ARCANE
Issue Nutnber Five
ACES EN ROUTE
Charlie Miller
The Slow Motion Ace Assembly plot has been
treated time and time again in our literature, since its
first publication by Dai Vernon in the Sphinx of
March 1941 (Volume 40, Number 1). Jacob Daley,
Francis Carlyle, Ed Marlo, and AI Koran, among
others, have all considered the plot and tendered their
personalized versions in print. Curiously, Mr. Charles
Earle Miller has not previously published his handling.
Some may consider the plot "old fashioned"
and reject it in their quest for new and different
variations. Progressive, Succession, Ultimate, and
Inverted versions abound in current literature. One
such handling, embodying all of these plots will be
published in this magazine at some future date.
However, most sacrifice the clean and direct effect
with an unprepared deck for a multitude of gim-
micked cards and questionable procedures. The Slow
Motion Ace Assembly still remains the best of all of
these for sheer clarity of effect to the layman. I feel
that Charlie Miller's version is certainly one of the
best of the many versions that I have studied. The
best features of the other in-print versions are en-
COPYRIGHT © 1981 BY JEFF BUSBY
capsulated in Mr. Miller's well constructed handling.
The laydown, though reading as quite complex in
print, convinces the spectator that the four Aces are
undeniably laid out on the table and, in addition, is
quite clean in execution. It is similar in many aspects
to one done by Dai Vernon for Fred Braue during a
session on May 26th, 194 7. Braue's description of
Vernon's handling can be found in DAI VERNON:
THE FIRST CALIFORNIA LECTURE (1976).
Mr. Miller has never received the recognition
that he truly deserves for being one of the finest card
handlers of our time. His prowess with the paste-
boards is literally beyond belief and his thinking
process is quite unique. Mr. Miller knows, and more
importantly, truly understands how to make magic
appeal to laymen. Each effect that Mr. Miller does, be
it with cards or apparatus, has been dissected to the
Nth degree, each facet carefully considered, and then
reconstructed to suit his aims. His two previously
published versions of the classic Ace Assembly reflect
his approach to this plot. His Nomad Aces and
Charles Miller Aces are to be found on pages 256
through 261 of the classic EXPERT CARD TECH-
NIQUE. A different effect, which could still be
classified as an Ace Assembly can be found in AN
EVENING WITH CHARLIE MILLER (1961) under
the title of Jest of the Joker on page 18. None of
these is a Slow Motion version, yet all are worth your
study.
This routine has been reconstructed from de-
tailed notes taken by Mel Brown while he was visiting
with Charlie Miller at Jay Ose's apartment in Los
Angeles, on January 21st, 1961. The routine appears
here for the first time through the courtesy of Charlie
Miller and Mel Brown.
The effect of Mr. Miller's is simple: It is the now
standard effect of the Aces moving, one at a time, to
a "leader" packet.
PRELIMINARIES & LAYDOWN
The routine will be described as if you were
starting with an unprepared, shuffled deck of cards.
Spread through the face up deck and remove the
Aces, one by one and place them on the face of the
deck. As the fourth Ace is placed on the face of the
deck, the deck should still be in an unsquared con-
dition. Square up the face up deck, obtaining a break
one card below the Aces. Thus, when the deck is
squared, you will be holding a break beneath the five
cards at the face. Without hesitation, lift off the five
face cards with your right hand and place them aside
to the right in a squared face up packet.
.Tum the remainder of the deck face down and
give it a quick Overhand Shuffle, as if you were
deciding what to do. Once you have completed the
shuffle, square the deck face down in the left hand.
The right hand reaches for the packet of Aces
to your right. As it does so, the left little finger gets a
break under the top card of the deck.
The right hand brings the face up Ace packet
over to the deck and places it on top, momentarily,
in the process of picking up the card under which a
break is being held. You will now perform a version
of the Braue Addition sequence by applying pressure
with your left thumb to the face card of the Ace
packet. The packet is moved away to the right, carry-
ing the top card of the deck away beneath it. At the
same time, it moves upwards to flip the Ace, which
has been retained on top of the deck, face down on
top of the deck. Once the first Ace has been flipped
face down, the packet moves back to the deck, the
left thumb applies pressure to the face of the new
Ace on the face of the right hand packet. This is
pulled off and flipped face down, as previously des-
cribed. These actions are repeated with the third Ace.
The final Ace, which is actually a packet of three
cards (a face up Ace, a face up indifferent card, and a
face down indifferent card) is dropped squarely onto
the top of the deck. Pause for a moment to display
the Ace and then perform a Double Turnover to tum
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the Ace and the hidden face up indifferent card face
down, as one. Place the top face down card of the
deck on the table, at the point of intersection in the
imaginary "T" formation that you will be building.
Slowly push over the top three cards of the
deck into a spread position. These are assumed to be
the Aces and you can comment on that. Push the
three cards square with the deck, taking a left little
finger break beneath them. Push over the top single
card and take it in Biddle Grip in the right hand.
