MORE

MAGICIAN
FOOLERS

A Further Collection of Magic

[Designed to Fool Magicians

as well as Laymen
 •
TABLE OF CONTENTS

Trick Page

INTRODUCTION 2
COLOR CHANGING SILK
I'LL GUESS YOUR WEIGHT 5
OUTSTANDING 6
BACKFIRE 7
SUPREME CONTROL
A CUT ABOVE
9
10 •
ALL'S WELL 11
CHINAMAN ' S CHANCE 12
HIDDEN INTRUDERS 14
DIRECT THOUGHT 19
FACE UP DOUBLE REVELATION .................. ... - . - .. .. . 21
PSYCHIC LOCATION 23
THE BREATHER CRIMP 24
•
INTRODUCTION

This sequel to Magician Foolers (published in 1989), will be found to

be written in a similar manner: No philosophy, no presentation angles
(other than those necessary to the trick) and no lectures on why the
tricks are put together the way they are. What is offered here is a
collection of professionally tested effects which are capable of being
adapted to any performing style,

The writing style is similar to the way I lecture -- rather rapid-fire

(so as to get as many tricks in as possible) -- spending extra time only
on those aspects which I feel are new or difficult.

A certain fundamental knowledge of the student is taken for granted;

there are plenty of other books on these subjects. This is not to say
that all of the tricks contained herein are out of the reach of begin-
ners; some are easier than others. However, those willing to perform
411 the kind of magic I offer must be willing to practice and research moves
unfamiliar to them.

Most of the tricks in this book should be studied with the items needed
in hand. If one reads carefully and takes it slowly, the tricks will
• be found to be less difficult than at first reading.

One final point. I make reference in many tricks to the "Breather

Crimp." To my mind, this is one of the most valuable tools in card
magic. Although I explain it thoroughly in the lecture, a description
of it will be found at the end of this book.

Remember, as you study these tricks, that I have performed every one of
them professionally. The only way you will experience the joy of
performing them is to practice until perfection is achieved and then
try them on laymen (or magicians for that matter).

•
2
 COLOR CHANGING SILK

This routine is radically different than most color changing silk

routines. First, because there are two color changes, and second
•
because the element of sleeving plays a big part in the deception --
especially the one at the end.

EFFECT: The usually color change of a silk in the hand, except that
during the phony explanation, the performer pretends to hear someone
yell "green" instead of the expected "red." Shrugging his shoulders as
if to say "...if that's what you want...," the silk comes out of the
.hand a third color...green! At most times during the routine, both
hands are shown empty, and at the end, there is nothing in the hands
except the green silk.

PHASE I

METHOD: For this routine, which I have been performing for over thirty
years, you will need two small dye tubes and three silks, a red, a green
and a yellow. Since I always use this routine as an opener, I will
explain the distribution of the props in that context. Load the red
silk in one tube and place it into your right sleeve, open end toward
the opening of the sleeve. Load the green silk into the other tube and
place it in your left sleeve, open end away from the opening of the
sleeve. The yellow silk is in your upper jacket pocket.

As the left hand removes the silk from the pocket, the right hand drops
and allows the tube to fall into the fingers. Immediately, the right
second finger is poked into the open end of the tube. Bring the right
hand up and take the silk by one corner by the first finger and thumb.
•
The second finger is curled in and the tube lays flat against the palm.
Turning the body slightly left, open the left hand with the palm facing
the audience. Pull the silk down through the left fingers a couple of
times. On the third pass, the right second finger is straightened and
the left fingers close around the silk and tube. The tube is left in
the hand as the silk is drawn through.

Turning the body slightly right, the tube is thumb palmed in the left
hand as that hand curls around the hanging silk and strokes it downward.

Make a fist with the left hand and poke the yellow silk part way down
into the top of the tube. Turn the left hand over so the back of the
hand is up. Ask the audience to shout out their favorite colors. As
you pretend to hear the color "red," the right hand taps the back of
the left and the left little finger relaxes allowing part of the red
silk to pop out.

Continue poking with the right hand as follows: Poke first with the
first finger, then the second and again with the first. Now, turn the
left hand so that the fingernails are upward and pull a little more of
the red silk out of the little finger side.

Turn the left hand over -- back of the hand upward -- and repeat the
three stage poking with the right fingers. Again, turn the left hand
41,
3
 over and pull out a little more of the red. Continue in sort of a
rhythm until there is only a small corner of the red silk still inside
the left hand.

On the final poking action, poke with the first finger, then the second.
Instead of pulling the second finger out, it is snapped against the
right palm taking the tube with it. Immediately, the first finger is
inserted into the left fist for the final poke.

Turn the left hand so that the silk is hanging from the little finger
side. The right hand approaches the silk with the first finger on the
outside toward the audience and the rest of the fingers straightened
behind the silk. The tube is still on the left second finger hidden by
the silk.

Pull the silk free of the left hand and let it drape over the right
second finger concealing the tube. Slowly, open the left hand to show
it empty.
PHASE II

Offer to explain how the trick is done. The left hand takes the silk
as the right second finger curls toward the palm and moves to the right
pants pocket.
While in the pocket, remove the tube from the second finger, turn it
around and poke as much of the silk out of the tube as you can. Remove
the hand from the pocket showing that you use another silk -- you also
have the tube finger palmed.

The left hand takes the yellow silk from the right and tucks it into
the upper coat pocket as the right hand takes the red. The tube is
positioned on the second finger as before. Go through the stroking
motions of PHASE I until you reach the point where the tube is thumb
palmed in the left hand.

As you explain that the red silk must be secretly held in the left hand,
go through the poking of the silk into the left fist, continuing to
alternate with the first and second fingers. When the entire silk is
in the tube, steal the tube as before and go straight for the silk in
the breast pocket with the right hand.
Take the yellow silk with the right hand and drop that hand to your
side. Go through the usual patter about keeping the left hand relaxed
and natural, and as the left hand is slowly opened, the right second
finger, behind the yellow silk, is curled back toward the sleeve and the
tube is allowed to slide down it as the arm is raised.

My patter here is: ...and if the left hand is kept relaxed and
natural, no one will ever guess that you have anything in your hands
except this yellow silk." As attention is drawn to the right hand's
silk, the left drops to the side and catches the other tube. This tube

•
is immediately thumb palmed with the open end down.

4
 PHASE III

At this point, you explain that the reason you use a red silk is that
this is the color most often yelled out. Poke the yellow silk into the
top of the fist and have the audience call out their favorite colors.

