Introduction

Well, hello there magician person! Welcome to ‘HEADBANGERZ!’ (Thanks Jon

Garrod!) which is a collection of NINE absolutely KILLER and commercial routines,
created by myself (Liam Montier) and my magic buddy Darren McQuade.

The creative process is a strange one, and quite often, for me at least, it’s a private
thing. In my experience, magicians are defensive of their own ideas, and unwilling to
change things that they’ve used before. ‘If it ain’t broke, don’t fix it’. Well, the world
would be a boring place is everything simply worked, without being improved upon.

However, a regular collaborator is Darren McQuade - a great friend of mine for well
over a decade, and a busy performer, and full time professional magician. It wasn’t
until recently that we realised that over that time, we’d actually worked on a large
number of routines, and many of them we were both still using.

So, I proposed to type up some of the tricks, and make them available. I haven’t
labelled who invented what - although some tricks are definitely more of one persons,
in magic, sometimes it’s the small suggestions and influences that make the difference,
and to Darren and myself, the crediting isn’t what’s important - it’s the end result.

Many thanks for joining us on this collection of routines, and we both hope you find
something rock and roll that you will use and make up.

Rock on!

Liam Montier
 Contents
Pool-Table

A bizarre packet trick that demonstrates your ability to cheat at pool anywhere you go!

Trap!

Test a spectator’s sleight of hand ability by seeing how quickly they can attach your
promotional key ring to their keys - then let them finish the trick for you!

Unhinge

An unused and un-loved principle is responsible for a startlingly clean change of four
cards. Turn Aces to Kings, or check out the Pac-Man presentation for retro loveliness!

Only the B’Wave

An ‘Unhinged’ variation on a classic! A spectator freely selects an Ace, and then the
avalanche of kickers begins!

The Magic 8 Ball

A super visual moment of magic where a Magic 8 Ball, drawn on the back of a card,
is given a gentle shake, and visually produces the selected card! Easy and commercial!

Autograph Collector

Take ‘Card To Wallet’ and add a presentation that brings a super strong punch, as the
spectators signed card is sent to you from an Autograph dealers…

Bermuda Card to Wallet

A simple and efficient Card to Wallet where the wallet is on the table before the
selection mysteriously vanishes…

Memory Test

Bust out this regular deck ‘kick-back’ style routine any time, any where.

Birthday Card Trick

A self-working card trick where the spectator chooses a ‘birthday card’, only to find
that you have predicted it perfectly, before then revealing the exact birthday of the
person!
 Pool-Table!
Start as you mean to go on! This little trick, that Darren and I worked on one Blackpool Convention,
started off as a creative brainstorming session to pass the time. From it came a trick that I’ve actually
come to love, and we both use it on a regular basis.

It’s cool, offbeat and visual, and whilst technically a packet trick - it certainly doesn’t have that feel.
Give it a go!
Show

‘Have you ever seen cards like this before? They don’t have any printing on the fronts, totally blank. I
use them because they are good for drawing on and working out your own tricks. Like this one, for
example.’

You remove a stack of blank face cards, show them briefly, and then show one that
you have drawn like a pool table.

‘OK, so the drawing isn’t great, but it’s the details that matter. It’s even got holes punched in for the
pockets! Check it out.’

The pool table card is examined, and then handed back to you.

“The best thing is that you can use it to actually play pool! And it’s easier than using a real size one,
because this one is pool-table...’

Offering to demonstrate how you can still play, you use another card to act as a cue,
and actually make a break off shot, visibly knocking the balls around the table!

‘And that’s not all. It’s also much, much easier to cheat with this table. Check this out for a trick
shot...’

The table card is waved back and forth, and the pockets appear to seal up!

‘Now, I know it looks like the pockets have vanished, but that’s not quite true. I just moved them, and
as a result, I win. You see, I’ve just potted all the balls at once!’

Lifting the table card up, it is seen that the holes have actually moved underneath the
balls, which has caused the balls to sink below onto the card beneath. Both cards can
then be handed out for examination.