Double Pushoff the next two cards as one (easy,
because of the break) and take them under the single
card held in Biddle Grip in the right hand. The two
cards should overlap for about half of their width;
the lower two cards held as one should overlap to the
left. The third card is now pushed off of the top of
the deck and taken, again overlapping to the left in
Biddle Grip in the right hand. You are apparently
holding the three Aces (really four cards) in the right
hand. ·
Rotate the right hand at the wrist so that it
turns palm up, to show the three Aces in the right
hand.
Tum the right hand palm down again. The face
down deck is still held in the left hand. The right
hand approaches the left hand, which lowers to the
table and extends the left third and fourth fingers.
These fmgers contact the back of the Ace on the left
of the spread cards in the right hand and pin it to the
table as the right hand moves away and turns palm
up to show the remaining two Aces.
The Ace just removed from the packet is the
"leader" Ace and is removed so that it is at a position
nearer to the performer, and in a direct line with the
first card laid down on the table.
You are still holding two Aces palm up in the
right hand. The right hand turns palm down and goes
back to the deck to place the undermost Ace
(actually two cards held as one) square onto the top
of the deck. As soon as this has been done, the right
hand moves away to the right. Simultaneously, the
right hand deposits its Ace (after again briefly flash-
ing the face) to the right of the first card placed on
the table, while the left hand deals the top card of
the deck to the left of the first card placed on the
table.
You will now be in the position as shown in
the illustration below. ·
... Aces
 The whole sequence takes but a few moments
. and looks very convincing. Each Ace has been shown
before being placed on the table in the "T' forma-
tion, yet two of the Aces have been switched out for
indifferent cards in a very clean way.
BUILDING THE FORMATION
The deck is still held face down in the left hand.
Remark that you will need twelve indifferent cards,
three for each Ace. Count off twelve cards from the
top of the deck into the right hand, without reversing ._,
their order. Once the twelve have been counted off,
place the deck aside.
Turn the packet face up in the left hand,
keeping it well squared. Count off three cards into
the right hand. The cards are held so that the specta-
tors can see each card as it is counted into the right
hand. Turn these three cards face down and place
them on the supposed Ace at the far left of the "T"
formation.
Remove three more cards from the packet in
the left hand and place them on the center card of
the "T' formation.
You appear to repeat the taking of three cards
again, but actually only take two cards in the right
hand and False Count them as three. Place them face
down on the Ace furthest to the right on the bar of
the "T'. As you make the count, you should tilt the
cards in the left hand towards yourself to conceal the
fact that you do not remove the third card from the
face of the packet. This card will have to be shown
again for the next count.
Tilt the left hand packet down again so that the
spectators can see the face card of the packet. Push
this card to the right to expose the indifferent card
beneath it. Square up the packet and turn it face
down.
Take the packet from the left hand with the
right in Biddle Grip and place it on the "leader" Ace,
but overlapping for about half of their width to the
right. Immediately pick up the overlapped cards and
the Ace as a unit in Biddle Grip and turn the right
hand palm up to show the Ace and the packet of
indifferent cards.
Turn the right hand palm down and place the
packet back onto the table, in the "leader" position.
The indifferent cards still overlap to the right. Very
slowly square the "leader" packet by placing the
lower edge of the palms (the hands are perpendicular
to the table) of your outstretched hands on each side
of the packet and moving the palms of your hands
towards each other.
1HE ACES ASSEMBLE
Tap the first Ace packet on the left with your
left fingers, simultaneously tapping the "leader"
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packet with your right fingers .
Turn the first packet on the left face up; turn-
ing it end for end with the left hand. Spread it
lengthwise towards the spectators with the fingers of
the left hand to show that the Ace has vanished,
leaving only four indifferent cards.
Pick up the "leader" packet with the right hand
and place it face up in the left hand. Use the Buckle
.Count to show that the first Ace has arrived. Place
this Ace on the face of the packet and turn the
packet face down, replacing it on the table.
Show that the Ace has vanished from the center
packet by using the actions described. Show that the
second Ace has arrived in the "leader". packet by
means of the Buckle Count. Place this Ace on the
face of the packet. The packet apparently consists of
three Aces and one indifferent card. There are
actually two indifferent cards at the rear of the
packet. Turn the packet face down in the left hand
and Top Palm the two indifferent cards with the right
hand as it takes the packet from the left hand and
replaces it in its position on the table.