Point out how prevalent the color red was and start to tap the back of
the left hand. Stop, as you look at someone in the back and say: "A
wise guy in the back said green." Start to tap again, and again stop
as you shrug your shoulders and say, "...well...I aim to please." Tap
the hand and allow some of the green silk to pop out.
Continue with the poking and pulling out of the green as before. On
the final poke, you steal the tube as before, but will now get rid of
it in a very clever manner.

Bring the right hand up to the silk just below the left fist. The first
finger is on the audience side of the silk and the second finger is half
straightened behind. As both hands move up slightly, you will see that
the tube is almost touching the opening of the left sleeve. With the
help of the right thumb, the tube is pushed off the second finger and
drops into the sleeve as the right hand continues stroking the silk
downward and outward. The right hand movement to the silk, to the
sleeve and the stroking must be done in one continuous movement.

With an obviously empty right hand, pull the silk free of the left and
slowly open that left hand. The right hand stuffs the silk into the
upper pocket and as you take your bow, both hands drop to the sides and
both tubes are retrieved.
You can dispose of the tubes while getting the props for your next
trick, or do as I do: The right hand comes up and takes the silk from
the pocket, transfers both silk and tube to the left, which pockets
everything in the inside right jacket pocket.

I'll Guess Your Weight

This is an elaborate version of a similar trick by Nick Trost. This

version goes much further than Nick's in that it also involves a
selected card.
EFFECT: A spectator cuts off an unknown number of cards. The performer
proves that he can cut off any amount by cutting off the exact same
number as the spectator. After all cards are replaced, the performer
takes a quick look at the faces of the cards. The spectator names his
card, and the performer not only tells him how far down in the deck it
is, but cuts off that very number and turns over the selection.
METHOD: Make a Breather Crimp and place it at the bottom of the deck.
Shuffle 24 cards below it and you are ready. Spread the cards for a
selection, making sure that it comes from the top half of the deck.
While the card is being shown around, grasp the deck in the right hand
from above. Relax the fingers and the bottom half, below the crimp,

5
 will fall into the waiting left hand. Have the selection replaced onto
the left hand cards and drop the other half on top.

Turn your head away and ask the spectator to cut off a packet of cards
-- caution him to take less than half. Turn to face him as you explain
that since you limited him to half the deck, you will do the same for
yourself. Deal the top 26 cards into a pile, reversing their order.
Place the rest of the cards aside.

You now claim that you didn't have .to count off 26 -- you could have
simply cut off that exact amount. Ask the spectator to count his cards
so that you may prove your claim. As soon as you hear the amount,
quickly cut to, and including, the crimp. Count these cards back onto
the remainder and you will find that you have the same amount as the
spectator.

Now, place your cards onto the balance of the deck placed aside earlier.
Have the spectator place his cards onto all. The selected card will now
be at a position 2 cards further down in the deck than the number he cut
off earlier; if he cut 16 originally, his card will now lie 18 cards
down. Also, the crimp will be directly above his card.

Spread the cards face up and scan them as though you were memorizing
the cards and their positions. Square the cards face down. Ask for
the name of the card, ponder its whereabouts and announce its position
in the deck. Assuming it is 16 down, you would say something like:
...so, if I cut exactly 15, your card would be right here." With that,
cut to the crimp, count the cards off to the side and turn over the next
card to end.

OUTSTANDING

What we have here is a much simplified and easier version of a trick

called "Standing Alone" from The Vernon Chronicles. The effect on
laymen is wonderful and the trick will puzzle magicians as well.
EFFECT: The magician offers to show how he uses the process of elimin-
ation to locate a selected card. A selection is replaced to the center
of the deck. Explaining that, since the selection is near the center,
the top and bottom thirds of the deck can be eliminated, the center
third (supposedly containing the selection) is turned face up.
Immediately, the deck is spread to show all cards face down except the
selection which is face up in the center.

METHOD: Have a card selected, and while it is being shown around,

secretly reverse the bottom third of the deck face up and hold a little
finger break above it.

Take back the selection and insert it, from the rear, into the break.
When it is about half way in, release the break and turn the cards
around to give a quick glimpse of it going into the deck. Comment on
how it is really going into the center(?) of the deck (magicians will

41, suspect that you may have been doing "tilt"). Push the card the rest
of the way in and secure a break above it.

6
You now explain that knowing that the card is in the center allows you
to eliminate the top third of the deck. Lift off about a third of the
deck and set it on the table.
0
Explaining that you can also eliminate the bottom third, lift off all
of the cards above the break to show an apparently face down third in
the left hand.

Turn the right hand cards face up and give them a quick spread between
your hands, claiming that the selection is known to be among them.
Square these cards, still face up, onto the others. Place the tabled
cards face down onto the rest, holding a break under this top third.

As you approach the table, secretly reverse all the cards below the
break face up. Spread the cards on the table and it will be found that
all the face up cards have turned face down except the selection.

Your closing patter might be: "Knowing that your card is one of the
face up ones...it's an easy matter to eliminate all but yours."

BACKFIRE

Larry Jenning's "Open Travelers" has been one of my favorite laymen

effects for years. While playing around with an idea involving coins,
I got the idea that it might work with cards as well. This trick is the
result.

EFFECT: The magician shows how cards can be invisibly palmed by causing
three fours to travel over and join an Ace of Spades. The third four
refuses to travel and the reason is shown to be that there are no fours
for it to travel to -- the cards are now shown to be three Aces of
Spades and just the one remaining four. All faces and backs are cleanly
shown.

METHOD: For this great effect, you will need a double-faced card with
an Ace of Spades on one side and a four of hearts on the other (this is
a standard d/f card in a deck of them).

You will also need a Four of Spades, the Four of Diamonds, and two Aces
of Spades.

Set the cards up as follows: Place an ace, face up, onto the table;
onto this, goes another face up ace; then, the d/f card with the Four
of Hearts uppermost; next, the face up Four of Spades and finally, the
face up Four of Diamonds.

With the cards face up in the left hand, deal the four of diamonds into
the right hand. Take the Four of Spades under the diamond and spread
to the left. As you take the heart, do a buckle-count and take two
cards as one.

Turn the right hand over and use the fan of cards to point to the left.
hand ace of spades; this clearly shows the backs of the fours. You are

7
 explaining that the ace will play the part of a hole card which the
fours will invisibly join.
Replace the fours face up onto the ace and turn the packet face down.
Deal the top ace face up to the table and turn the packet face up. Deal
the Four of Diamonds into the right hand. Take the spade on top of the
diamond and square. Next, place the remaining two cards as one onto the
spade. Flip these cards face down onto the tabled ace.