Tell

You need a selection of cards to make this up, and the preparation seems quite
demanding, but once you have made up a set you have it ready to go anytime. As I
usually bully Darren into making my sets, he will describe how you put them
together. :)
You need 8 blank faced playing cards and a matching double backer. You will want to
use red backs here as blue will make the end effect much harder to see.

So, here is what you will do with these cards:

1. Draw a regular pool table with the triangle of balls. Don’t punch the holes yet.

2. Draw the same pool table. Don’t draw the balls on yet. Line this card up with card
number 1 and punch the holes for the pockets through both cards
simultaneously. They need to match up perfectly.

3. Draw the same pool table but don’t

draw any balls on it. Instead you are
going to punch 6 random holes
through the table. You will now
place this on top of card 2 and use
it as a template to draw the balls on
that card, which again ensures that
they match perfectly.

4. Use card 3 to draw the balls on the

back of card 4 which is a regular
blank facer.

5. Trim the corners of this card, it will

make doing the trick easier. You
could also trim the edge if that is easier for you, depending on your preference
for a short card or a corner short.

6. These are 3 regular blank faced cards. Don’t do anything with them.

7. This is the same both sides double backer.

Set Up

Now that you have the cards made let’s get them in the correct order. Card number 1
is uppermost with card 9 at the bottom:

1. Pool table card with triangle of balls

face up.

2. Regular blank backer face down

3. Pool table card with scattered balls

drawn on.

4. Same both sides double backer

5. Blank face card with the ball drawn on

 the back. This card goes blank face side up.

6. Pool table card with scattering of balls punched throughout the table. Make sure
this card is the same way up as the tables on cards 1 and 3. Also make sure the
balls on card number 5 match up with the holes.

7. Blank facer with corners cut short. Blank face down.

8. Regular blank facer. Blank face down.

9. Regular blank facer. Blank face down.

The picture above shows the set up, card number 1 being the top card of the packet
and card number 9 being at the bottom.

Performance

‘Have you ever seen cards like this before? They don’t have any printing on
the fronts, totally blank. I use them because they are good for drawing on and
working out your own tricks. Like this one, for example.’

Begin by removing the packet and holding it so the blank sides

are uppermost. Casually push over two of the blank cards, just as
a brief display.

Then, flip the packet over, bringing the Pool Table card into view.

‘OK, so the drawing isn’t great, but it’s the details that matter. It’s even got
holes punched in for the pockets! Check it out.’

Hand out the pool table card for people to examine.

A regular back shows on top of the packet, so everything appears

to be as it should. Whilst the spectators are checking the card
out, get a break below the top two cards of the packet, and lift
them off with the right hand, held as one card.

“The best thing is that you can use it to actually play pool! And it’s easier
than using a real size one, because this one is pool-table...’

Take the pool table card back onto the left hand packet, and then
place the right hand double on top of all, but in-jogged towards
you for about half of its length.

Pause for a second so the spectators see the image, and then
smoothly push the double card flush, before using just the
forefinger of the right hand to slide only the TOP card back.
This appears to very visually ‘break’ the balls all over the table.
The right hand can briefly flash the face of its card, as it is a
regular blank facer, and then slips it to the bottom of the packet.

‘And that’s not all. It’s also much, much easier to cheat with this table.
Check this out for a trick shot...’

You now need to grab everything above your corner short card,
between the right thumb at the inner left corner (from your view)
and the right second finger at the outer right corner.

This is of course Twirl Change position.

Do the Twirl Change, rotating the packet around with your forefinger as you gently
shake the packet back and forth, before dropping the cards back onto the remainder
of the packet in your left hand. Hold everything square and display, giving the
spectators the chance to see that the holes have apparently vanished from the corners

‘Now, I know it looks like the pockets have vanished, but that’s not quite true. I just
moved them, and as a result, I win. You see, I’ve just potted all the balls at once!’

Conclude by slowly, slowly lifting just the top card off of the
packet, as cleanly as possible. This has the eerie visual effect of
the balls apparently on the table card sinking through and onto
the card beneath!

Hand out both cards once more for further examination!