Immediately reach over with the left hand and
pick up the third Ace packet, holding it face down in
the left hand. The fingers of the left hand push out
the bottom card of the face down packet and, with
the aid of the right thumb and first finger, tilt it up
and over until it is stopped by the left "thumb in
Finley Tent Vanish position. (See STARS OF
MAGIC, Series 6, Number 2 [ 1950], Slow Motion
Four Aces, Second Method for a more comprehensive
description.) The Ace faces to the right and you have
two indifferent cards palmed in the right hand in
preparation for the Finley Tent Vanish. Show the
Ace in this position to the spectators and then bring
your right hand over the Ace to apparently take it
away. As soon as the right hand conce.als the Ace
from view, allow it to fall face up on the packet and
release the two palmed cards from the right hand on
it. The right hand moves away to the right, as if it is
holding the Ace. The fingers make a crumpling
motion and show that the Ace has vanished.
The left thumb now pushes off the top card of
the packet to the right. The palm down right hand
takes this card by the upper right corner, with the
fingers on top and the thumb below. The right hand
rotates at the wrist, turning the card face up, end for·
end, and places it on the cards in the left, projecting
for about half of its width to the right. Don't release
this card from your grasp, but clip the packet
between your fingers and the card and tum the whole
packet, including the face up card, over by rotating at
the wrist again. The projecting card is now at the rear
of the packet, face down, and projecting to the right.
Take this card with the palm down right hand, as just
described, and tum it end for end so that it will be
face up.
Once the card has been turned over, so that
your right hand is now palm up, the remaining cards
in the left hand are counted into the right, being
taken under the card already there, using the Buckle
Count to show that the Ace has apparently vanished.
The final card is plac~d on the face of the packet.
The Ace is, in reality, at the rear of the face up
packet. Replace the cards into the left hand. Turn
the right hand palm down and square the ends of the
left hand packet, during which you Side Steal the
bottom Ace into the right hand.
• • •
CIGARS & HANDKERCHIEF
Cal Emmett
Charlie Miller has described the late Cal Emmett
of Houston, Texas as "a bear with all small stuff... "
Aside from having the admiration of Dai Vernon,
Faucett Ross, and Charlie Miller, Mr. Emmett's ciga-
rette manipulations were highly praised by Richard
Cardini, a perfectionist who rarely lauded anyone's
work with cigarettes.
He published little and his work is almost un-
known to the present generation. For years, Mr.
Emmett performed professionally in night clubs with
a stand-up cigarette act. His thoughts on cigarette
magic are covered in his two sets of lecture notes
entitled CIGARETTES IN ACTION and CIGA-
RETTE FANTASIES. Both are well worth hunting
around for. Aside from the stage work, he was also
deeply interested in close-up with small objects.
You'll find an example of his clever thinking along
this line in Charlie Miller's Magicana section of Genii
for October 1965, Volume 30, Number 2.
There is a crying need for more parlor magic in
our current literature. Cal Emmett's pretty routine
outlined in this article will, I believe, fit the bill. It's
clean, easy to work, and highly visual. While based
on ideas that are in print, this combination is highly
effective and has not previously seen print. It is the
subtle routine that makes this so good. The idea of
sleeving two cigars prior to production belongs to
Jack Chanin and first appeared in his .I. C. ORIGINAL
CIGAR MAGIC (1937) on page 35 under the title of
J. C. Original Cigar Production. The silk was not used
in this simple production of Chanin's. The routine
given here was developed by Cal Emmett and used in
his professional stand-up act.
The effect is a simple one: The hands are shown
to be undeniably empty. The performer removes a
handkerchief from his coat breast pocket, strokes it,
and displays it between his hands. It is then flicked
into the air and laid over the left hand. A cigar
immediately appears. The performer reaches over
with his right hand and removes the cigar, taking it
between his first and second fingers to place it in his
pocket. As the cigar is placed away, another cigar
-50-
Reach over to the right with your left hand and
place the packet in the third position and spread it
forwards, as the first two packets were spread. At the
same time, pick up the "leader" packet with your
right hand, adding the palmed Ace to the top of the
packet as you do so.
Turn over the packet and show that the four
Aces have gathered there one by one .
pops up - protruding from the silk. This one is
placed away and another immediately takes its place.
This is repeated until a half-dozen cigars have been
produced in this startling manner.
You will need two cigars and a white linen or
cotton handkerchief about eighteen to twenty-one
inches square. The cigars can be either wooden or
genuine cigars. I prefer wooden cigars as they have
more weight to them. The cigars should be about five
inches in length and about three quarters of an inch
in diameter. I believe that the ideal wooden cigar is
still marketed as the Atomic Cigar. If you decide to
use this marketed item, glue a cigar band to each
cigar and then dip the cigar in several coats of clear
varnish. If you decide to use a standard cigar, it is
best if you spray the cigars with one of the commer-
cially available plastic spray varnishes, after firmly
gluing the cigar band in place.
Fold the handkerchief neatly and place it in
your breast coat pocket. A cigar is loaded into each
sleeve below the elbow joint. You can load the cigars
before coming on and use the effect as an opener, or
the cigars can be snapped up the sleeve in the process
of placing props into your pocket after the climax of
a previous effect.