Pick the cards up in the left hand. Deal the top three cards (all
thought to be fours) one at a time into a face down pile. This leaves
two cards, which are handled as one. Carefully, turn this card(?) face
down and place it off to the right.

Take the face down cards into the left hand and pretend to palm the top
card (here, you may use the Findley "Tent Vanish"). Show the empty
right palm and claim that the card is invisibly palmed. Bring the right
hand over the ace, and with a sweeping motion, spread the ace to the
right to expose the four of hearts, which you have invisibly added to
your hole card.

Take the other cards face down, from above, in the right hand, fingers
at the far edge, thumb at the near. The left fingertips now slide the
bottom card out about halfway to the left. Turn the right hand over to
show the spade and the diamond. As the right hand turns palm down, the
left fingertips contact the face of the Four of Spades and push it di-
rectly into the right palm. The remaining two cards are taken away by
the left hand.

As the left hand drops its two cards to the table, the right drops onto
the ace packet, adding the palmed card. Sweep these cards into the left
hand, square the cards and pull the bottom card out to the left, leaving
two cards in the right hand held from above as before. Slide the first
finger back toward the thumb and pinch the cards as the other fingers
let go. This will snap the card(s) face up end for end. Place these
cards as one square onto the Four of Hearts and table this packet face
up.

Pick up the two face down cards and do the pretend palm, or tent vanish,
of the top card, calling it the Four of Spades. Bring the right hand
down onto the ace packet and spread to show the arrival of the spade
between the heart and the ace.

Snap the left hand cards face up as before and replace them into the
left hand. Immediately, the right hand grasps them from above with the
thumb at the left side, second and third fingers at the right and the
first finger curled on top. Slide the first finger to the left, pinch
the cards against the thumb and let go with the other fingers. The
card(s) will snap face down sideways.

Use this card(s) to scoop up the others, adding it,face down, to the

• bottom. As soon as the cards are squared in the left hand, the right
fingers slide the bottom Four of Diamonds out, show its face and deal
it face down onto the table.

8
The right hand comes back to hold the other cards from above, and
immediately, the left hand reverses, face up, all the cards below the
top one. Drop these cards onto the tabled card and pick the packet up,
placing it into the left hand.

You now deal the top three cards, one at a time, into a face up pile on
the table, showing three aces of spades. Take the remaining card(s)
with the fingers on top and thumb below (stud deal position). Turn the
right hand palm up to show the face of the diamond and use it to scoop
up the others.

Turn the cards face down and deal them into a pile, dealing the last
two as one.

Your patter during this last phase is: "I can never get the last four
to join the other fours...the reason being...there are no other
fours."

SUPREME CONTROL

With this clever method, you can achieve the exact same effect as those
using difficult moves such as the Stevens Control. In effect, the aces
are clearly seen to be shuffled deep down into the deck. Instantly,
without any cutting, they are shown to be back on top of the deck.

METHOD: All you need is to have a breather crimp on the bottom of the
deck. Show the four aces and cleanly drop them on top of the deck.

Separate the deck for a riffle shuffle, taking the top half to the
right. Point out that the aces are on top of this half. Begin the
shuffle by letting about 5 cards fall from the bottom of the right half.
Then, let some cards from the left half fall and shuffle normally until
you have three cards left in the left half and at least four in the
right.

Let the right hand cards fall and then the left three cards. What you
have done is to position the crimp a few cards from the bottom and
placed three cards onto the aces. Square the cards very fairly and
point out that the aces have been shuffled "...only a few cards down
from the top."

Separate the cards again, taking a little less than the top half to the
right. Again, point out that the aces are only a few cards down in this
half.

As your thumbs lift the back of the cards preparatory to the shuffle,
you will see a small break near the bottom of the left half where the
crimp lies. Shuffle the cards evenly until this break is reached. At
that point, stop the shuffle of the left hand cards and continue with
the right until there are three cards left. Drop the crimp plus a few
more from the left half and continue shuffling the right hand three
cards into the others.

9
 Square the cards pointing out that the aces have been shuffled "...a
little deeper, but are still close to the top." At this point, you can

0 say that this is a common control --"knowing how far down the aces are,
it is easy to remove the unwanted cards to bring the aces back to the
top".

You now explain that it is impossible to control the aces if they are
shuffled deep down into the deck. Cut at the crimp, taking it and all
the cards above it to the right. Although the aces are now on top of
the left half, your audience will be convinced that they are a few cards
down in the right portion -- point this fact out.
Very fairly, shuffle the right half into the left, leaving plenty of
cards left in the left half when the right runs out. Let the rest of
the left hand cards fall, pointing out that the aces are now deep down
in the deck.

All that remains is to slowly turn the top four cards over to reveal
that the aces have been controlled to the top of the deck.

A CUT ABOVE

There have been many approaches to this plot: Larry Jenning's "Always
Cut The Cards" comes to mind. Ed Mario also had some thoughts on the
trick. This version is very direct and fairly easy to perform.

• EFFECT: The magician takes two of the aces and a spectator takes the
other two. Each takes turns cutting the aces into the deck. The
performer gives the deck one riffle shuffle and the aces appear back on
top

METHOD: Our old friend the breather crimp is on the bottom of the deck.
Run through the deck upjogging the aces. When you come to the second
ace, do Marlo's Unit Upjog, secretly bringing an extra card up behind
this ace as follows:

1. When you come to the first ace, raise it and all the cards to its
left about half the length of a card. The right first finger nips this
ace against the back of the right hand cards as the left hand cards are
brought back down in line with the rest.

2. Continue the spread until you spot the second ace. At this point,
the left thumb is on the face of this ace and the second finger is on
the back of the card to the left of the ace. As the left hand brings
its cards and the ace up half way, the left thumb slides the ace
diagonally upward to the left until the ace covers the added card; the
right second finger nips the back of the added card and the ace as the
other left hand cards are brought back down.
3. Continue spreading and upjogging the other two aces. Close the
spread leaving four aces outjogged with an extra card behind the second

•
ace from the face. The left hand strips out the aces into a face up
packet and the rest of the deck is placed face down. All of this is

10
done with the cards parallel to the floor and the faces visible; done
smoothly, the move is undetectable.