Final Thoughts and Tips

Of course, you don’t have to make this up on playing card stock - your
business cards might be perfect, and then you can leave them with a
spectator!

This is a non-fire version of another pool themed trick that we published, called ‘Trick Shot’ which
appeared in ‘Stranger Than Frixion’ available from www.tricktastic.com

Be sure to make the most of the visual at the end. I love to do the twirl change, give them a second to
realise that the holes have vanished, and then slowly - really slowly - lifting the card up. This is a great
visual moment for very little work, so be sure to make the most of it! :
 Trap!
Finding a novel way to hand out a promotional item can be worth its weight in gold to working performers.
When Darren got a stack of promotional keyrings, he soon put a quick and extremely effective trick around
them.

Note that you could also use keyrings of other designs, so if you aren’t a professional performer, you
could use a keyring with a Houdini picture inside, and pitch it as ‘one of Houdini’s favourite card
tricks...’ or whatever fits your personality.

One thing that makes this trick so effective is the boldness. When Darren first showed me the trick, it
fooled me completely. Be confident when presenting this, and you will have a winner on your hands!

Show
‘OK, I think we should work together on a trick. First of all though, I need to test your sleight of
hand skills. Now, if you don’t know any sleight of hand techniques, then it will be even tougher. I’m
going to time how long it takes you to attach this promotional keyring onto your keys!’

You remove a promotional keyring, and hand it to the spectator, who is asked to attach
it onto their keys.

‘If you can do it quickly, I might even let you keep the keyring! Wow, that was quick! You didn’t
cheat did you? Let me see that!’

The spectator succeeds in securing the keyring to their keys, and you check it is
securely on their keys, before handing them back. The spectator returns the keys to
their pocket.

‘You are obviously great at sleight of hand, it takes me ages to do those things! OK, so I propose we do
half of the trick each. First of all, choose one of these cards...’

A card is chosen by the spectator (say the Seven of Clubs) and the magician tears a
corner from it. The corner is cleanly vanished!

‘That’s my half then. I guess it’s your job to make the corner reappear. In a pocket maybe? Perhaps
the pocket with the keys?

In their own time, the spectator brings out their keys and finds the missing corner
securely sealed inside the promotional keyring!

They can even check with the remainder of the card - the corner fits perfectly!
Tell
In order to perform ‘It’s a Trap!’ you just need a few items - some blank keyrings, two
small and thin magnets (rare earth style), some re-positionable glue and a deck of
cards.

First things first - get yourself onto eBay or Google, and find a
supplier of some blank keyrings - the kind you can slip a passport
sized photo inside and click shut.

If you are going to use them as promotional giveaways, you can get
these in bulk, and get the inserts properly printed up. Otherwise, buy
a handful, and print a suitable picture for your presentation using
your home printer.

Something else to consider is that one side will end up virtually

covered by the corner of the card, so ensure that your promotional
details are not obscured.

Either way, grab a deck of cards, and tear a small corner off of a card of your choice.
This corner goes into the keyring, which you then seal shut. Keep hold of the
remainder of the card!

Take a duplicate picture (it needs to match the side that you placed the corner over in
the key ring) and secure one of the magnets to the back of it. You can then put some
thin white card on the back of all, to make the whole thing more sturdy, particularly if
you plan on getting repeated uses out of it. Darren points out that you can even
laminate this gimmick to make it hard wearing
Once you have made the gimmick, put some re-positional glue on the white section.
You really don’t want too much - it’s literally got to be enough to stop the gimmick
falling off, but not enough to prevent the magnets doing their job later on. For now,
just try four little spots, one in each corner.

The final magnet should be stuck in your card case, in the centre of the ‘half moon
cut out’ side. Be sure that the magnet is the correct way around to attract to the
picture side of your gimmick.

Set up by placing your sticky gimmick over the key ring, hiding
the card corner from view. This goes into a pocket, and your
deck of cards (complete with the torn card on the bottom of the
pack) goes in another pocket.

Performance
‘OK, I think we should work together on a trick. First of all though, I need
to test your sleight of hand skills. Now, if you don’t know any sleight of
hand techniques, then it will be even tougher. I’m going to time how long it
takes you to attach this promotional key ring onto your keys!’