Prior to beginning this effect, you set up and
hold your arms in the position indicated in Figure
One. (See page #51.)
Show both hands empty by casually exposing
the palms to the audience. The right hand now
reaches up and removes the handkerchief from the
breast pocket with the thumb and first finger. Shake
the handkerchief and allow it to unfold, holding it by
one of the corners. Draw the handkerchief through
the left hand, further demonstrating that it is empty.
Still holding the handkerchief by the corner in the
right hand, pop it upwards (so that the cigar will not
fall from the sleeve) to the right following the motion
of the handkerchief with your eyes. As the upward
motion to the right is carried through, the left hand
is lowered naturally to your side. The cigar will slide
into your left palm. The point of the cigar is held
against the palm (or heel) of the hand by the pressure
of the second and third fingers as in Figure Two.
When the fingertips of both hands meet, use the
third fingertip of the left hand to pivot the cigar into
the right hand. This is, of course, done under cover of
the fingertips meeting. The left thumb and fingers
open the handkerchief and draw across the edge,
opening it fully as in Figure Four;

FIGURE FOUR
The right hand, which is holding the palmed
FIGURE ONE cigar, drops down behind the handkerchief while the
left hand drapes the handkerchief over the right fist.
The cigar is worked into a vertical position as the
handkerchief hides the right hand as in Figure Five.

FIGURE TWO

The left hand now moves upwards and to the

right to take a corner of the handkerchief as in
Figure Three.

FIGURE FNE

... .... The left hand now approaches the right hand
' '
.
' ',
, __ and grasps the point of the cigar through the hand-
kerchief with the left fingertips, carries the both
(as one unit) about six inches away from the right
hand, and turns the left hand over allowing the hand-
kerchief to fall and drape over the left hand to expose
the first cigar as in Figure Six. (See page #52.)
As the cigar is displayed in the left hand, the
right hand is lowered to the side and allows the other
sleeved cigar to slide secretly into the palm.
The right hand now moves up to the level of
the handkerchief and approaches the left hand with
the palmed cigar. The first and second fingers are
FIGURE THREE extended as in Figure Seven. (See page #52.)
- 51 -

FIGURE SIX
FIGURE SEVEN
The left hand (holding the handkerchief and
visible cigar) is approached from the rear. The right
• • •
A WRONG CARD TURNS RIGHT
Larry cleaaiags
A sucker card effect with a new plot is rare.
This is, I believe, one which will be met with excite-
ment. Larry Jennings gave this to me some six years
ago and I have been using it with success since that
time. It does not seem to have entered general circu-
lation. This effect is not an easy one as it requires the
use of Ken Krenzel's Mechanical Reverse twice during
the course of the routine. However, if the required
practice is given to this sleight, you will be the
possessor of a baffling and commercial surprise effect.
Pay particular attention to the subtle little "convin-
cers" that make the spectator believe that you have
botched the effect - they will only enhance the
surprise when you recover magically for the climax.
The effect can either be done entirely impromp-
tu with a simplified handling, or made into a deeper
mystery by using some aspects of Ed Marlo's Mental
Reverse routines as I do in this effect. As both of the
routines use the same basic handling to achieve the
end result, and differ only in the introductory phase,
I will describe the simplified handling first so that
-52-
hand removes the protruding cigar from the hand-
kerchief between the extended first and second
fingers and at the same time, the fingers of the left
hand grasp the pal~ed cigar through the handker-
chief. The cigar is hetd by the left thumb against the
fmgers and will be totally concealed in the folds of
the handkerchief in this position. The right hand
moves with the visible cigar that it just removed, to
the right coat pocket. As it almost reaches the pocket,
the left thumb pivots the cigar hidden in the hand-
kerchief upright, causing a visible appearance. The
right hand continues to the pocket and palms the
cigar in the same position as shown in Figure Two. As
it moves out of the pocket, the right hand extends
the first and second fingers and holds the cigar with
the third and little fingers as in Figure Seven. The
visible cigar is removed from the handkerchief and
the hidden cigar is loaded in, as described previously.
The right hand moves away and the whole sequence
is repeated.
While the production can be repeated as many
times as you wish, Cal Emmett produced only six
cigars, which seems sufficient. When Mr. Emmett first
started using this routine, he would have only one
cigar sleeved (in the right sleeve) and openly place the
first cigar into the handkerchief to start the produc-
tion. The sequence explained here is the final devel-
opement that he actually used in his act and is a far
superior one.
you will understand the mechanics of the effect.
As mentioned above, the routine uses the Ken
Krenzel Mechanical Reverse twice during the routine.
The Henry Christ Reverse or any other Bottom
Reverse may be used. However, the Krenzel sleight is
ideal for this effect as the Reverse should be
performed during the actions of turning the packet
face up and face down. The Krenzel sleight makes for
an economy of movement in the course of the
routine.