Take the aces from above by the right hand as the left fingers slide
the rear ace out about half way to the left. The second finger contacts
•
the next ace up and slides it out part way. The left thumb is placed
onto the uppermost ace as the right hand slides the remaining two cards,
as one, out to the right; these cards are placed to the bottom (this
sequence is a modified Ascanio Spread). You have cleanly shown four
aces and have secretly placed a card behind them.
Give the spectator two of the aces and turn your two(?) cards face down
in the left hand.

Have the spectator place one of his aces face down onto the deck and
cut it to the center.

Place your top card onto the deck and cut to, and including, the crimp;
complete the cut, apparently burying one of your aces.

Give a glimpse of the face card of your two and place this card(?) onto
the deck. Let the spectator cut your ace into the deck.

Take the spectator's ace into your right hand as your left thumb loudly
riffles up the back of the deck a few times. Finally, the left thumb
lifts up at the crimp and the ace is thrown into the break. Square the
cards and you will have all four of the aces together in the center of
the deck below the crimp.

Ask the spectator if he will allow you one riffle shuffle to find the
aces. Cut at the crimp and place these cards to the right. Riffle
•
shuffle the two halves letting at least four cards from the left fall
last. Turn up the top four cards to show that you have indeed found
the aces.

ALL'S WELL...

This effect is similar to that which Darwin Ortiz features in his

gambling lecture. What I have done is to make it more direct and, I
feel, easier to perform.

EFFECT: The four kings are very fairly removed from the deck and placed
on top. The performer states that he will deal two Poker hands and,
through dealing fifths, fourths, thirds and seconds, will wind up with
the kings. After the deal, the opponents hand is turned over to reveal
that he has gotten all the kings. However, all is well when the
performers hand is shown to contain the four aces.
METHOD: The kings and aces must be set up in the deck as follows: About
a quarter of the way from the face of the deck, place the first king.
A few cards further, place the second king, with an ace directly behind
it. Do the same a little further on, that is, a king with an ace behind
it. A little further toward the top of the deck goes the last king.
40
The remaining two aces are on top of the face down deck.

11
 Run through the deck outjogging the kings, doing the Unit Upjog on the
• second and third kings (see "A Cut Above" for Unit Upjog). Strip the
kings out face up and drop the face up deck onto them. Turn the deck
face down.

Explain that in order for you to deal two hands and keep the kings for
yourself, you would have to deal the fifth card to your opponent, then
the fourth, third and flnally, a second deal would be needed.

Begin a regular deal, first to the opponent, then to yourself. Deal a

second round. On the third round, when you deal your card, do a second
deal. The fourth round is dealt fairly. That's it! Deal briskly and
rhythmically.

As you say: "...and, of course, he gets nothing," turn over the other
hand to show the four kings; act disappointed. Continue: "Well...if
he has the four kings, I'd better have these." Turn over your cards to
show the four aces.

CHINAMAN'S CHANCE

This is the coin routine that inspired the earlier trick "Backfire."
I was playing around with Peter Kane's idea of using a "sleeper" coin
and decided to see what could be done also using a gimmick.

111 EFFECT: A Chinese coin is placed into the right hand and three silver
half dollars are in the left. One by one, the halves come over to join
the Chinese coin. When it comes time for the last half to travel, the
performer claims that he doesn't stand a "Chinaman's chance" of making
this coin go. "Why?...too many Chinamen!" With that, the coins in the
right hand are shown to be all Chinese coins. Both side of all coins are
shown, before and after.

METHOD: You will need the following coins: a Chinatown Half Dollar,
two real halves and two real Chinese coins to match the chinatown coin.
Color the hole in the chinatown coin to match your working surface.

First let's deal with my method of apparently showing both sides of all
coins. Line the coins up from the left as follows: a real Chinese
coin, a real half, a real half and the chinatown coin with the half side
uppermost. For the time being, place the other Chinese coin aside.

The left thumb is placed onto the Chinese coin as the first and second
fingers curl under the front of the coin. Drag the coin a couple of
inches away from you and then, tip it over toward you and drag it back
into place. It is during this last move back that the right hand
apparently does the same thing to the coin at the other end of the row
(the gimmick). This coin is grasped differently; the fingertips are
placed onto the coin near the outer edge and the thumb is curled under

• the near edge. As the coin is moved forward, the thumb tips the coin
over away from you, silver side against the fingertips. Immediately,
the coin is dragged back into place as its top edge is tipped back down

12
toward you. If the front of the coin is covered by the fingertips on
the forward move, and the fingertips slid upward slightly on the way
back, the illusion of having turned the coin over is perfect.

The timing must be such that the gimmick is going forward as the first
coin is coming back. As soon as the gimmick has started its move back,
•
the left hand begins the real turn over of the coin second from its end.
Likewise, the right hand turns the last coin as the left hand is
finishing. If the whole sequence is done in rhythm, it looks exactly
as though all four coins were turned over. Don't worry about the fact
that the gimmick stays heads up after apparently having been turned
over; by the time attention has been shifted from the first coin to the
gimmick, the coin is on its backward travel.

Now, to perform, take the Chinese coin you put aside and classic palm
it in the right hand. Do the turnover sequence, apparently showing both
sides of the coins.
The left hand picks up the coins by placing the Chinese coin on the left
onto the next coin, these two onto the next and finally, all three onto
the gimmick. Hold the coins stacked in the curled left fingers with the
gimmick nearest the fingertips.
The fingertips push out the gimmick and table it Chinese side up. As
the right hand picks this coin up, the left hand thumb palms its Chinese
coin. Hold the hands about a foot apart, make a magical gesture and

•
allow the classic palmed coin in the right to fall and clink against the
gimmick.
The left hand throws out the two silver coins as the right throws out
its two coins so that the gimmick shows silver. Apparently, one silver
has flown across to join the Chinese coin.

The right hand picks up the two silver coins on the left, thumb palms
one of them and throws the other into the left, where it clinks against
the thumb palmed Chinese coin; keep the Chinese coin palmed.

The right hand picks up the other two tabled coins and both hands are
positioned about a foot apart. Make your gesture and let the coin
palmed in the right hand fall and clink against the others. The right
hand throws out two silvers and the real Chinese coin and the left
throws out the one silver. Another silver has passed.
We must now get the Chinese coin which is palmed in the left to the
right, and we're going to do it right out in the open. The right hand
picks up its Chinese coin and places it onto the gimmick. These two
are placed onto the second silver coin and as these coins are picked
up, the real silver is thumb palmed. This is done as the left hand
draws attention by pushing its tabled silver coin slightly forward.

