..... ... ... . ...... .... .
"That should be enough." Join in the mixing by turning the last removed
group face-down and performing this pseudo-shuflle: Spread the four cards
fi-om left to right and, with your left hand, simultaneously slip the second
and fourth cards (ace and queen) &om the spread. Place these onto the right
hand's two cards (queen and ten). From the top the packet now reads: ace-
queen-queen-ten.
Continuing the "shuffie'; slip the bottom card from the packet (the ten)
and place it on top. Then transfer the bottom pair of cards (the queens) to
the top. At the end of this mix the cards read queen-queen-ten-ace from top
to face. (This is the simple procedure Mr. Earick uses. You can, of course,
work out another mixing sequence to suit your fancy, so long as it appears
uncalculated and delivers the cards in the required flnaJ order.) Returning
to the instructions, you now read:
'"Gather the cards and give them a cut."' As your reading misdirects from
your hands, push over the top two cards of the packet and square them
again, getting a fourth-6nger break beneath them. Then look up at the first
spectator and ask for his cards. Drop them face-down onto yours and cut
the two cards below the break to the top. Retrieve the second spectator's
cards and drop them onto the rest. Cut approximately a quarter of' the packet
(four or 6.ve cards) from the bottom to the top.
Now turn the packet face-up and spread it casually between your hands
as you say, "These look pretty mixed, wou ldn't you say?" Quickly spot a
ten below an ace in the spread. There will only be one such pair (the ten
and ace &om your four-card packet) and it will likely lie nearer the face than
the top of the spread. Injog the ten without calling attention to the action,
as you briefly display the cards to the spectators. Then close the spread in a
rather ragged fashion a nd flip the cards face-down. Immediately cut th(·
packet at the injogged ten, bringing it to the top.
'"Then perform the Blancmange shuHlc.' You know, I've heard of' that
shuffle. 'See page three for instructions if'you arc unfamiliar with this
sh~e."' Turn. t.h~ instruction sheet over. There is no f><.lgC three.
Oh. Well, Its JUSt a photocopy. r couldn 't aHorc.lthc trick. S() r asked a
friend to copy it for me. I guess he forgot to do page thrcc - I low important
can that shuffle be. Besides, I know how to shuffle cards.''
Perform a Charlier fal se shuffic as follow!>: Ilolding the r>ackct in lt·fi
.hand dealing posltlon,
·· pus h over three or four
· cards, also spre-..d ing thcrn
m"vard toward you CFigure 174). T<ike these cards into the palrn-up nght
146 . . . . . . . . . . . . ' · · · · · · · · · · · · · · · ..•............
/) 0/J/J/, f. /) Atl,
I \' 1 /)
•
p
hand. Then, with the left flngers, push over a small group of cards from the
lmltom of the packet. Take these on top of the right hand's cards, leaving the
original top card injogged beneath them (Figure 175). With the left thumb,
push over another small group from the top of the packet. Take this group
wider the right hand's cards. With the left fmgers, push over another group
from the bottom of the packet, take it on top of the right hand's cards; and
continue to alternate in this fashion - top to bottom, bottom to top-until
DO UBLE DAAfN ED ..... .......... .. ..•....... .... ......•.•.... . 147
..
r
dos•·st thing to an clement of risk (other than your remarkable skill with
the cnrds) ... ' \\fhy. thank you l ;... he "'rill have to take. His choice of hole
c:u-ds is completely h-ee, but must be made blindly."'
Have the spec tntor deal the top two cards face-down between you,
dc:Jing either one to himself and the other to you.lfhe starts to pick up the
p:\cket to do this, ask him to leave it on the table, to assure that neither of you
cnn cheat. After he has dealt the two cards, invite him to change his mind
ru\d switch his For· yours if he wishes. T he first card dealt is a ten, the second
:U\ nee. Both are Jonal1 cards, one of which will ensure that the spectator
finishes with the losing poker hand. You must keep track of the ten and ace
as they are dealt and 5'vitched, as the card the spectator takes for himself
wiUdetermine yOlu· ne.-...-t actions.
··· E.-...-plain that the rest of the cards will be turned face-up before they are
dealt. and yom· assistant will decide who receives each card."' This line
contains the central ruse of Mr. Ea.rick's method. The sentence seems clear
and simple enough, but it holds an element of ambiguity that makes the effect
possible. If the spectator takes the ten for himself, you must use the cards
at the bottom of the packet for the game. If he takes the ace for himself, you
must work from the top of the packet. Therefore, when you mention that
the cards will be turned face-up before they are dealt, two interpretations
are possible. If the spectator takes the ten, you have him turn the packet face-
up. If he keeps the ace, the packet is left face- down and he is instructed to
deal the cards from the top, turning them face-up.
"'He is to deal the next eight cards face-up, four to each of you, com-
pleting your two poker hands."' Guide the spectator through the dealing
process, having him take cards one at a time from the packet as he decides
whether he will keep it or give it to you. Throughout the deal, stress that he
is in complete control. When two five-card hands have been formed, return
to your reading:
"'When your assistant has fmished dealing, remind him that his choice
offace-down hole cards was irrevocable, and these cards cannot be changed.
H owever, give him the opportunity to switch any of his face-up cards with
any of yours."' Do just that.
"'Whenyour assistant has finished choosing his hand, sum up as follows:
'"One, the cards were thoroughly mixed, with con summate skill.'
Why, thank you very much! -although I'm a little worried about that
Blancmange shuffie.
'"Two, you have not touched the cards since your assistant began dealing.
'"Three, he decided from first card to last which cards he would keep
and which he would give to you.
"'Four, the bill you placed on the table is his to keep should he have the
better hand.' Well-but that doesn't seem ... okay, I guess.
"'Have him turn over the hole cards."' Ask him to turn over his hole
card first, then yours. Commen t on the value of' each ha nd as it is
revealed, pointing out in a pleased and relieved manner that y ours is
the better of the two.
"'Take back your large bill and thank him for being such a good sport.'
"See, didn't I tell you this would be fun!"
160 .............. .
· · · · · · · · · · · · · · · · · · · . ...... . . D ouBLE D AAINED
Part Two:
See
Them
Shuffling
Along
II-..._
card is chosen and lost again in the deck. The deck
is then cut in half and the halves are .riffied into each
other, but are not pushed square. T his elongated
pack is tipped onto its side and held by just its upper
corners above the table top (Figure 176). The
person who chose the card is asked to name it. In
response to its name being called, the selection
slowly and eerily rises at an impossible right angle
to the other cards. In addition it is reversed in the
pack and rises quite obviously from the center
(Figures 177 and 178). Nothing but a regulat ion
pack of cards is used, and all can be examined,
should anyone ask.
j
I
/
176
/
177
178
154 ........ . ............. .. ......... . ... . .... C R OSS p l/ RP O SE S
c
- ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... BY F ORCES UNSEEN
;t!vid! (pp. 24-27). The idea of having a can:.l appear in this bizarre fashion
was truly novel and visually effec tive. However, Mr. Harris's method for
getting into position for the rise was, to be &ank, awkward. It was impossible
not to think, while watching the odd setup procedure, that something was
being done, even ifone didn't know quite what -and this seriously undercut
the effectiveness of a worthwhile climax.