The Krenzel Mechanical Reverse first saw print
in Epilogue Special Two: The Magic of Ken Krenzel
in 1975 on pages 7 and 8. This is the best description
in print for this utility move. Another, albeit abbervi-
ated, description of this move appeared in THE
CARD CLASSICS OF KEN KRENZEL by Harry
Lorayne in 1978 under the same title on pages 207
and 208. Either description will teach you this sleight.
The basic routine should be performed with a
casual attitude - as if you are not really paying
attention to what you are doing. It is this noncha-
lance that makes the opening selection and losing it
in the shuffle so effective.
To begin, have a spectator remove any five face
down cards from a shuffled deck. Have the spectator
hand the five cards to you. Overhand Shuffle the five
cards as you explain that you will have him select any
one of the five cards. Stop shuffling and spread the
five cards face down between your hands. Ask the
spectator to remove one of the cards, look at it, and
remember it. Once he has removed a card, you idly
Overhand Shuffle the remaining four cards. Have the
card returned to the packet and shuffle it to the top
in two or three quick Overhand Shuffles. This is, of
course, easy as you know the position where the card
has been replaced. It is important that you appear
not to pay attention to where the card is replaced -
it should apparently not have a bearing on the effect
As you are shuffling, you keep talking to the
spectator. Once the card has been casually shuffled to
the top of the packet, you stop. Tell the spectator
that you will try to find his card by the sense of
touch.
As you deliver the above patter, turn the packet
face up and spread the cards widely between your
hands. Remark that the spectator could have chosen
any one of the five cards and that he had a free
choice. This is an important facet of the effect as it
allows the spectator to realize that his selected card
is on top of the packet, without verbally pointing
it out.
You now start to close the spread and as you
do so, you obtain a break beneath the face card of
the face up packet in preparation for the Krenzel
Mechanical Reverse. Close the packet up and turn it
face down, executing the Mechanical Reverse in the
process, to reverse the face card of the face down
packet. As you are turning the packet down, you
caution the spectator not to tell you anything until
you ask him for the name of his card.
Have the spectator hold out one of his hands,
palm up. Again mention that you will fmd his card by
the sense of touch alone. Take off the top card of the
face down packet with your right hand. Keep the
card face down as you feel its face with your right
fingertips. Shake your head slightly and remark that
this card does not feel like his card. The spectator
knows that it is, but will say nothing. Place this card
on the face of the packet.
Remove the next card from the top of the
packet with your right hand. Again, feel the face of
the card with your right fingertips. Your expression
should brighten as you tell the spectator that this
card "feels" like his selection, but that he shouldn't
say anything that will give you a clue as to its identity
as you will now perform an effect with it. Place the
card face down on the palm of his outstretched hand.
Turn the packet face up. The spectator's actual
selection will be on the face of the packet, further
confirming that he is holding the wrong card. Spread
the packet very slightly at the borders from left to
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right. This will allow the edges' of the four: cards to
show (one-eighth of an inch is about right) without
exposing the back of the face down card which is
positioned second from the face.
Take the card that the spectator is holding, face
down in your right hand and insert it into the fan in a
position third from the face of the face up packet. As
you push the card into the packet, obtain a left little
·finger break beneath it in preparation for the Krenzel
Mechanical Reverse. Turn the packet face down,
reversing the three lowermost cards in the process.
Ask the spectator to name his card. When he
does so, look startled. I usually exclaim, "The ...
what?!", as if I thought that I had misheard the card
that the spectator named. Now I naine the real
selection slowly as I snap the fingers of my right hand
over the packet. Slowly spread the packet and show
him that his selection is, indeed, the reversed card!
With any acting ability at all, you should be
able to get as much out of this as I have over the
past six years.
PRELIMINARY SET-UPS
The effect that I've just described is just as
Larry Jennings showed it to me some years ago, with
the exception of some minor changes in handling and
the presentation. As I mentioned in the introduction,
I usually use a concept originated by Ed Marlo and
described in his classic text THE CARD/ClAN (1953)
to make a deeper mystery out of the effect. By using
ideas developed from the two versions of Mental
Reverse (described on pages 128 through 130 of that
book) in combination with an idea (which, as far as I
know, is original) using the Zarrow Shuffle to set up
the small stack in a very disarming way, you can
accomplish an effect which is quite mystifying.
Several years ago, I developed a Zarrow Shuffle
system which was forwarded to Karl Fulves, at his
request, for publication. His collection of effects
using this shuffle still remains to be published and
extensions of this system will be detailed in that
book. In the interim, nothing using the Crimp in
combination with the Zarrow Shuffle has seen print,
though this material has been circulated through the
so-called "underground". A simple application of
what could be called an automatic Block Transfer by
using the Crimp in combination with the Zarrow
Shuffle will be described here to set up for the effect.