As the left hand comes back to a rest position, the thumb palmed Chinese
coin is allowed to fall to the curled fingertips. You are now going to
apparently take the right hand's chinese coin out of the fist with the
left fingers: The right thumb opens to allow the left fingertips to
enter the right fist, carrying the chinese coin with them; turn the left
0
13
 hand palm up and remove the fingers from the right fist, bringing this
same coin into view. Show the chinese coin and then throw it back into
• the right hand.

All of the above is done as you say the following: "That's two silvers
come to join the Chinese coin. The last silver is not affected by this
Chinese coin, so I don't stand a Chinaman's chance of making it join the
other two."

The left hand picks up the silver coin and makes the gesture, but
nothing happens. Drop the silver from the left as you spread the right
hand coins with the gimmick Chinese side up. In the same motion, the
right hand comes back and laps the palmed silver coin. Finish by doing
the turnover sequence to show the other sides of all coins.

The patter for the ending is: "Do you know why?...Too many Chinamen!"

This routine is a lot easier than it reads. The use of the sleeper
Chinese coin throws off magicians who usually suspect an extra silver
.coin. The turnover sequence, done smoothly, makes the trick baffling.

HIDDEN INTRUDERS

This is a three part: routine culminating in my version of "Blue

Intruders," or "Blue Backed Aces." What makes this routine special,

• and such a fooler, is the fact that the extra blue backed cards (usually
added to the others) are among the others right from the start.
EFFECT: Three Jokers, placed into separate piles with three other cards
instantly join the fourth in a different pile. After being separated
again, they once again fly to join the fourth. This time, they go one
at a time, and each is shown before it vanishes from its pile. Just as
quickly, the Jokers fly back to their individual packets. For the third
phase, the four red backed Jokers are replaced by blue backed ones, and
they still come together into one pile.

Phase I

The packet you will be using first consists of the following cards:
from the face to the back; three blue backed red spot cards, ten red
backed red spot cards, four red backed Jokers. Have four blue backed
Jokers in your pocket.

1. With the packet face down, fan off the four Jokers and table them
face up. Spread a few of the others to show that they are the same
color backs as the Jokers. (careful not to spread so far as to expose
the blue backs).

2. Turn these cards face up and spread to show all red spot cards. As
you close the spread, get a little finger break above the third card
from the back. Pick up the Jokers and place them onto the face of the
• packet. Re-grip the cards taking them from above in the right hand,

14
fingers at the far edge, thumb at the near edge taking over the break
above the bottom three cards.

3. You are now going to steal two of the Jokers and place the bottom
three cards between the other two. The left thumb peels the top Joker
411
off into the left hand. As the next Joker is taken into the left, the
bottom three cards are also taken beneath it; a little finger break is
held under this second Joker. Take the next Joker onto the others. As
the final Joker is pulled off into the left hand, The two above the
break are retaken under the right hand cards and the right thumb takes
a small break above them at the rear. Place the left hand cards
(supposedly four jokers) face down at the upper right of your working
surface.

4. You will now apparently place three cards into each of four packets.
The left thumb peels off the face card of the right hand packet, but
also takes the two bottom Jokers secretly beneath it (easy, do to the
break). The left little finger keeps a break between this red card and
the Jokers beneath it.

5. Peel off and take two more red spot cards onto the first. As your
hands approach the table, two things happen very quickly. The left hand
.allows its packet to "kiss" the bottom of the right hand packet. As
soon as the two packets touch, the three cards above the break are added
to the bottom of the right hand cards. The left hand quickly turns palm
down so as not to expose the face of its two card packet. These two
Jokers (thought to be three red cards) are placed face down at the near
center of your working surface.

6. Peel off three cards into the left hand, turn them face down and
place them to the upper left. Do the same with three more cards,
•
placing them to the upper center. Peel off the first two of those
remaining and place the next two, as one, onto the first two. These
cards are placed face down to the upper right (careful not to expose the
fact that three of these are blue backed.

7. Now, pick up the Joker packet and do Daryl's "Two as Four" count as
follows: Holding the cards face up at the extreme left side (original
"Twisting the Aces" position), the left thumb pushes off all but the
bottom card to the right. This card(?) is taken into right hand dealing
position. As the right hand comes back to take another card onto the
first, the one card in the left is pulled into the right hand as all the
others are retaken by the left. As you apparently take a third card,
the right hand takes all the left hand cards as the left retakes the one
card. For the count of four, the right simply takes the one card onto
its others.

8. Turn the packet face down into the left hand. Deal the top card onto
the packet at the upper left. Deal the next onto the center packet.
As the right hand comes for the next card, the left forefinger buckles
the bottom card by pressing up and back. This allows the right hand to
take the top two cards as one. Flash the faces of the two Jokers and
replace the right hand cards onto the left. Deal the top card onto the
upper right packet. Flash the face of the two, held as one, and place
this card(s) onto the master packet nearest you.
•
15
• 9. Beginning with the packet at the upper left, pick up the three piles
one on top of the other (the packet on the right will be the lowermost).
Wave this combined packet over the master, turn the cards face up and
spread the cards on the table to show all red spot cards. Pick up the
master pile, turn it face up and spread it to show all four Jokers.

Phase II

Scoop up the red card packet, turn it face down and place the Jokers
face down onto all. Explaining that you will make it even easier to
follow, deal the top card face up to master-packet position. Deal the
next two at the upper left and center; these cards are dealt face down.
As you apparently deal the fourth Joker to the upper right, do a second
deal, leaving the fourth Joker on top of the cards in your hand.

Fan off the top three cards into the right hand. As the faces of these
cards are turned toward the audience, the right thumb pushes the top
card down behind the other two and the cards are squared against the
table top. Use these cards to lever the master Joker face down. Drop
these cards on this Joker.

Take the next three cards and, using the same moves, show their faces,
square them and drop them onto the Joker at the upper left. Do the same
with the next three cards and the center Joker. Bring the faces of the
remaining cards up toward the audience and fan off the top two. With
the faces still toward the audience, square these cards against the

• table and carefully place them face down onto the outer right card.