Mr. Earick saw the potential in the Harris concept and set about devising
a preliminary procedure that did not call adverse attention to itself. His
solution to the problem is as elegant as it is successfUL It also serves to
introduce another original sleight, which has uses well beyond the one
explained here.
"Let's examine how a magician can find a chosen card. First we need a
card to find. Will you please call stop as I riffie through the deck?" While
holding the deck face-down in left-hand dealing grip, riille the right fingers
up the outer end of the pack until told to stop. Lift the top portion from the
deck and turn the face of this packet outward to display the card stopped
at. It should be clear to everyone that you do not see the card. Replace the
right hand's portion square onto the deck, catching a left fourth-finger break
beneath it. (You can also use a standard corner-riille and peek to have the
card selected, and hold a break below the selection in the usual way.)
You must now turn the deck face-up and secretly reverse the chosen card
under it. There are many ways to manage this. Mr. Earick's method is as
economical ofaction as it is novel. It is based on his longitudinal swivel steal.
Bend the left hand inward at the wrist until the outer end ofthe pack points
rightward to approximately two o'clock. This turns the right side of the deck
toward you and just beyond the spectators' view. The deck is held between
the left thumb and forefinger, which rest at the sides of the pack, near the
outer comers. Your grip must be light but sure.
"It is important, now that we have a card to find, that you do not forget
it." As you say this, gently misdirecting the audience's attention from the
deck, dig the left fourth fmgertip into the break, then extend the fmger;
swiveling the selection counterclockwise around the third finger; until the
card lies at right angles to the pack (Figure 179). The thumb and forefinger
maintain control over the rest ofthe deck as the selection is pivoted out the
back. (For a fuller description of this fmgering, seep. 65.)
CRoss PURPoses ....................... .. ....... . .. . .... . .... 155
-
By F0 R c I! s u N s 1': I~ N ...........................•...........
light pressure between the fingertips and the heel of the thumb. As the deck
is drawn fo rward, the selection will pop neatly into ldi-hand classic palm
(Figure 181 ). As the pcJm is completed, Lake car e to avoid any scraping noise
of I he card as it clears I he d eck.
fmmcdiatcly return the deck, now face-up, to left -hand dc.:Jing position.
Helling it over the fi.l.CC-down r)<Jfl'l<.:d card. In <J mostthc s;unc action repb ce
the palmed card u nder the d eck. This is d one by curling the left fo rehnger
beneath the palmed card, and moving the len fo UJ1h lingc 1• !'c om the end ol'
the card to the inner Hid e (Figur·c IH2). S lide the fo u rth linger· inward along
1
Yuu <.<vi, if y11u prefer. relit the lt·ft l,:,nd <rutu:U iy o n t he tab le .\.Od u sc t he table top to
puah tlw <<trd into J><>'\l h On .
181
182
183
the edge of the card, causing it to pivot on the heel of the left thwnb until it
is very nearly aligned with the deck (Figure 183).2 At this point the other
left fingers finish squaring the card under the pack.3
With your palm-down right hand, smoothly grip the pack by its ends and
perform three swing cuts, each time cutting roughly a quarter of the pack
into the left hand. (See pp. 8-9 for a description of the swing cut.) After these
three cuts, about twelve cards remain in the right hand. Set this final packet
onto the rest. This casual process positions the reversed selection about
twelve cards from the face of the deck. As you make these cuts, say:
"Now, if I cut the deck enough times, eventually I would cut to your card
by pure chance. But chance can often take quite a while, and I wouldn't
know it when it happened, because I didn't see what card you chose."
Turn the deck face-down and set it sidewise in front ofyou. Cut off the
top half and place it to the left in preparation for a riffie shu.ffie. R.iffie the
halves into each other as neatly and evenly as y ou can. (Mr. Earick uses a
tabled faro shu.ffie here, though the weave needn't be perfect.) Fmish by
dropping the last card of the left-hand packet on top of all. You do not
2
This is a small refinement on the standard replacement technique described by Ecdna..se
in Tk &peri althe CtvYJ TaiJ/e, pp. 89-90. Rather than use the left second 6nger to pivot
the card into place, the fourth 6fl8cr does the work. Thus. only one 6nger need move,
rather than three, accomplishing the task with less motion.
3
The idea of secredy reversing a card by turning the deck over onto it dates back to at
least 1910. On page70ofHattonand Platc'sMagicW1.1 'TrickJ:How TheyareDvne. a related
maneuver is explained using a variety of gambler's cop.
185
complete the shuffie by squaring the cards into each other. Instead, push
the halves together for only an inch of their length. Then slide the elongated
deck foiWard several inches and flip it over, flopping it back toward you
(F'Igure 184). Let it land face.. up on the table, thus returning it to the position
it occupied a moment before.
F1ipping the deck in this fashion automatically bevels the sides of the pack
foiWard, forming a slope on the side nearest you. During the flopping and
beveling of the cards, you will likely detect a slight separation near the center
of the right-hand half. This is caused by the natural bridge in the reversed
card (F'tgure 185). However, if no separation is perceptible, the card can
be located easily enough. Just riffie the right thwnbtip gently down the inner
right comer of the right-hand half until you see a back (Figw·e 186). Form
a break above the reversed card and, with the right hand, securely grip the
cards above this point.
With your left hand, which rests naturally at the left end of the meshed
deck, grip the left-hand half and pivot it clockwise a very short distance,
swinging the right end of the right-hand cards (those below the break)
inward half an inch or less (Figure 187). With the tip of the right thumb,
contact the back of the top card of this portion and hold it stationary while
the left hand reverses its action, realigning the lower section of the right-hand
packet with the upper section. This leaves the face-down selection angle-
jogged in the right half of the deck.4
Now, with both hands at the e nds of the meshed deck, raise it
straight up, an inch or two off the table. Since the lowermost cat·d of
all is the bottom card of the left-hand half, the t·ight hand can release
its hold on the cards without them falling. M ove the right h<uld leftward
to the center of the interlaced halves. At the sam e time, maintain the
right thumb's contact with the anglejogged selection, swiveling the right
end of the card inward and to the left (Fig ure 188), until it lies at right
angles with the pack. Press down with the t·ight thumb as you pivot
the card, bowing it convexly (Figure 189). By bending the c;u·cl in this
fashion you ensure that it isn't seen by the audience .
Extend your arms until you can set down the deck roughly two ~cet in
front ofyou. Without hesitation, spread the cards in toward you, {·o nning a
face-up double ribbon-spread. The right hand docs most oft he spr-eading,
working from the center of the interll\ccd packets while com:cnling the
4
T he clever anglejogging procedure is Karl Fulves's. &·e U.ij)7r Shuj}'lr '[f.c·h111;1ur. Hu'f Orw-·
p. 32-33.
160 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C I( O s s p 1 , 11. p 0 S F S
...... .. . ...... .. .. . ...... . ... . ... ... . . B y F 0 It c 1·: s uNsEEN
/
/
189
turned selection until the spread cards cover it (Figure 190). Since the
pivoting procedure also naturally injogs the card a bit, its outer end will not
be exposed in the spread.
"In fact, I could see every card in the deck and still be without a clue."