To make this as simple as possible to under-
stand, you should Crimp (downwards) the lowermost
card of the deck on the inner left comer. Remove
any five memorized cards from the deck and stack
them from top to bottom in a memorized order. As
Ed Marlo does, I use an Eight, King, Three, Ten, Two
set-up - the first five cards of the timeless Eight
Kings Stack. The suits of the cards are not important
and can be disregarded. They are set up in the 8, K,
3, I 0. 2 order from the top down of the face down
 packet. Drop the deck with the Crimp on the face, on
top of this five card packet.
The stack may be retained through several
effects by simply shuffling and not disturbing the
lowermost six cards. When you wish to start Larry's
Wrong Card Turns Right, simply shuffle normally
once, retaining the lowermost six cards. The second
shuffle sets up the stack in this way: Undercut the
lowermost half of the deck to the right. Zarrow
Shuffle the right hand half of the deck under three or
so cards from the left half (the exact number does
not matter - all that you need is a small "cover"
block). This places the five set-up cards in the center
of the deck with the Crimp above them.
Immediately deal five cards from the top of the
deck onto the table in a row, from left to right. Place
the deck aside to your left. I patter to the effect that
in a moment, I would like the spectator to pick up
any one of the face down cards, look at it and
remember it, and then shuffle it amongst the other
four cards. As I say this, I pick up the center card of
the five, look at it, drop it back onto the table with
the others, gather up all five cards, and then Over-
hand Shuffle the cards. I then patter that I've seen
one of the cards and I don't want to have a clue as to
what the selection is. As I say that, I drop all five
cards onto the top of the remainder of the deck and
mention that I'll use five more cards. Cut the deck
so that the Crimp goes to the bottom of the deck.
This will bring the five set-up cards to the top of the
deck. These cards are dealt out in a row, from left to
right, as before. Invite the spectator to pick up any
one of the cards and look at it, being careful not to
show it to you. Of course, as soon as the card is
chosen, you will know what it is due to its place in
the set-up. Have him thoroughly shuffle the card in
with the other four. Due to the disarming way in
which you have placed the stack ·into the center of
the deck and casually introduced it, the spectator will
have no idea that you know his card. This makes the
rest of the effect much more baffling. To start the
effect, you simply ask the spectator to hand you the
five cards. Take them and tum the packet face up and
spread them between your hands as you mention that
his selection could have been any one of the five
cards. As you say this, casually cut the spread so that
his selection is the rear card of the face up packet.
As you do this, name one or two of the cards, saying
that his card could possibly be one of those, but you
don't know. Again, pause with the spread between
your hands so that the spectator will reiuize that his
card is on top of the packet and then tum it face
down, doing the Krenzel Mechanical Reverse in the
process to reverse the face card of the packet. At this
point, you launch into your patter about finding the
spectator's card by touch alone, and continue exactly
as described in the basic effect.
Another way of accomplishing the Crimp and
set-up situation in the center of the deck with a
Zan·ow Shuffle is as follows: The five cards are on
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top of the deck. Cut the upper half of the deck to the
right. Riffle Shuffle the right hand section into the
left so that the Crimp remains on the bottom of the
left section, undisturbed, while the five cards of the
stack stay together and are shuffled under three cards
from the top of the left hand section. To do this,
start the shuffle with the left hand section first,
laying a "bed" of a few cards, then shuffle the right
into the left, holding back three on the left and five
or more on the right as you complete the shuffle.
Drop the five (or more) from the right, and then drop
the block of three from the left to finish the shuffle.
This will place the set-up cards in the fourth through
eighth positions from the top of the deck, with the
Crimp remaining on the face of the deck, in the
process of a casual Riffle Shuffle. To set the Crimp
as a marker above the five card set-up, you give the
deck a second shuffle as follows: Undercut the deck
to the left. Zarrow Shuffle the left half of the deck
under the top three cards of the right hand half. You
will be left as described in the first shuffle sequence
described here.
In the context of Larry's effect, I prefer the
first sequence described. However, the sequence just
described is a very convincing Top Stock Control for
any situation - the main reason for describing it here.
For use as a Top Stock Control you will have to do
one more shuffle, cutting the upper half "with the
Crimp to the right. Give the deck a regular Riffle
Shuffle, letting the top five cards of the left side fall
last. The Crimp should be released from the right
half of the deck first so that it will go to the bottom
of the deck to be further used as a control card.
You'll note that the sequence consists of a standard
shuffle in which the top stock is apparently lost, a
Zarrow Shuffle, and then one more standard Riffle
Shuffle to rotate the stock back to the top of the
deck. I have yet to meet a cardman who could follow
this sequence, or realized that a control was in
process.
The shuffles are a convincing way of ringing in
the set-up, but some may not have the skill for the
required Zarrow Shuffle needed in each of the
sequences outlined. If this is the case, you could set
up the five cards beneath the Crimp (on the bottom
of the deck) as described in the first sequence, Riffle
Shuffle the deck a few times, retaining the lowermost
six cards, and then simply cut the deck to position
the stack in the center.