Pick up the packet at the top left and hold it at the extreme left side
at the left fingertips. Tip the cards back to show the face of the
bottom Joker. Turn the cards back face down and begin an Elmsley Count
into the right hand. Stop the count when the right hand holds three
cards. You have apparently just dealt the top three cards into the
right hand, leaving the joker in the left. Tickle the top of the sup-
posed Joker with the right hand cards and then use these cards to flip
the left hand card face up to show the disappearance of the Joker. Flip
the right hand cards face up onto the face of the one in the left.
Immediately, Elmsley Count the cards face up and replace them, still
face up, to their position on the table.

Pick up the master packet, turn it face up and spread the cards to show
the arrival of a second Joker. Place this Joker to the face of the
packet and replace the cards face down to the table.

To show the vanish of the second Joker, do exactly the same with the
center packet as you did with the first.

Pick up the master packet, turn it face up and do the Elmsley Count
until you have two cards (supposedly Jokers) in the right hand; the
right thumb flips these two face down and they are tabled. Deal the
face card of the remaining two into the right hand to expose a third

• Joker. Place this card face up onto the right hand card and flip both
face down onto the other two.

16
Pick up the packet at the upper right and hold it face down in the left
hand. The left thumb pushes all but the bottom card to the right and
these cards are flipped face up onto that bottom card. The right hand
takes the top three cards, one under the other, into a fan, doing a
buckle count on the third card and taking all but the bottom card as
one on the count of three. Use the fan to tickle the back of the last
card, flip it face up and add it to the back of the fan. Square these
cards and replace them face up.

You will now use a Bob Stencil move to show four Jokers in the master
packet: _Holding the face down packet in the left hand, get a break
under the top two cards. Place the right fingertips on the back of the
top card and the thumb into the break at the right side. Turn the right
hand palm up doing a double lift and showing the face of the second card
down. Let these cards fall face down, sideways, onto the others. Deal
the top card to the table as you count "one."

The next move must be done with a certain rhythm. Deal the next card
face down into the right hand (do not show it yet). Turn the left hand
palm down to show a Joker on the bottom. Tap the face of this card with
the right hand card as you count, "two." Turn the left hand palm up and
thumb off the top card onto the one on the table. At the exact same
time that the left hand card is thumbed off, the right hand turns palm
down to show the Joker it holds, as you count; "three." Turn the right
hand palm up as the left turns palm down. The right hand deals its card
onto the others followed by the left turning its card face down and
dealing it as well, counting "four." Done briskly and in rhythm, the
illusion of having shown four Jokers is perfect.

This next sequence will instantly cause the reappearance of the Jokers
at the face of each packet. Turn the three face up packets face down
•
in place. Take the top card of the Joker packet into the right hand and
wave it over each of the other three.

Now, using the card in the right hand, perform the following Sen.
Crandell version of the Mexican Turnover: Hold the card at the extreme
right long side by the right finger tips. Place the left finger tips
at the left side of the packet at the upper left. These fingers do not
press down on the packet, but touch the table to the left and act as a
stop.

Slide the right hand card face down, from the right, under the packet
until the card is perfectly aligned. At this point, and without
stopping, the right thumb pinch/pulls the top card to the right as the
fingertips snap all the cards, including the Joker at the bottom, face
up; you have actually exchanged the card originally in hand for the top
card. The pinching of the top card and the left fingers acting as a
stop cause the cards to snap face up and it looks as if the card now in
your hand is the same one used to flip the cards over.

Take the card now in your right hand and use it to do the exact same
thing with the next packet.

Do the same with the rest of the packets and you will be showing a Joker
at the face of each of the upper three packets and the fourth in your
411
17
•
right hand just as it should be. Done quickly, this return of the
Jokers is quite stunning.

Phase III

Slide the Jokers off of each pile and place them aside. Reassemble the
piles with the one at the upper right going on the face of the other
cards.

You now claim that to make it even easier to follow, you will put away
the red backed Jokers and use the ones in your pocket. Remove the other
set of Jokers, show their blue backs and place them down on the table.
Pick up the packet of spot cards, and holding them face down, carefully
spread a few cards, calling attention to their red backs. Turn the
faces toward the audience and spread the cards to show all red spot
cards. When closing the spread, get a break above the uppermost blue
backed card (fourth from the bottom) as you lower the cards face down.

Take the cards, from above, in the right hand, with the thumb taking
over the break at the rear. The left hand picks up the Blue backed
Jokers and holds them in face down dealing position.

The right hand comes over the left hand packet and the right second
finger, which is at the outer end of its packet, touches the back of
the top card of the left hand packet. The right hand moves forward
pushing the top Joker to an outjogged position. Continue pushing until
the right thumb is stopped by the back end of the lower packet. At this
111 point, the left little finger goes into the right thumb break, adding
the cards below the break to the top of the left hand packet. At the
same time, the left hand turns palm down bringing the face of the
outjogged Joker into view. The right first and second fingers clip this
Joker and carry it away to master packet position on the table.

The left hand turns palm up and its cards are placed on top of those in
the right. Deal the top three cards into a row from upper left to
right; a red back will show on top of the rest of the cards, making
everything look normal.

Turn the master Joker face down, and the packet face up. Bring the
backs of the cards facing the audience and as you stress the difference
in back color between these cards and the Jokers, spread the cards into
the right hand until you see the first Joker at the face of the left
hand cards; don't spread any further. Close the spread, getting a break
above this Joker, and lowering the cards to a face up position.
•
Transfer the break to the right thumb as the right hand takes hold of
the cards from above. You will now repeat steps 4 and 5 of Phase I to
apparently place three spot cards onto the master blue back. In fact,
it is the cards below the break which actually go there. Place the
remaining cards, three at a time, onto the other supposed jokers.

• Use the top card of the upper right packet to scoop up its cards,
leaving this card on the bottom and places the blue backer third from
the top. Do an Elmsley Count to show the vanish of the blue backed

18
card. Turn the cards face up and deal them into a row from left to
right between the upper row and the master packet.

Pick up the master packet and Elmsley Count face down it to show two
blue backed cards. Replace this packet face down.
•
Pick up the next packet in the upper row, using the same scooping of
the top card. Turn these cards face up and do Marlo's Olram as follows:
Holding the cards in left hand dealing position, take the face card into
the right hand. Turn both hands palm down to show red backs. Turn the
hands back palm up, and as the right hand drops its card on the far
right card of the face up row dealt earlier, the left thumbs of its face
card onto the far left card of this row. Show the backs of the
remaining two cards and deal them onto the other two cards of the row.

Pick up the master packet and perform the Ascanio Spread as in "A Cut
Above," except that this time, the final double card goes on top. This
will show three blue backs. Replace these cards face down.