Start off by bringing out the gimmicked keyring, and asking the spectator to remove
their keys. Casually show the key ring both sides, and then hand it to the spectator.
Don’t worry about the gimmick, just act casually. You will notice that spectators don’t
even handle the actual ‘fob’ part - they hold the keyring by the ring when securing it
onto their keys.

As the spectator attaches the keyring to their keys, bring out the card box and hold it
in the left hand, with the magnet side (the half moon cutout) facing upwards.

‘If you can do it quickly, I might even let you keep the key ring! Wow, that was quick! You didn’t
cheat did you? Let me see that!’

When the spectator has attached the gimmick, immediately

congratulate them and offer them the keyring as a prize - but
only if they have really succeeded in attaching the keyring. Take
it back from the spectator and examine it, apparently checking it
is secure.

This little gag covers the move. As you are holding the deck, and
the keyring, it is a simple matter to allow the magnet to pick up
and remove the gimmick, securing it onto the card box as shown
in the picture below. Some experimentation in practice will show
if you are using the correct amount of re-positional glue, and if it
is the right strength.

Concede the spectators sleight of hand prowess, and hand them

back the keys, directing them if necessary to place them back into their pocket.

‘You are obviously great at sleight of hand, it takes me ages to do those things! OK, so I propose we do
half of the trick each. First of all, choose one of these cards...’

Open the card box and remove the deck, being sure to conceal the hidden gimmick
now attached to the underside of the case. Casually shuffle the cards, centralising the
torn gimmick, and if required, turn the deck end for end during an all around square
up, so that the torn quarter of the gimmick is towards you.

You now need to force and display the torn card, without exposing its actual
condition.

Here’s one way...

Riffle up the back of the deck with your right thumb. You will
notice that the torn corner acts as a corner short (as the card
literally is a corner short!) and you can stop riffling right at it.
Keeping both hands over the deck, secure a left little finger break
above the torn card, and then apparently square the pack.

You are now going to Riffle Force to the break. This consists of
using the left thumb to riffle through the cards, starting from the
top down, and asking the spectator to call stop. Stop riffling when
they say, but then reach over to the deck with the right hand, and simply lift off all the
cards above the break. The implication is that you have stopped where they asked -
the truth is somewhat less honest!

As you lift off the right hand cards, turn the left hand so that the faces of the cards are
towards the spectators, and push the top (force) card over with your thumb, bringing it
into view, as the selection.
Remove the selection, keeping the torn corner hidden with the left hand as you table
the rest of the deck onto the table.

Mime tearing the corner from the selection, and then casually toss the card to the
table while still apparently holding the smaller piece.

Cause it to vanish with all the theatrical flair you can muster!

‘That’s my half then. I guess it’s your job to make the corner reappear. In a pocket maybe? Perhaps
the pocket with the keys?

Direct the spectator to check out their keyring to reveal the missing piece. Let them
check the torn card in their own time - they will eventually realise that the pieces
really do match!

Final Thoughts and Tips

That’s a pretty simple handling, but ideal for table hopping.

For a cleaner variation, you may like to have the torn card reversed on the bottom of
the pack, and then force a duplicate, using your favourite method. Shuffle, bringing
the reversed card to the centre, and direct the spectator to make a magic gesture,
maybe even waving the keyring over the top. Spread through the pack, showing that
their card has turned face up, and then when they remove it, it has a corner missing!
Let them discover where it went in their own time.

Of course, literally any keyring design can be used to fit any presentation you like. If
you aren’t a professional magician, a personalised keyring might be unnatural. So
how about a band keyring, and a matching deck of cards? Or a keyring with a magic
wand or other magic symbols on it?

Finally, be aware that the routine is typed up here as if you were presenting it as a
stand alone piece. In reality, you might like to present the spectator with the keyring
early on, and then go into some other tricks, before going into this.
 Unhinged
This cool packet trick exploits a much underused principle that allows a startlingly
clean change of one packet of cards to another. No originality is claimed for the
principle, but I haven’t seen another magician even use it, much less for
something as clean and effective as this.