It is, of course, not necessary to even have a
static memorized stack. Just Crimp the bottom card
of the deck and run any five cards to the face in an
Overhand Shuffle (or with a Riffle Shuffle Block.
Transfer to the bottom, while retaining the Crimp in
position). Spread the deck face up and memorize the
lowermost five cards. Shuffle again, retaining the
bottom stock and continue as noted above.
Any of the ideas outlined are satisfactory for
achieving a more mysterious version of Larry's
brilliant effect.
 NEWS AND NOTES
I understand that Xerox copies of this magazine are rapidly changing hands. Karl Fulves, in a lighthearted
review in his Interlocutor even recommended it. I don't feel that it takes a "genius" to fill out our simple coupon-
by supporting us, you are supporting this magazine and the immense amount of effort that it takes Lynn and
myself to put it out. We make no money on it, and in fact, it costs us about $1000 to put out each issue, which
means that we must sell one hell of a lot of books just to break even on the cost. Each Xeroxed copy means just
one more who is freeloading on your money, and our effort. Furthermore, if our sales don't warrant putting out
this magazine, then we'll have to stop. Each photocopy is one more step towards killing this magazine. Most
appreciate the fact that this magazine is exclusive. We're trying to give you practical material that is different from
the other magazines on the market. Think about all of this just before you press that "on" button to make that
photocopy for the "friend" who doesn't care enough to support what we're trying to accomplish.
I see that Paul Harris and Chuck Martinez are about to launch another close-up magazine. Is $100 worth
selling your birthright for? If anything is published in a magazine without pay, then you (the writer) automatically
retain copyright to your effect, even though the material may be under blanket copyright, such as this magazine is.
Once you are paid ... then the material belongs to the publisher, who can do whatever he pleases with your
· material, without your permission. Ken Brooke found this out when the rights to the Gen were sold by Harry
. Stanley to Edwin Hooper of Supreme. A whole Ken Brooke book now exists without the permission of the author
.of the material. If you don't mind selling your material for $100, then take the "C Note" and run.
Jack McMillen, the man who contributed so much of his original material to the classic EXPERT CARD
TECHNIQUE has kept himself under wraps for years. Jack has now come out of "hiding" and will be honored by
the Magic Castle with a champagne party in his honor an the 15th of November. Even more exciting than the
strictly social event will be Jack's lecture on card magic given to the Magic Castle members on that same afternoon.
It's a first for Jack and an event which should definitely not be missed if you're in the Los Angeles area on that
date.
Coming up in mid-October is the close-up convention of the year at Niagra-on-the-Lake, Canada. The "Ibidem
Events" convention hosted by the genial editor of the famed Ibidem magazine, Howard Lyons, and his cohort Bob
Weill, is strictly limited to 35 attendees. The four day affair, held at a country inn with all gourmet meals and an
open bar, is the most relaxed and low pressure event for the close-up enthusiast. Attending this year will be such
luminaries as Stewart James, Paul Curry, Mike Skinner, Jerry Andrus, Larry Becker, and, it is whispered, the
legendary Ross Bertram, if his health permits. I can't think of a more pleasurable convention that a true enthusiast
could attend. I'll give you a complete run-down of the events in the next issue of this magazine.
Howard Lyons is also the man who came through with the material to help complete my Richard Himber
collection. Nope, I don't collect his apparatus, but those music tapes that Howard sent along from his record
collection of Himber's Ritz Carlton orchestra period featuring Joey Nash on vocals, really "send me". Likewise
for Howard's generosity with his collection of Fred Astaire vocals, and the Ukulele Ike (Cliff Edwards) material.
Howard has a strange sense of humor- I asked for some AI Bowlly recordings and promptly (for Howard) received
some 24 hours worth of material. Howard's Bing Crosby collection is legendary, and it just goes to show that we all
have interests other than just magic.
As I mentioned above, Larry Becker will be one of the attendees at the "Ibidem" convention. Along with his
charming wife April, Larry will be presenting his "Las Vegas Psychic" act which revolves around mental magic done
with a gambling theme. Larry will also be presenting his superb lecture for the last time. After this lecture and
show, Larry will be going on the road as a professional mentalist. When I asked him why he would retire as a
successful advertising executive at such an early age, Larry replied that he, "just wanted to see if I could do it." I
know that he doesn't need my best wishes that everything will work out -he does the most powerful mental act
that I've ever seen. The combination of appeal to human greed and mentalism is unbeatable!