Pick up the final packet of the top row, again using the scoop move.
Do the Elmsley Count -- this time, placing the last card back on the
bottom (An alternate handling would be to not use the scoop move and do
a Jordan Count). Turn the cards face up and do the Olram move placing
these cards in the face up row.

Pick up the master packet and do the Ascanio Spread as before to show
four blue backs. Turn the cards face up and deal them, left to right,
onto the cards of the face up row, doing a buckle count to deal two
cards onto the third packet.
•
To reset, pick off the jokers and place them into your pocket.
Reassemble the packets from left to right. Turn them face down and
place the other, red backed, Jokers on top.

DIRECT THOUGHT

This trick, despite being one of the best in the book, will probably
not be met with overwhelming enthusiasm. Part of the reason, I suspect,
is that it will be extremely difficult to explain; also, you will not
realize its impact from reading alone. I can only urge you, when you
are making the decision to pass it by, to remember how badly you were
fooled by it at my lecture.

EFFECT: A spectator merely thinks of a card in the deck -- you tell him
the name of the card!!!
METHOD: A quick set up is necessary. Place the following cards, in any
order, on top of the deck: All of the court cards; on top of these,
place the AC, 2S, 3H, 4D, 5C, 6S, 7H, SD, 9C, 105. Make the 26 th card
from the top a breather crimp.

Give the deck your best false shuffle and cut. Ask a spectator to cut
off between 10 and 20 cards from the top of the deck. Turn your head
•
19
 and give the following instructions: Have him shuffle the packet and

• fan the cards with the faces toward him, as though he were playing a
hand of cards; he is to quickly think of, and remember, one of the cards
he sees; ask him not to think of a picture card as these are too hard
to mentally transmit.

What you have done is to limit his selection to one of 10 cards. Now,
have him remove from this packet a number of cards equal to the number
of spots on his mental selection -- in other words, if he is thinking
of the 4C (here, you name a card which you know was not among his), he
is to take four cards out. These cards are to be placed into- his
pocket. This procedure, you explain, is simply for verification later
on. The balance of his packet is replaced onto the deck.

You will now determine the only information you need through one quick
shuffle. Cut to the crimp, taking it and all the cards above it to the
right in preparation for a riffle shuffle. At this point, if you knew
how many more cards there were in the left half than in the right, you
would know how many he placed into his pocket. Well, it's even easier
than that. All you need to know is the approximate number which will
give you a group in the chart below to work from.

Take hold of the two packets and butt their ends together as though
squaring for the shuffle. When the two ends of the packets are tight
against one another, the left fingers continue moving slightly to the
right. What will happen is that the surplus of cards in the left half
will move to the right sliding onto the right half of the deck; you only

• want them to move about a quarter of an inch. Begin a regular riffle

shuffle, and as you near the end of the shuffle, the surplus cards will
spread and you will be able to get an approximate count of them. Don't
hesitate; finish the shuffle and square the cards.

You will probably not have the exact amount, but you will be able to
narrow it down to one of the following groups.

Group 1 Group 2 Group 3

AC, 2S 3H, 5C 7H, 9C
4D, 6S 8D 108

If you saw only one or two cards, you would tentatively think "Group
1." If you saw four or five cards you would think "Group 2," because
you would know that he is probably thinking of the 3, 4, 5 or 6 and has
taken that same amount of cards.

You will now narrow it down even further using an old "chestnut." Tell
the spectator that you believe his card was a Cherry colored one. If
he says "no," remind him that there are black cherries too! In either
case, you have just narrowed the selection down to one of two cards.
Let's see how.

Suppose that during the shuffle, you determined that he has six or seven
cards in his pocket; you are thinking group two, or possibly the
• beginning of group three. Let's say he agrees that his card is a cherry
colored one. You now know that his card must be in group 3 because if

20
it were the two red cards in group 2, there would not have been 5 or 6
surplus cards during the shuffle -- the most there could have been would
have been four. If he indicates that his card is black, you now that •
it is either the 5C or the 6S because in order for the black cards in
group 3 to be considered, the surplus would have to have been at least
nine cards.

We'll narrow it down further after one more example. You shuffle and
see a surplus of two cards. You think he probably took two cards but
are not sure. Your first statement indicates that his card is red; you
now know that he is thinking of either the 3H or the 4D because there
are no red cards in group 1, and there were not enough surplus cards to
consider group 3.

Ok, if you're still with me, we'll narrow it down to his card. Let's
suppose that you have narrowed it down to the two red cards in group 2
(and remember, you have only made one statement). Your next statement
might be, "...and I believe you are thinking of a heart...right?" If
he agrees, continue, "... and I think your card is the Three of Hearts!"
If he disagrees, you say, "... just kidding. Your card is the Four of
Diamonds."

Even with two negative replies, (which is the worst scenario) they will
still be stunned. It would go something like this. "I believe you are
thinking of a cherry-colored card...well, there are black cherries too!
You're thinking of a club...just kidding, I know you're thinking of the
Two of Spades."

FACE UP DOUBLE REVELATION

In my last book, Magician Foolers, there is a trick named " Double
Revelation." which was based on Larry Jennings great ace revelation.
This version is essentially the same effect except that the use of the
Jokers seems to make it more puzzling.

EFFECT: Two cards are merely looked at in the deck. The deck is split
into two face up halves and a Joker is placed at the face of each.
After showing his hands unmistakenly empty, the magician places one onto
each of the packets. Upon lifting the hands, each selection is seen to
be resting on one of the Jokers. The hands are again shown empty at the
end.

METHOD: You will need a double-faced (d/f) Joker with an indifferent

card on the other side. Since most d/f decks come with the 4H on the
back of one of the Jokers, this is the card I will use for this
explanation. Place this card onto the table, Joker side showing. Onto
this, place a regular Joker from the deck you will be using.

On the bottom of your deck, have the following cards: On the face, the
4H; behind this, any contrasting card -- lets say the QS; behind this
(3 rd from the bottom) is another Joker.

False shuffle the deck without disturbing the bottom three cards. Begin.
a Hindu Shuffle into the left hand. When a spectator on your right

21
 calls stop, show him the bottom card of those in the right hand, thus

• forcing the 4H. Slap these cards back onto the others and get a little
finger break between the two packets.

Bring the right hand over the deck, fingers at the outer end, thumb at
the rear. Let the 4H drop off the thumb so that you now have a break
above it. Double-cut to the break, bringing the QS to the bottom.