As you say this, remove your hands from the spread and gesture at it. Don't
look at the spread as you speak. Pay no attention to it. You leave the deck
spread on the table for only a few seconds. Then you gather it in this manner:
190
Position your palm-down right
hand at the inner side of the spread,
near the interwoven section, and
touch the tips of the first and fourth
flngers to the table while you curl the
second and third fingers loosely in
(Figure 191). With the left hand, lift
the outer side oF the spread a nd
draw it back, gathering the cards
inward toward the right hand. In
doing so, you automatically force the
r eversed and pivoted selection to
slide back, between the right first
a nd fourth fingers until it protrudes
about an inch &om the inner side of
•o
-
-----
the gathered pack (Figure 192).
This situation is entirely concealed
from the audience by the left ha nd
and the other cards. which are raised
somewhat at their outer· edge.
As you finish gathering th e
spread, continue to raise it until it
rests vertically, its near edge against 191
the table to p and the back of the
162 . ............ . ... . . . . . .... .... . ... .... .. . . CRoss P u RP osES
1
.. ... .......... ... .. . .............. .... BY F oRces UNseE N
cards toward the audience.
The projecting se lec tion is
forced to bow inward against
the table as this pos ition is
assumed. Adjust the hands'
grips on the cards to the op-
posite upper corners of the
interlaced packets, second
fingers on the back, thumb on
the face (Figure 193).
" But there is one way to
192 find your card. All you need
to do is call it by name."When
the spectators comply, raise the deck less than an inch from the table,
maintaining tension on the bowed selection. If the pack is lifted only a short
distance, the protruding end of the bent card cannot be seen &om the &ont.
Next, very slightly jiggle the cards, in a coaxing fashion. This gentle action
causes the selection to break through the top edge of the pack and begin to
rise. Slowly lower the deck to the table, making the card rise even farther,
until it can go no higher.
The jiggling action not only aids the card in rising, but also helps to cover
the lowering of the deck to the table. The visible separation of the pack from
the table top as the rise begins makes the action appear all the more magicaL
You will understand that, to control the rise of the card, it must not slip on
the table surface. Consequently, this trick must be performed on a tablecloth
or close-up pad.
194
To conclude the effect, bow the ends of the deck forward (Figure
194) and spring the cards into each other. This leaves the selection
sticking crosswise from the top edge of the squared pack. Pull it from
the center and toss it to the table. If you pull forward as you draw the
card from the deck, you will remove any bend that may remain in the
card as a result of its previous bowing.
'This effect is quite pretty and, with Mr. Earick's handling, completely
mystifYing. The animation of the card is strange enough, but its crosswise
position in the pack makes it appear as if it materializes as it ascends. A trial
or two before a mirror will reveal to you just how magical this effect appears
to an audience.
d
card is selected, noted and dearly lost in the center
of the pack. The deck is given one shuffie and the
person who chose the card is asked to name a
number. The performer cuts the deck and &om that
cut produces a card of matching value to the number
requested. Further, when he counts down in the
pack to that nW11ber, the selection turns up as the last
card of the count.
L
>
. . .. ........ . . ..... .................... B Y F o~cF.c:: L·ss:c::c::--
I
195
rhumb onto the injogged selection and form a brea.~ above it as :C,u push i:
tlush. Then, ,,;rh the same thumb, quietly riffle off three cards onto rhe
selection and cut the top portion of the pack to the right. On top of this
portion are the preset seven and six. Four cards from the top of rhe left-hand
portion is the selection; and underneath dus portion are rhe nine and eight.
Begin to shuffie the packets together, first releasing at least rwo cards 6-om
the left rhumb. Then shuffie evenly. As your thumbs near the tops of the
packets, you must hold back at least four cards ,,;th the left thumb. and
l.\·ad/y four ,,;th the right. The knack of holding back precise~· four cards
is one attained " ith the practice of ri.ffie stacking. \\ h.ile ir might seem an
onerous skill to acquire, it is in fact one that comes more quickly than
e.'\.-pected. Ifyou first make sure the sides of the packets are neatly squared
and their tops beveled slightly toward you, you \\"ill find that, as you near
the tops of the packets during the shuffie. the last few ca.rd.s naturally sepa-
rate on the thumbs (FJgUre 195). You quickly learn the feel of four cards.
You can conftrm the number of cards held back v. i rh a quick glance.
Howe,·er, do not stare at the cards while you shufHe. or hesitate when
nearing the tops of the packers.
Complete the ri.ffie by releasing the left thumb's stock, then the right
thumb's four cards onto that. Square the deck. This shuB:le has presencd
your four set cards at the top and bottom of the deck, while positioning the
selection eighth &om the top.
Leave the deck on the table as you ask the person who made the selection
to name a number: "Name any number found on the spot cards in the deck.
To make it challenoaing, make it a higher number. between hw and ten, sa~·. "
This, of course, is an age-old limiting ploy. which lean.~s the spe<:rator only
four choices: si.x, seven, eight and nine. Ne,·ertheless. if deJi,·ered in an
ingenuous and oflhand manner, it sounds reasonable.
b
-
BY FoRcEs UNSEEN .....•.............•................•..
When the spectator names her nwnberyou must produce it neatly &om
the deck. Seven is the most often picked, so let's begin with it:
You have a seven now on top of the deck. You could simply
snap your fingers over the pack and turn up the top card. Mr.
Earick prefers something a little showier. He performs the
John Benzais spin cut to produce the carcl.5 This is merely a
tabled slip cut with an added fillip. Mr. Earick created this cut on his own,
only later discovering that he had been preceded many years in its inven-
tion by John Benzais. However, his handling ofthe sleight dilfers in several
particulars &om the original.
Bring the hands to the ends of the pack and grasp it, second 6ngers on
the outer come.rs, thwnbs on the inner, forefingers resting lightly on top.
With your left thwnb, raise the top half of the pack slightly at the near side,
while the right hand grips the bottom half.
Begin the cut by raising both hands and the pack about an inch off the
table. At the same time, move the hands apart and slightly forward the left
hand canying the top section of the pack, the right hand the bottom section.
Maintain the right fore6nger's contact with the top card ofthe deck, drawing
it forward and off the pack (Figure 196). Now stop the hands abruptly,
simultaneously releasing the right forefinger's pressure on the top card. All
this is done swiftly, with a flick of the hands. A&er a little practice you will
find you can make the top card (which has not quite settled onto the right
hand's packet) fly forward, tripping around the second finger (Figures 197
and 198). The simultaneous upward and opposite motions of the hands
impart a fluttery spin to the card as it leaves the packet, and a subtle
clockwise snap of the wrist aids in sending the card twirling to the table in
a gentle arc.
The instant you have sent the card spinning, let the right hand's packet
settle onto the table, and set the left hand's portion square on top. The cut
is done so rapidly, it is completed before the spun card comes to rest. Done
properly, a strong illusion is created ofthe card spinning &om the center of
the pack as it is cut. The flourish is visually surprising and rather pretty.
Twn up the produced seven and set it face-up on the table. "You did say
d~, didn't you? If we now count down <~even cards in the deck ..." Take
the deck into dealing position (or deal with the deck on the table ifyou like),
slowly count offsix cards and tum up the seventh. It is the selection.
5
Ref. The But of./3en:uU;, P· 39.