Michael Skinner's name recently saw print in two popular Las Vegas publications. Nevada Magazine featured
an article on the magic happening in and around Las Vegas. It is interesting to note that Mike is the only magician
described as "extraordinary" amongst the full dozen acts covered, some of them quite famous names. Vegas Visitor
reviewed the elegant Lily Langtree restaurant in the Golden Nugget where Mike is the host and had this to say
about his magic: "To add to your delightful evening of dining is the prestidigitation art of Michael Skinner,
Resident Magician. 'Discovered' at the Magic Castle by Stephen A. Wynn, President and Chairman of the GOLDEN
NUGGET GAMBLING HALL and ROOMING HOUSE, Skinner's sleight of hand is extraordinary. It's close-up
intimate table magic, not stage magic (paper bouquets and rabbits). He can double, triple and quadruple quarters
before your eyes, tum tiny rubber balls into big red apples. And what he does with a freshly opened pack of cards
is incredible. We readily understood when he laughingly said that he's barred from the Casino. His repetoire (sic) of
magic is fantastic and (he) can go for weeks without repeating himself." Steve Wynn is now in the process of
building a multi-million dollar room in his new Crystal Bay Sporting Club which is designed to feature Mike's
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 magic. I understand that the special effects man who was responsible for designing the "Haunted Mansion" at
Disney Land and Disney World has been hired by Wynn to design Mike's new room. From what I've heard, the new
room should be one of the all time great magical attractions.
Not so successful was the Magic Island private club and restaurant in Newport Beach, California. The August
27th opening featured such acts as the head magician Larry Jennings, J.C. Wagner, John Carney, Daryl Martinez,
and even David Copperfield. However, with the good salaries that were being paid, the inevitable happened - the
lousy acts started undercutting the price that the pro's were being paid. Unfortunately, the owner, Michael Callie,
·fell for it and as attendence dropped off, more of the pro's were either let go or quit. Larry Jennings, one of those
who moved to the area specifically to head up the operation quit in disgust, two and a half months after the clubs
grand opening. It could have been a terrific boost for magic to have another club operating devoted to magic, but,
as usual, the amateurs ruined it again for the professionals. I understand that only John Carney and J.C. Wagner
have been retained, with Michael Ammar working part time- another who relocated because of the promises that
the owners made but never fulfilled.
Scotty York is now working professionally as a close-up magician along with Bob Sheets and Steve Spillman
(the last two were formerly of Aspen's .. Jolly Jester" club) at a club in Chevy Chase, Maryland that is devoted
entirely to magic. Scotty has come up with some sensational ideas lately and has promised something for the
readers of this magazine. Scotty seems to be headed for dubious fame as one of the most ripped off magicians of
our time. Aside fwm the thievery of his Coin in Watch by Eddie Gibson, El Duco, and others, and the recent poor
imitation of Ni.:kel Saver by Sterling Creations, M & M Magic, Inc. of Forest Park, Georgia, has just placed his
Lightbulb effect on the market under the name of "Dazzle Light". Several years ago, Scotty passed on the rights to
this effect to Ken Brooke of England. M & M Magic does not have anyone's permission to sell Scotty's effect. One
of the owners of M & M Magic, Inc. is, I believe Jim
Maney. You may recall him as the person who was
doing an ersatz "Great Tomsoni" - a very poor
imitation of John Thompson's professional act. Isn't
September 16th, 1981 it time we started policing and censuring these
thieves?
Edmonton, Canada magician Jon Charles per-
Arcane is published occasionally by forms every Sunday night at the Japanese Village
JEFF & LYNN BUSBY restaurant in that same city. You may have been
for their regular customers. exposed to him even if you haven't visited Edmonton.
No subscriptions are available. Jon has been doing character parts on the smash
television comedy show "SCTV Network 90" which
EDITOR is shot in Edmonton. His magic is that of a polished
Jeff Busby professional and he has some very novel and original
routines. Slated for issue number 8 of this magazine
ART and MASTHEAD
Don Albrecht is a great jumbo card routine that Jon uses in his pro
work. Look for it.
TYPOGRAPHY Harry Riser and Ed Brown are still at work on
Lynn Busby what promises to be one of our most exciting issues -
devoted completely to Harry's original creations.
LAYOUT MECHANICALS
Harry is such a perfectionist that the work has been
Lynn Busby
delayed until it is "just right" for publication. I'm
DESIGN sure that you'll fmd the wait worth it.
Jeff Busby Another eagerly awaited publication is the new
book by Charles (Chuck) Smith of Texas. I hear that
it's full of superb moves of the "Erdnase" type and
will be welcomed by both serious cardmen and
serious entertainers. Those in the know have raved
about Mr. Smith's superb version of the Cards to
Pocket routine and the section devoted to what Mr.
Smith calls the "Option" - a brilliant series of utility
moves based on a premise. I expect tlie book to
JEFF BUSBY MAGIC become a classic. It's a limited edition and when it
1351 Francisco appears, snap it up!
San Francisco, California 94123 The quality of contributions received from the
U.S.A. true innovators in magic has been gratifying. I'm
(415) 673-3406 thankful that they think highly enough of this mag-
azine to pass along their best for publication. Each
issue will have something of value to you.
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