Do another Hindu Shuffle force of the QS on someone to the left, slap

this portion on top, get a break and double-cut the Queen back to the
bottom.
The right hand now takes hold of the deck from above, freeing the left
hand to pick up the Jokers as follows: Take hold of the Jokers from
above, fingers at one side, thumb at the other. As you turn the left
hand palm up, bring the deck down onto the Jokers, adding them to the
face of the deck. Time it such that when the back of the Joker showing
the 4H comes into view, the cards are already added to the face of the
deck. Turn the deck face up and take it from above in the right hand.

The left hand takes away the lower half of the face up deck. At the
same time, the left thumb pulls the top Joker onto the face of the left
half. Place this half face up on the table to the right. Place the
other half face up to the left.

Now, begin to do the familiar hand-washing move which looks somewhat as

though you were ringing your hands. This has the effect of showing your

• hands empty and also sets your audience up for an upcoming move.

Show the hands empty and then turn them palms down, one over each of
the packets. As the hands are lowered, ask the spectator on the left
for the name of his card. He will reply, "QS." Immediately, the left
little finger and thumb clip the sides of the top card (d/f Joker) of
their packet and the card is taken into a flat gamblers palm. Lift both
hands to show the appearance of the QS.

You now go into the hand-washing move to transfer the palmed card to
the right hand as follows: Bring the hands together, palm to palm, as
though you were praying. As the hands turn over to the left, the right
hand swivels counter-clockwise taking the palmed card into a regular
right hand palm; this also has the effect of turning the card over.

Separate the hands and let them hover over the packets as before. Ask
for the name of the second card, lower the hands down onto their packets
and deposit the d/f card (4H showing) onto the right hand pile.

To conclude, pick off the selections and throw them forward of their
packets; a Joker will show on each packet as it should.

•
22
 PSYCHIC LOCATION

In Karl Fulves' book Fourcast, there is a routine called Psychic Option.

•
The idea is great, but I thought that it could be developed much further
(something I'm sure Karl has already worked on). What I have done here
is to expand on the original idea and add an element of apparent skill
to further ;onfound the spectator.

You will need to have your deck set up in rotation as to suits. It

makes no difference what order the cards are in, other than that the
suits must rotate; ie, clubs, hearts, spades, diamonds, clubs, hearts,
etc. One way to arrive at this condition is to take a brand new deck
and give it two perfect Faro Shuffles.
You may casually show the faces of the cards without fear of the set up
being detected. Spread the cards face down and have a spectator touch
one. Break the spread at that point so that the selection is the left
most card of the right hand spread. The right hand moves forward and
lays that card on the table. As the right hand cards are brought back,
they are returned to the bottom of the others, thus cutting the deck at
the point of the selection. As the spectator looks at his selection,
you must crimp the bottom card of those in your hand at the inner left
corner: I use the fleshy part at the base of the left thumb to slide
the card out slightly to the left and then press down to make the crimp.

After the card has been looked at, have it replaced to the table and
drop the deck onto it. Turn your head away and tell the spectator that
he is to bury his card by cutting the deck and completing the cut.
•
As you turn around and take the deck, you must do only the most general
of estimations: Sight the crimp and notice if it is near the center,
slightly below or quite a bit below. Do the same if it is in the upper
half. As you will see in a moment, this estimation need not be exact.

You will now pin-point the location by asking only two questions based
on showing the top two cards one at a time. Turn your head away so that
there is no doubt that you can not see the cards. Show the spectator
the top card and ask him if it is the same color as his. Next, take the
second card under the first and fanned slightly and ask if either of the
cards is the same suit as his. You are apparently tuning in to his
vibes. Replace these cards to the top of the deck.

I will not bother to explain why this works (those interested will work
it out for themselves) but, if the cards were cut at, or near, the
center, the selection will be at the following position based on the two
answers to your questions: If the answers were "yes, yes," the card is
at position #25; if "no, yes," it is at #26; if "yes, no," #27; if
"no,no," 28.

Now, based on your estimation of the whereabouts of the crimp, you must
either add or subtract a multiple of four; eg., if you estimated that
the crimp was slightly below center, and the two answers were "yes,yes,"
you would add four to 25 to get 29. Another example: If your estimat-
41,
23
 ion told you that the crimp was well above center (maybe about 18 from

• the top) and the answers were "yes, no," you would subtract four from
27 to get 23. Knowing that the crimp was higher in the deck than 23,
you would subtract another four to arrive at 19, the correct number.

OK, knowing the position of the selection, (let's suppose 31) you now
state the from the vibes you picked up from his answers, you see him as
the type that would cut his card about 31 from the top of the deck.
Immediately, cut to, and including, the crimp. Count the cards to show
that you have cut exactly 30, have him turn over the top card of those
on the table (#31) to find his card; while his is thus Occupied, you
have plenty of time to straighten out the crimp.

THE BREATHER CRIMP

Although an explanation of this terrific crimp has been written up in

several publications, among them: Harry Lorayne's Apocalypse and The
Vernon Chronicles, it doesn't seem to be that well known. The way it
is used in this book, it must be made up the opposite of the way it is
generally made. This crimp is undetectable, and once put in, is there
for the life of the deck -- not interfering with any other usage, but
always ready to be utilized.

Take the card you are going to use and hold it face down with the left
thumb on the back at the exact center and the tips of the first and

• second fingers on the face pressing up against the thumb.

The right fingers take hold of one corner of the card. As the left
fingers and thumb press very hard against each other, they are slid to
the diagonally opposite corner of the one the right hand is holding.
this will put a concave trench in the card from the center to the
corner.

Re-grasp the center of the card with the left fingers and thumb and take
another corner with the right hand. Do the slide to another corner
creating another trench in the card.

Do this same thing with the remaining two corners. You have created a
star shape culminating in a dull point at the center face of the card.

With this card in the center of the deck, it can be cut to from the ends
or the sides of the deck; it can be cut to with a one-handed cut or it
can be visually spotted when holding the cards in Faro Shuffle position.

The best part of this crimp, is that it is not visually apparent to the
spectator, yet can always be found by casually cutting the cards.

One last tip which makes this a devastating weapon. Since it takes only
seconds to put the work into the card, try crimping a card in a borrowed
deck. When the deck is returned, there is no fear of the crimp ever

• being discovered. I have even put the crimp in right in front of the
audience under the guise of straightening out a bent card.

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