197
198
LUSTIG FOR LIFE ............................•...........•..... 169
--
....................................... Bv FoRcEs UNSEEN
\~)y
The right hand smoothly
transfers its grip to the lower
half and undercuts it in a
\ forward direction. It then
\
J carries this packet inward
20 and sets it onto the left hand's
LUSTIG FOR LIFE •••••.•••.•.•••••.•••••.•.••••••••.••••••.•••• 171
BY FORCES UNSEEN .......... . . ... ............ ······· · ····
202
half. The shuffie and double cut, performed brisklyy et casually, should blend
into a smooth flowing whole. Mr. Earick urges that, as you practice this
transfer, learn to do it by touch alone. It is perfectly practical to do the shuffie
and cuts without looking at the pack.7
You now have the nine on top of the pack, the eight below it
and the selection tenth from the top. Ifthe spectator has called
for nine, produce it with the Benzais spin cut and count down
to the chosen card, just as you did for the seven.
7
Notc that this handling differs from the original. .1\'\r. Vemon used ;mend jog to set up
the double c ut. An anglejog is favored here as ic is better· concc;Jed.
..
... . . . . . . . . . . . . . . . . . . . . . . . . ... .. .. . . . . . BY F o R cEs UN SEEN
objects on the table. This enhances the idea that the cards have been lost in
... the deck and are beyond your control. If spectators are seated at your sides .
rest your hands casually on the table, positioned somewhat forward and ncar
the ends of the deck. The hands, placed as described, block the s ide views
of the deck and conceal the injogged cards. You can also sway the top portion
'' of the pack inward a bit to aid in the concealment (Figure 203).
"Let's imagine we have a friendly group here playing blackjack."
Bring the hands back to the deck and grasp it by the ends, secretly
pressing down with the tip of the left thumb on the upper jogged card, while
..vith the right thumb you slightly raise the lower jogged card . Form a break
above the upper card and another beneath the lower card as you push them
flush. This separates the center section of the pack from the top and bottom
portions (Figure 204) .
.,
'·
r:'
y 203
204
ONE SHUFFLE- ONE WINNER .. . ............................ 175
c
the right thumb's group of five. (For an explanation of holding back exact
numbers of cards during a shuffie, seep. 167.)
You now square the cards and conclude the s hufHe with a double
undercut that transfers the bottom four cards to the top of the pack. Do this
v.rith the Vernon shuffie transfer (pp. 170-172) .
The ace and king are now set. Turn up the top card and place it undet·
the deck, "burning" it as is standard procedure in blackjack. Then deal six
blackjack hands, dealing the third hand face-up and the rest face-down. Deal
slowly and cleanly, making it clear that the cards are coming &om the top
ofthe pack. The ace of spades and jack ofspades will fall to the third hand,
exactly as requested.
The pattern for stacking the cards is stated in the example just given. The
left thumb begins the shuffie by dropping a number of cards equal to the
requested position of the blackjack plus one; and the r-ight thumb finishes
the shuffie by dropping a number of cards equal to the number· of hands
specified less one. It is a simple formula to remember, but the result in. the
eyes of the audience is extraordinary.
The idea of simplifYing and abridging riffie run-up systems by stacking
at the top and bottom of the deck simultaneously was first suggested in
magical literature by Roy Walton.' This excellent idea is neatly exploited
in the shuffie system just explained. Mr. Earick's system is both practical
and flexible; and, as is evidenced in our next demonstration, it can be
expanded to produce more complex r esults.
...
he kings or any other four cards of like value are
removed &om the pack and set on top . The performer
proposes a five~ handed game of poker and asks which
player of the five should receive the four kings? With
this choice made, he gives the cards two riflle shuflle.s,
then proceeds to deal five hands. Each time he comes
to the chosen hand he turns up the card as it is dealt, so
that the audience can watch the four kings arrive like
clockwork. If desir·ed, the perfor·mer can enhance this
exhibition by pcr·fonning the shuffies blindfolded I
c
................................. B v FoR cE s UNSEEN
- ... . .
Ifyou }ike, a spectator can choose four of a kind, remove the four cards
frorn the deck and se_t thex:' together _on top. Let's retain the kings as the
chosen foursome dunng this expl~non, and assume the spectator desig-
tes the third hand of five to rece1ve them. The fLrSt step necessary in
;~eking the kings is to transfer three of them to the bottom of the deck. Mr.
Ea,rick uses a triple un~erc~t to accomplish this:
Position the deck s1deW1se and face-down before you. With your left
thurnb, riffie up the near side of the pack and, when you reach the top three
cards, tighten your right thumb on the right inner comer ofthe deck to catch
a break under them while the left thumb finishes its riffie. With the left hand,
undercut a quarter of the pack, canying it forward, then back and onto the
deck. Without hesitation, undercut another quarter of the pack and place
it on top. The right hand takes over for the third undercut. It carries all the
cards below the break forward, then back and onto the deck. Three kings
are now on the face of the pack; the fourth is on top.
Next, direct attention away &om your hands and the cards as you explain
to the audience what you hope to accomplish. Taking advantage ofthis short
period of misdirection, use the right thumb to raise the top half of the pack
at the near side, and silently riflle off four cards, catching a break beneath
them with the left thumb (Figure 206). Then, with the right thumb, reclaim
the four-card block, taking it beneath the top portion, but holding a break
above it. You can now focus attention on your hands as they commence
shuflling the cards. The right-thumb break you have just formed allows you
to start the first sht.tffie without the slightest hesitation.
Neatly cut the right hand's cards to the right and start the shuffie by
releasing one card (a king) from the left thumb. Follow this by dropping
the four-card block off the right thumb. Riffie a few cards off the left thumb,
then shuffie normally Wltil you reach the tops of the packets. With your left
206
POKER B L I ND • ••••••••..••••••••••••• • •.••..•.• • .•. • ....•.•.• 179
BY FoRcEs UNsEEN ... ................. ..... .... ......... .
thumb hold back four cards; and with your right thumb hold back at least
one: a king. Release the right thumb's card (or cards) and finish the shuffie
by letting the left thumb's four cards fall on top of all.
Push the two portions straight into each other. until only an inch or less
remains unsquared. As you finish pushing the cards together, angle the left
end of the right packet inward, so that its inner left comer projects at the
near side of the d eck. The action is identical to that used to set up a strip-
out shuffie. However, just as you complete this anglejogging, raise the left
thumb slightly as you shift it onto the projecting inners comers of the right
half. Then squeeze the upper cards flush as you finish pushing the halves
together. Actually the thumb's action creates a beveled jog at the left inner
comer, with the upper cards pushed more or less square, and the lower cards
still distinctly anglejogged (seep. 171, Figure 200).
The lowest of the angled cards is the block offouryou first released from
the right thumb during the shuffie. A block of unangled cards separates this
from the angled cards above. With your left thumb, contact the angled cards
abol'e the separation and push them square. (By first installing a bevel to the
anglejogged packet, this new adjustment is made easier. If, however, during
the shuffie you drop a reasonably thick packet onto the four-card block, you
will find with practice that the left thumb can drive all the right-hand cards
above the four-card block square as you anglejog the block alone.) Only
the four-card block now remains angled. The instant this adjustment is made,
use the left thumb to raise the top half of the pack slightly at the near side.
With the right thumb and second finger, grip the bottom half by its right
corners and carry it forward, undercutting it. Then bring this halfback and
onto the left hand's portion. In doing this, do not disturb the anglejogged
cards. Drop your left thumb onto the projecting corner of the angled block
(Figure 207), and form a break above it.