Show
‘Aside from magic, my other main passion is gaming. Not those new games. They are OK, but
you can’t go wrong with the classics!’

From your pocket, you remove a little plastic wallet and a pac-man keyring that
makes the ‘wacca-wacca’ sound when you press the button. This is given to a
spectator to hold, after they promise not to run the batteries out.

The wallet is opened and four cards are removed.

‘These are the ghosts, that used to chase pac-man. Did you know they were all actually named?
This one is Inky, Pinky, Blinky, and can you guess the last one? No, me neither. It was Clyde
for some reason!’

The cards are clearly shown, one at a time, and each one displays a different
coloured ghost.

‘Of course, if you saw the ghosts, and you were playing pac-man, you had to run. Only as far
to the nearest power pill though, and then you could do this...’

The pac-man keyring is waved over the packet (wacca wacca) and then the four
cards are turned over and super cleanly shown, on both sides. Each ghost has
been eaten, leaving only the eyes, as in the original game!

Tell
First of all, I should start off by saying that, although this is
the theme for the effect we use, this is completely
customisable. What’s important here is the clean handling -
the presentation you use is up to you.

So, to perform this as we do, you need 8 blank backed cards,

some clear tape, marker pens (or a printer and glue if you
want your images printed) and optionally (but recommended)
is some roughing spray.

Start off by deciding on your theme, and creating the four

cards that you are going to start the effect with. So, in our
case, it’s the four pac-man ghosts.

Bicycle cards are not good for drawing on, even with Sharpies.
If you are going to draw something I recommend drawing it
on paper, cutting it out and sticking it on.

Or you could find pictures online of your chosen subjects, and print them out.

With the first four cards prepared, you can now move on to the next four, which
will be the cards you reveal for your big finish.

So, again, in our case, that is the pac-man ghost eyes. The pictures above show
the two sets of four cards.

The picture with the pac-man ghosts actually shows the

method at work - you are now going to pair up the cards, one
from each set, and make them ‘hinged’ cards with the clear
tape, as shown to the right.

So, each pac-man ghost is taped to a pair of eyes. With that

done, you can end the preparation there, but I often then
open each pair and rough the inside surfaces (that is, the face
of the pac-man ghost, and the back of the ‘eyes’ card. The
advantage this gives you is that it helps keep everything square
at the end of the trick during the display.

One final tip is that if you experience difficulty opening the

hinged cards cleanly, you can cut the front card of the hinged pair fractionally
shorter, and then round the corners.

With the cards made to your preferred theme, you are ready to go. If you are
using the pac-man theme also, keep a pac-man keyring or something similar to
hand.

Performance
‘Aside from magic, my other main passion is gaming. Not those new games. They are OK, but
you can’t go wrong with the classics!’

Begin by bringing out the keyring if you are using it, or other item, and introduce
it. Hand it to a spectator or table it, as you then bring out the packet of cards.

‘These are the ghosts, that used to chase pac-man. Did you know they
were all actually named? This one is Inky, Pinky, Blinky, and can you
guess the last one? No, me neither. It was Clyde for some reason!’

You now display the cards one at a time as follows. Hold the
packet with the hinged sides towards you, in your left hand
dealing grip. Use the right hand to lift the outer end of the
top card, displaying the card to your spectators as below.

Once you have made a comment about it, allow the flap to
close, and apparently take the top card and place it to the
bottom. In reality of course, the whole gimmick is
transferred, and the second card is displayed in the same way.

Continue to display the cards until you have shown and spoken briefly about each
one in turn. Note that pausing to give some information about each ghost (in this
case, it’s name) justifies showing the cards one at a time.

So, when you come to make your own theme, keep in mind that if you have
different objects, it’s more logical to display them in this way if you can say
something of interest about each one.

‘Of course, if you saw the ghosts, and you were playing pac-man, you had to run. Only as far
to the nearest power pill though, and then you could do this...’

Once the display is complete, hold the cards in a fan with

your left hand, as your right hand removes the pac-man
keyring, or whatever else you are using as misdirection. You
need a moment of time misdirection to avoid the trick being
‘too perfect’. By introducing another item, heat is moved
off of the cards, and onto the new item.

Wave the item over the cards, or do your magic gesture,

whatever, and then turn the face over to reveal the change!

Final Thoughts
Of course, many other presentations are possible. While I love the pac-man
version (and the mentalism application that follows) Darren also uses a
ghostbusters version…
Handling wise, the only thing you need to be careful of is keeping the edge of the
packet that faces the spectator tilted downwards. This hides the thickness of the
packet, and also ensures that everyone around the table or in the group can
clearly see the cards.

Once you have performed the trick, and got your reaction, simply replace the
cards back into the wallet to reset for next time. This is quite deceptive, as the
cards apparently go back into the wallet in their changed state, as far as the
spectators concerned – in reality, everything is set for another performance.
 Only The B’Wave
The flap card principle used in the previous trick is exceptionally versatile, and should
probably have warranted an entire project on its own. Until then, here’s another cunning
application for a favourite mentalism plot.

Show

‘You know what a coincidence is, right? A kind of accidental incredible occurrence. So, if I set out to try to
make a coincidence happen, and it does, is it still a coincidence?’

Two packets of cards are removed from a wallet, one red and one blue. The red packet is
given to the spectator to hold, while you spread the blue packet out in a fan.

‘Imagine that these are Aces. I want you to touch the back of any one of them. You can touch any of them
that you like, and that’s the one you will have, but you can’t change your mind once you have decided. Which
one would you like?’

The spectator touches one of the cards in the packet, which is very slowly, fairly and cleanly
cut to the top of the packet.

‘Take a look at the Ace. I’ll turn away while you do, so I can’t cheat.’

You turn away as you clearly display the freely selected Ace. It is the Ace of Spades.

‘Here’s the coincidence I’m hoping to go for. Think of your Ace, and concentrate on it. Now, slowly fan out
your red packet of cards…’

The spectator does, and face up in the packet is another Ace of Spades!

‘I know what you are thinking. I could have forced the coincidence to happen if my cards were all the same.
And, they are, but not how you are thinking…’

You turn your packet of cards over, cleanly, one at a time. Three of them are totally blank -
there is only the selected Ace of Spades!

‘And, I was so sure you’d choose the Ace of Spades, that your one has a different colour back.’

The spectators Ace from their red packet is turned face down, and revealed to have an odd
back to the others.

‘And, I was so sure you would choose it, that I didn’t bring the other ones with me...’
The spectators remaining face down cards are turned face up. Each of them is blank on the
face, except for one word. The cards spell out ‘Ace’ ‘of ’ ‘Spades’!

‘One hell of a coincidence. Or is it?’

Tell

This pumped up version of Max Maven’s B’Wave is one of my favourite versions of the plot.
It neatly skips around any verbal ambiguity or magicians forcing by physically forcing the
correct Ace on the spectator, but in a manner so fair that attention can be (and should be)
focused on the procedure.

So, you need the following cards to make up the trick.

Packet 1

4 x Ace of Spades
3 x Blank Faced Cards

All of these cards need the same colour backs. So, let’s say for
example that you have these in Blue. Make three ‘hinged’
gimmicks (see previous trick for details) attaching the blank faced
cards onto the faces of three of the Aces. The last Ace is left as it
is, and is slipped face down into the hinged gimmicks, somewhere
in the middle.

Packet 2

1 x Ace of Spades with a different colour back and preferably a

different design as well. Otherwise, use a marker pen to mark a
big black X on the back, or something similar.

3 x Red backed blank faced cards. Write ‘Ace’ on the first one,
‘Of ’ on the second, and ‘Spades’ on the last one. Slip the Ace
face up in amongst the face down cards to set up the packet.
With both packets in a packet trick wallet, you are ready to go.

Performance

‘You know what a coincidence is, right? A kind of accidental incredible

occurrence. So, if I set out to try to make a coincidence happen, and it does, is
it still a coincidence?’