'
With your right thumb, release one card (a king) from the upper portion
to the lower, and immediately cut the upper portion to the uft, preparing
on .ro 3
for the second sh mue.
Start the shuffie by r eleasing three cards fro m the left thumb: a king
and two indifferent cards. This number must equal the position of th e
hand the kings will be dealt to. 4 Next release a few cards from the right
thumb a nd shuffie normally until you nca r the to ps of the packets. Iiold
back at least eleven cards on the right (the stock you have assembled
so far) and fo ur cards on the left. Re lease the r·igh t thumb's bloc k, the n
the four left-hand card s.
Conclude the sh uffie with a Yemon shuffi e transfer to bring the botto m
three cards to the top of the pack (see pp.l70- l 72). The kings are now
positioned to fall, wit hout further manipulation, to the thjrd hand. Deal the
cards of the third hand face-up and all ot hers face..down.
You can. ify ou wish, alter the num ber of hands dealt. Once you grasp
the mechanics or the example just explained, the adjustments necessary to
stack cards for a diffe rent number of hands can be easily understood.
As was initially mentioned, trus stacking demonstration can be done blind-
folded. Indeed. that is how Mr. Earick p<:r.f'orms it. All actions requir-ed to
execute the stack can and should be done by touch alone, without looking
at the deck . At fi rst you should simply learn the mechanics of the shuffies.
Then s trive to p<:rlorm them without looking at the card s. E ventually.
thr·ough practice, you will gain the necessary feel - and a part icularly
impressive demonstration of card-table skill.
JThe reader will ~u the Vt-mon shulllt- transli:r as the basis of this sequcn~ .
•As mentio ned m the pre<·« hng tnck. rdeas•ng t h~ t anls secretly as _you make some
comment. before the shullle rs pei"C'c:rved to st.u-t, ,..,JI make the shu m~ itselfl~s.'! hesi-
tM t and studjc:d in exe<:ulion .
p 0 I< F. R 8 /, I N n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
he aces and kings are removed from the pack. The
kings are d eliberat ely distributed in the deck, and
the aces are placed on top. A poker game with five
players is proposed. Any one in t he group specifies
which of the five hands will get the kings and which
the aces. The performer cuts the aces into the pack,
th en gives the cards one riflle s huffle. Five poker
hands are now dealt in an e ntirely honest manner
from the top, delivering the kings and aces to the
hands designated by the spectators.
Edward Marlo, in his book Th~ Paunkd Shu/fll', 2 detailed a method l{>r
stacking four kings and four aces to be dealt to the dealer and a sclcct<:d
opponent in a game with t~e or more players. Mr. Marlo's system r·cquir·cs
five shuffies and some facile mental arithmetic.
Mr. Earick's work on this problem began after he read another Marlo
stacking method, "Four with One Shuffie'; in Rif/&Shu.!fkSY<Jt~m.J.l In that
article four aces were placed on the deck and, with one shufDe, were stack<.-d
for a five-hand deal. One drawback to this method, in Mr. Earicks opinion,
was that the aces fell to the fJ.rSt ha nd. In 1984, while workjng out a one-
shuffie method to stack the aces for any hand, he hit on an idea that made
possible a one-shuffie run-up of aces and kmgs to fall to any two players in
4
a five-hand game.
Begin by openly removing the kmgs and aces &om the pack. Set the kings
face-down in one group to your right, and the aces face-down in another
group to your left. The deck itselfshould rest face-down and sidewise behind
these two groups.
Explain to your audience that first you will rustribute the kings in the
deck, losing them. This process, however, is not as haphazard as you make
it seem. Though it is not appare nt to the spectators, precisely three cards
are set between each pair of kings. In doing this, you are stackmg the kings
for the deal, before the shuffiing begins. Through this bold stratagem Mr.
Earick cunningly eliminates one riffic shuffie.
You can set the kings three cards apart in the pack in one of two ways.
You can riffie the left thumb up the back of the deck and stop to form a break
for the insertion of each king. After slipping a king into the pack, you then
release three cards from the left thumb before inserting the next.
literature seems to be P.W. Miller's "To Set Up Two Hands, Threes in Each Hand, in
a Four Hand Game': Jean Hugard included tNs in More CarJManipulaliotM, No.2 (p.
22). In this run-up, Mr. Miller begins with three kings over three aces on top of the
pack. and stacks them for four hands in three shuffies.
2
Pp. 93-%.
3
Pp. 94-95.
~DaiWin Ortiz has also tackled this problem. His method, called "The Twofer Shuffie';
was recently published in Darwin Ortizal the Card TaiJ!e, pp. 63-66. Tackling the problem
with a divergent set of methodological premises, Mr. Ortiz devised a solution vastly
different &om that about to be explained. A comparison of both men's approaches will
reveal the various strengths and weaknesses.
However, Mr. Earick favors a procedure that appears less controlled and
more casual: With your left hand, cut approximately two-thirds of the deck
forward onto the table. With the right hand, pick up one of the kings and
flash its face to the audience. At the same time, riille the left thumb up the
near side of the larger packet and form a break under the top three cards.
This action is identical to that of holding back cards during a shuffie. You
have purposely placed the kings in a face-down pile to provide a reason for
displaying their faces before they are returned to the pack . These brief
displays create enough misdirection and delay to cover any small hesitation
as your left thumb separates the top three cards. Lay the first king face-down
onto the bottom portion ofthe pack, jogged for almost half its length beyond
the right end of the pile. Immediately lift the left hand's three cards from the
top portion and drop them onto the king, aligned with the pile beneath.
Return the left hand to the forward pile a nd separate another three cards
at the top as, with the right hand, you pick up another king and flash its face.
Set it onto the near pile, rightjogged for half its length, but also angled
somewhat inward at the right end (Figure 208). Lift the left hand's three
cards &om the outer pile and drop them onto the inner one, again aligned
with the pile.
\(208
\\'ith your right hand. pick up the third king and display its face as the
I ft thumb fonns a break under the next three cards of the outer pile. Lay
~is king rightjogged o n the inner pile. aligned with the first k ing. Drop the
~ef"t hand's three cards onto the inner pile. Then, with the right hand, pick
up the last king. Bash its face and set it into rightjogged position on the inner
ile. With your left hand, cut off about a third of the outer pile and drop
~hese cards onto the inner pile. With the same hand, immediately pick up
rhe remainder of the outer pile and drop it onto the rest. The kings all now
protrUde from the right end of the deck, and the king third down is angled
inward. This placement procedure is designed to give an impression of utter
casualness, as if it makes no difference where the kings are placed in the pack.
While there are only three cards between
each pair of kings, their separation is quite
apparent, and because the second king is
angled in toward you, the regular placement
209 of the kings is further disguised from the
audience's view (Figure 209).
Bring the hands to their respective ends of the pack and brace the left
end against the heel of the left palm as the right palm pushes the kings straight
to the left and flush. Thanks to the angle of the second king. it will automati-
cally become injogged. Friction will likely cause this card to straighten as it
is pushed leftward (Figure 2 10), but this is of no consequence, so long as
the card is jogged from the near side of the pack.
R emove your hands
fl·om the deck, leaving it
on the table, and relax as
you explain to the audi-
ence the purpose of this
demonstration: that you
will attempt to stack both
the aces and the kings in
\.. tf \
only one shuffie. The off-
~"1t\ hand placement of the
\ / kings in the deck, the
/ squaring of the cards
O with just the palms, and
21 the hands leaving the
TA N DEAf IN O NE .......................................•....... 185
<
c.leck on the table - all these things deepen conviction that the kings are truly
lost in the pack . If there are spectators seated at your sides, you may wish
to slic.le the top few cards slightly inward to disguise the injogged condition
of the king, or lay your hands casually on the table, just a few inches to each
side ofthe pack (seep. 175, Figure 203). However, ifthe jog is not too broad,
and the sides of the pack are left a bit uneven when you push the kings flush,
the injogged card should not be conspicuous, even from the sides.
"To make it challenging, let's say there are five players in the game. Who
would you like to get the kings?" Ask this ofanyone in the group. '1\nd who
will get the aces?" This can be asked of the same person or someone else.
You must now do a very simple calculation: Picture how many hands lie
bt:twcen the hand elected to receive the aces and that d esignated to get the
kings. In determining this, always count clockwise, just as you will deaJ. A
few examples should make this clear:
1) The spectator decides that the Jecond player gets the aces and the fifth
player the kings. There are two hands between the second and the fifth.
Therefore, you remember two.
2) The Jecond player gets the aces and the thu:d player the kings. There
arc no hands between the second and third, so your number is zero.
3) The third player gets the aces and the /irtJt p layer the kings. Count-
ing clockwise, there arc two hands between the third and the first.
Remember two.
Pick up the aces, briefly display their faces, then drop them face-down
and square on the pack. With both hands, grasp the pack by its ends in
preparation for a rille shufile, and use the right thumb to press down and
inward on the injogged king, forming a break above it.
As you conllnn the conditions stipulated by the audience, make these
secret adjustments to the cards: From the right thumb silently release the
number of cards you have calculated, letting these fall onto the bottom
portion of the pack. Then, with the left hand, grasp the bottom portion and
shift it approximately three-sixteenths of an inch (th e width of a white
bor·der) to the right. The fingers of both hands hide this small adjustment
from the audience.
Release four cards from the right thumb, letting them fall onto the bottom
section (Figure 211, left thumb moved aside) and, with the left hand,
immediately shift this section back to the left. This steps the four-card block,
causing it to project slightly at the left end of the pack (Figure 212).
186 .... . ... . . .......... ... ..................... TA N DEll/IN O NE
. . . .. . .... . . .. . ..... .... ... .. ... . . .. ... By F O R CES UN SE EN
{1 211
Now riflle the left thumb up the near side of the pack and, with the right
thurnb. catch a break under the top card (an ace). Next perform a double
undercut, moving the top card to the bottom of the pack in this fashion:
With the lett hand, undercut roug~y three-q~arters of the deck, carrying
it forward, then back and onto the nght hands quarter pack. Next, with
the right hand, smoothly undercut all the cards below the break forward,
and place them back on top. Throughout these cuts the left hand maintains
and hides the stepped block .
As you make the double cut explain, "F1.rst let's lose the aces in the pack."
On 6nishing the cut immediately riffie the right thumb up the inner right
corner ofthe deck until you hit the break caused by the stepped block. This
block acts like a short card, four cards thick, and can't be missed. When you
feel the break, continue to riflle four more cards off the right thumb. Then,
with the right hand, cut the remaining cards of the top portion to the right,
in preparation for a riffle shuffle. With the left forefinger, contact the top of
the left hand's portion and drag the top card slightly leftward. You can now
remove the hands from the cards, leaving the two packets on the table as
you say, "Five hands -aces and kings to be stacked - one shuffie. Well, here
we go." This little pause in the action performs three functions. It builds
dramatic tension; it emphasizes the extraordinary conditions under which
you are working; and it subtly shows, to those who know of such things,
that y ou are holding no breaks that w ould aid in stacking the cards. The
stepped block is masked by the slightly jogged top card of its portion, thus
allowing your bands to leave the packets. This subtle moment is one of the
most refined touches in the exhibition. Don't
overlook it. However, don't say or do
anything here that would overtly suggest that
you are trying to prove something. Treat this
interlude as a moment in which you are
'nm
BY FoRcEs UNSEEN 0 ••• • •••••• 0. 0 ••••••••••••• 0 ••••• 0 •••••
I 213
J
I'
214
needed to complete the display. Turning up only the aces and kings as they
are dealt, clarifies the effect for the audience.
If th~ Icing<~ fall to a hand before th~ acu, five rounds must be dealt, as
the first card delivered to the kings hand will be an indifferent card. This
situation is the more desirable of the two possibilities, as an extra touch
of showmanship can be exercised. Instead of dealing cards face-up to
the ace and king hands, deal the first round of cards all face-down, as
you would for stud poker. On all subsequent rounds, deal the aces and
kings face-up to their hands. As the fifth round is completed, the four
kings will be face-up in their hand; but the ftfth card dealt face-up to
the ace hand is an indifferent one. It appears as if you have missed at
the last possible moment. Look surprised and hesitate-just long
enough to let the situation register, but not long enough for the
spectators to anticipate the climax. Then say, "Never forget the ace in
the hole." Turn up the hole card to reveal the fourth ace and conclude.
The idea of using blocks to simplil}r and accelerate riffie stacking was first
suggested by Edward Marlo in RiffLe Shuffle Sy.Jtel1'l.J, 5 where thwnb breaks
5
Pp. 91-95.
were used to segregate blocks during the shu.ffie. Later; in The PatenleJ
Shuffo, 6 Mr. Marlo explained the idea of using stepped blocks in riffie
stacking. Eightyears after this, Karl Fulves, in his book Riffle Shu/fo Technique,
Part III. asserted that these ideas were derived from work shown Mr. .Marlo
by Harry Green? Mr. &rick's ideas using steps are based on those pub-
lished in the Marlo treatises.
Readers familiar with Derek Dingle's e£fect "Roll-over Aces" 8 should note
that the above shuffie system can replace the initial open insertion of the aces
into the fanned deck. Instead, you can simply drop the aces onto the pack
and introduce them into the setup of royal flushes with a single shuffie. This
idea is both practical and appealing.
After having developed the one-shuffie method just taught, Mr. Earick was
asked by his friend, Eric Evans, if it was possible to achieve the same end
starting with both the kings and aces on top of the pack, rather than inserting
the kings into the deck. Mr. Earick found a one-shuffie solution an insur-
mountable problem, but he did contrive a two-shuflle method. The shuffie
system Mr. Ea.rick devised to stack the cards from this position used the same
techniques of steps, double-ended stacking and shuffie transfers to achieve
the desired r esults. However; for purposes of performance, rather than
puzzle solving, it is felt that pre-stacking the kings under the guise of losing
them in the pack is the superior approach. In the eyes of an audience,
dispersing the kings in the deck, then stacking both aces and kings to order
in one shuffie, appears far more fonnidable than starting with all the desired
cards on top and using two shuffies to achieve the same results. Nevertheless,
some students of riffle-shuiDe work may perceive the two-shuffie approach
as an interesting exercise. For those readers, here is a swnmary:
As stated, the kings are on top of the pack, with the aces directly under
them. Begin by shifting the bottom half of the deck slightly to the right,
releasing three cards onto this portion and shifting it back to the left. This
creates a three-card step at the left end of the pack.
Form a right thumb break under the top card of the deck (a king) and
double undercut it to the bottom while you maintain and hide the step with
the left fingers.
6J>p. 60-62.
7 See pp. 147-148.
8 Ref. Fulves's Ri/foSbu/fle Technique, P~liminaryNotLJon Part TUIO, pp. 92-%.
With the right thumb, riffie up the right rear corner of the pack until
ou hit the gap caused by the step. Release three more cards from the
~ght thumb and cut all the cards above this point to the right in prepa-
ration for a shuffie. (Here you can pull the top card of the left- hand
portion slightly to the left to conceal the step, then remove your hands
from the packets as you talk.)
Begin the shuffie by dropping at least one card (a king) from the left
portion. Sh~e norm~y for a few cards, then release a large block from
the right portlon, holding back the top three cards (the rem~ kings).
Drop all but nine cards from the left thumb (the stepped block, the three
cards above it and three more below).
Drop one card from the right thumb, three from the left (the three
below the step), and another card from the right. Complete the inter-
lacing by slipping the last right-hand card above the stepped block and
between the two groups of three as you lower them onto the deck. This
flrst shuffie stacks the kings.
Push the packets flush, anglejogging the left end ofthe right-hand packet
inward. The left inner comers ofthree kings now project slightly at the near
side ofthe pack, as do the comers ofthe other right-hand cards below them.
With your left thumb, push the uppermost king square into the pack.
Below the two remaining anglejogged kings lies a large angled block,
which is separated from the kings by another block. On top of the angled
block are the four aces. Without disturbing the jogged kings, press the tip
ofyour left thumb down onto the anglejogged block. Then, with your right
thumb, lift all the cards above the block. This permits the left hand to
undercut the angled block and those cards below it. Place this portion
squarely onto the pack.
The cut brings the aces back to the top while preserving the anglejogged
condition of the two kings. The upper king of this pair corresponds to the
injogged king in the preceding one-shuflle handling. With the left thumb,
press down on this card, forming a break above it. You can now ask the
audience to nominate the hands to which the kings and aces will fall. Given
this information you proceed to stack the aces, using precisely the same
shuffling pattern employed in the one-shuffie version.
'See Riffle Shuff!~ TrchmiJu~, Pndiminary No/u on Parf One, p. 2 I. for the
original statement of 1his problem.
p
We will take each case and its solution in order, beginning with one player
dropping out, then two and three. Following this we will examine the
adjustments necessary to accommodate one and two players joining the
game. In all cases, the aces begin at positions five, ten, fifteen and twenty
from the top, stacked for a five-hand deal.
THE CASE OF THE INCONSTANT PLAYER .. .. ... • .. ••••• ...... • 193
a
Riffie your left thumb up the inner side of the pack and,
J player with your right thumb, catch a break under the top two
feavu: cards. Then, with the left hand, undercut a packet offifteen
~====:::/ cards or less and place it on top of the deck. With your right
hand, immediately cut all the cards above the break to your right in
preparation for a riffie shuffie. (This double cut shifts the top two cards to
the bottom of the right-hand packet, removing them &om the stock. The
task could be accomplished with a block transfer, but this adds an extra
shuffie to the sequence. In Mr. Earick's opinion the double cut is the
preferable course of action.)
You will now perform a Zarrow-style shu.ffie (see pp. 120-122), holding
back a block of/we cards on the left and shu.ffiing the right-hand packet
under this block. Begin the shuflle by releasing some cards &om the left
thumb. Because the left packet is much larger than the right packet, you
should also release the left-hand cards more rapidly as you shu.ffie. Hold
back five cards on the left and a few cards on the right. Release the right
hand's final cards, and drop the five cards from the left thumb on top. These
five cards will be transferred as a block &om the left packet to the right when
the shuffie is completed. With the forefingers, spread the top blocks in the
usual fashion, to provide cover as you disengage the interlaced corners
below. Having done this, push the packets into each other until only three-
quarters of an inch remains unsquared. At this point, quickly revolve the
hands palms toward each other on either side of the pack and finish push-
ing the packets together, injogging the right-hand block. This injogging
action is the same one employed in the automatic rear jog (p. 3-5). The
fingers of both hands con-
verge in front of the pack
as you square it, helping to
conceal the configuration
of the cards (Figure 215).
This completes the first
Zarrow shuffie and block
transfer. With the tip of the
right thumb, contact the
inner right corner of the
stepped top block and lift
it, cutting the block, with
194 ................... THE CASE OF THE l NCONSTilNT PLAYER
c
. . . . .. .. . . ... . .. .. ... ... . . . . ..... ... . . Bv FoR c J~ s UN SEEN
shuffies make your work easier. The mnemonic follows the same rule as the
previous case: Since you are converting/we hands to three, you remember
/ive-three-fwe-three.2
This case requires flve shuffies and a slip cut to achieve our
3 pfayerd goal. Begin by getting a break under the top hve cards of
feafJe: the pack and undercutting roughly twelve to the top. Then
~====~ cut all the cards above the break to the right for the first
shuffie. (An ace is now on the face of this packet.) Perform a Zarrow shuffie,
slipping the right-hand packet under the top /our cards of the left-hand
packet. Cut at the step, carrying the top portion to the right, and shuffle it
under the top five cards of the left-hand packet.
Cut the top portion to the right and shuffle it under the top two cards
of the left-hand packet. This time, as you push the right hand's packet
into the left's, press the left forefinger down on top of the deck. This
pressure is calculated to cause the bottom cards of the right-hand block
to spread as you push it leftward and swing its right end forward. This
forms a small fan of cards at the inner right side of the pack. The bottom
card of the fan is the ace that was cut to the bottom of the right-hand
packet, previous to the hrst shuffie.
Bringyour right thumb down on this card (Figure 216) and form a break
above it as you push it and the others square. Then cut at the break, ca.nying
the top portion to the right. This neatly transfers the ace from the bottom
of the upper portion to the top of the lower portion.
.'
L
216
2
For the record, this conversion also can be made with four four<ard transfers, followed
by a slip cut.
not follow the same logic used in previous ones, but it should not be hard
to remember tJi.."t-.li.:r:-rJix...tix.-fwe. You might think of the five as representing
the nwnber of hands for which the aces were initially stacked; or it may
remind y ou that you shu.ffie under five cards on the fifth shu.ffie.
These five sequences cover every possible choice of hands from two to
seven. Four or five shuffies are required in each case, but Mr. Zarrow's fine
shuffie is amenable to quick, efficient execution. Ifyou tell an interesting tale
as you work, the shuffies will go by swiftly. And remember-you are
pertorming a staclcing demonstration, so a series offour or five shuffies, while
excessive under other circumstances, is perfectly acceptable here.
Having come this far, the reader is now prepared for a remarkable
creation of Mr. Earick's, in which the principles taught above are cleverly
exploited to attain a truly impressive feat of card control.
217
player second &om his left was unexpectedly called away, leaving Slim with
five stacked hands and only four players.
Had it been anyone else, the night would have been a bust. But Slim just
calmly sat there shuffiing the cards. And as he shuffied he did an incredible
thing: he restacked the five hands for four players. On top of that, he made
the best of the situation by giving the three aces that were to go to the
departing player to the first man, improving his hand &om a fUll house, eights
over fours, to aces over eights - the best combination possible.
During the telling of this tale, the performer shuffies the cards. He then
deals out four hands of poker, giving each man exactly the cards promised:
a full house, aces over eights, to the first; a straight flush in diamonds to the
second; ditto in hearts to the third; and the royal flush to himself.
This presentation for the Fulves shuille problem employs a series of five
Zarrow shuffles with block transfers, and produces as striking a display of
card stacking as one could wish. As with the previous stacking demonstra-
tions, the spectators' appreciation of the feat grows with their understanding
of its difficulty. It is wise, then, to make this clear beforehand. Mr. Fulves's
ploy, mentioned in the last article, is a good one: Have someone in the group
who is less experienced in card playing arrange the four aces, stacking them
200 ................................. .. .. A LtTTLEBtTPATTER
........... . . . . . . . . . . . . . ..... . ... . .. ... BY F o R CE s UNS E EN
for a fiv~han~ deal. The tim~ ~d thought it takes him to accomplish this
onenh'
r-- •
",U dm.-e
.
home the. diH1culty of perfonnin~ 0
the task
·
seere tl'J'· '-TIOU
might then perform a stackmg demonstration, such as "One Shuffie - One
\\rmnet·" (pp. 173-1 77) , preparing the group for the tale of Fast-stack Slim.
It is also a good idea to use a ~econd deck with the five hands already stacked,
since the search and ordenng of t~venty-five cards is unlikely to keep an
audience perched on the edges oi their chairs. Since Slim is said to have
sw-itched in the stacked deck, there is no reason you shouldn't openly
e.-xchange decks at that point in the story.
The arrangement of the twenty-five-card stack &om top to face is:
ALi l' TL £ BIT P.~ TT ER ................ ...... .... ..... ......... 201
4
BY FoRcEs UNsEEN .... . ... . ........... . ........ . ........ .
deal came round to him and he saw his chance to move. The phone rang
and Hoover got up to answer it. A moment's distraction was all Slim
needed to switch decks, and he did it in the blink ofan eye. Let me show
you what he had prepared for the occasion."
Here you introduce the stacked deck and deal out five face-down hands
of five cards each. Starting with the first hand and working around to the
fifth, turn up each hand and spread its cards as you comment on them. "Slim
had prepared a full house for the Reverend Sunday, eights over fours.
Hoover was to receive another packed house: aces over twos. Fitzgerald,
a nine-to-king straight flush in diamonds. Baerwould get the same in hearts.
Slim had been generous, but never so much as to himself: the royal flush in
spades was his."
Pick up a card &om the face ofthe first hand (the four ofclubs), and place
it face-up in your left hand. Pick up a card &om the face ofthe second hand
(the two of clubs) and place it face-up onto the four of clubs. Continue to
pick up cards one by one, moving clockwise from hand to hand in rotation
as you restack the deck.
While you deliberately restack the hands, say, "Now, as I pick up these
cards, stacking them again in the order Slim had them, I'll make a little
confession. These aren't the actual hands he dealt that night. The men he
was playing with weren't fools, and five pat hands like these are enough to
tip off a room full of rubes. Slim gave his companions plenty to be pleased
about, but he was a lot more subtle. I've stacked these five hands because
they are easy to remember: full house, full house, straight flush, another one,
and the royal flush in spades."
Drop the stacked packet onto the balance of the deck. "Hoover hung
up the phone and walked back to the table. Slim started to deal five hands,
but Hoover stopped him. 'Sony, boys,' he said. 'You11 have to count me out
on this one. That was Charlie Curtis on the phone. Something's up. I've got
to see him for a few minutes. Don't break up the game. I'll be back in an
hour. Enjoy yourselves.' With that he left.
"And there sat Fast-stack Slim, holding the sweetest .6ve-hand stack ever
conceived, but with only four players to deal to. A break like this would have
made most men chew nails, but Slim didn't blink an eye. He just started
shuffiing the cards."
You do the same. You perform five Zarrow shuffies to this pattern: Get
a break under the top two cards ofthe pack and hold it with the right thumb
202 · · · · · · · · · · · · · · · · · · · · · .. ..... ...... . . . A LITTLE 8 IT P ATTER
--
....... . . . . . . . . .. . . . . . . . .. . . . . . . .. . .. . . . B Y F ORCES UNSEEN
as. with the left hand. you undercut a packet of about ten cards to the top.
!Jnrnediately cut all_the~ above the break to the right and begin the first
shuffie. Secretly shp the t"tght-hand packet under the top five cards of the
left-hand packet as you push them together and form a small angled step
between the two large blocks. Cut the stepped portion and the five cards
bove it to the right and shuffie again, this time slipping the right-hand packet
:nderfour ~s. On the third shuffie, slip the right-hand packet under five
cards; on the fourth, under four; and on the ftfth, under five. This pattern is
easily remembered: five-four-five-four-five.
While shuffiing, you explain, 'What Slim did was remove 6.ve cards from
his stack as he shuffied the deck. This is hard enough in itself, but Slim went
(Urther than that. Since Hoover wouldn't be there to receive the full house
of aces and twos, Slim took the aces from that hand and put them in the
first hand to make the best combination possible, a full house of aces and
eights. And while he did all this, he also adjusted all the other cards, so that
each hand he had originally stacked would still go to the same player. H e
wasn't called 'Fast-stack' for nothing."
The combination ofaces and eights is a necessary outcome of the shuflle
method, so Mr. Earick shrewdly exploits it to enhance the effect. As you
flnishyour explanation, the shuflling should also reach its end.
"When Slim was done, he let Max Baer cut the deck." On this line you
perform a tabled slip cut, sending the top card to the center of the pack; that
is, somewhere below your twenty-card stock. This brings the ace of clubs
to the top. "Cutting the cards didn't bother a man like Fast-stack Slim. He
just took them back and began to deal." Deal the cards face-up into five
poker hands as you comment: "Sunday got an ace, Fitzgerald a nine, Baer
another nine, and Slim got the ten of spades." Continue this commentary
as you build the hands. As promised, the flrst player gets a full house, aces
over eights; the second gets a straight flush in diamonds, nine through king;
the third player gets the same in hearts; and the dealer receives the royal
flush in spades. All hands arrive neatly ordered in numerical sequence,
making their natures immediately apparent to the audience.
"Slim walked away that night with enough cash to retire on. Some say
he did just that. Now, ifyou ever have the chance to ask a card mechanic
his opinion ofwhat Slim did that night in Hoover's room, he'll tell you it can't
be done. It's impossible to res tack four hands from five, while under fire, as
Slim did. They might be right. Remember, I did tell you that Fast-stack Slim
was a legenJ among card sharps."
A LITTLE BIT PATTER ........................................ 203
BY FoRCES UNSEEN ............................. ........ . .
A final note: After reading this trick in manuscript form, Ken Krenzel
observed that it is entirely practical to eliminate the deck switch in both the
stoxy and action. Just routine your card act so that those tricks that precede
"A Little Bit Patter" use only the tWenty-seven unstacked cards of the deck,
leaving your poker stack intact. You can then perform ':A Little Bit Patte,·"
with a deck that has been in play for some time. Consequently, you can
enhance Slim's reputation by saying that he stacked the five hands on the
spot. Nor will your reputation sufler &om use of this simple ploy.