Bring out the wallet, and open it up, firstly removing the
prediction packet (packet 2) and handing it to a spectator for safe
keeping. If you are doing the trick without a table, I like to have the spectator hold the
prediction packet from above, to avoid the possibility of them spreading the packet
accidentally before the end of the trick. If a table is available, then I set the packet down and
simply have the spectator cover the packet with their hand.

‘Imagine that these are Aces. I want you to touch the back of any one of them. You can touch any of them
that you like, and that’s the one you will have, but you can’t change your mind once you have decided. Which
one would you like?’
Bring out the other packet (packet 1) and ensure that the hinged sides are towards you. Tilt
the outer edges of the packet down towards the floor. This does double duty of making the
cards more visible, while hiding the weak angle. Fan the packet out, and invite the spectator
to touch the back of one.

*THE HAPPY ACCIDENT FORCE*

When I put this trick together, mentally I assumed that the spectators would choose the
regular Ace (obviously the best outcome) 1 in 4 times. Not bad odds.

However, in practice, they choose it literally every time. Firstly, I think this is because the
regular Ace is in the middle position somewhere. Whenever offered a choice, it is unusual
that a spectator chooses the top or bottom card. I presume this is because it seems a little too
‘easy’ for the magician, as it’s easy to assume you would have less control over cards in the
middle of the packet.

So, with that in mind, the chance of them choosing the regular Ace would be 1 in 2. Much
better odds!

But, here’s the happy accident... when offered the choice, people regularly go for the regular
Ace, and I think it’s because it actually looks different in a way that isn’t easy to articulate. Of
course, the other three cards are doubles, so the actual Ace is ‘thinner’. For some reason, this
visually attracts attention to it I think, but in a way that the spectators would struggle to
articulate.

So, if the spectator goes for the regular Ace, allow them to remove it and look it themselves.
As I mentioned, I think you will be surprised by just how often this happens.

However, if they don’t point to the regular Ace, no problem.

Very slowly and cleanly cut their card to the top of the packet,
and then explain that you will show them the card while you look
away. This justifies the displaying the card in the way that you
do.

So show the card by lifting up on the top card at the outer edge,
causing the card double to hinge open (as seen in the previous
trick). Give the spectators a couple of seconds to look at and
remember the card, and then allow the card to drop back onto
the packet, and give it a casual and genuine shuffle.

‘Here’s the coincidence I’m hoping to go for. Think of your Ace, and concentrate on it. Now, slowly fan out
your red packet of cards…’

You are now home and dry, and the rest of the effect is simply going through the various
reveals. To get the maximum amount out of it, you might like to ‘read the spectators mind’
and reveal the Ace first.
Either way, have them spread their packet (either in their hands
or on the table) to reveal a match. The idea here is to encourage
the thought that your packet contains all Ace of Spades.

‘I know what you are thinking. I could have forced the coincidence to happen
if my cards were all the same. And, they are, but not how you are
thinking…’

Turn your packet face up and spread it to reveal three blank face
cards with their selected Ace. Remove the cards, flash them one at a time on both sides, and
pop them back into the wallet or into a pocket. As these cards can’t be examined, this is the
next best thing - showing every card both sides, slowly and cleanly, and then getting them out
of play.
 The Magic 8Ball
This routine, while carrying a distinctive ‘Jay Sankey’ kind of vibe, manages to bring a visual
element to it that many similar routines don’t. The drawing changes visually with only the
slightest shake – no ‘twirl change’ shenanigans here!

Show

‘Take a card – any card! Have a look at it, and pop it back into the pack. We will shuffle,
and, erm… Ah! I think I’ve lost it.’

After having a card selected and returned to the pack, you appear to be having
difficulty finding the selection.

‘I can’t decide which one it is! There are too many choices. Normally, I use a gizmo to help me
with my decisions. Wait! That gives me an idea!’

Removing a marker pen, you sketch a picture onto the back of the top card – a
‘Magic 8Ball’

‘I have a proper one at home, it is never wrong! Hopefully this one will work the same!’

Holding the card in full view, it is given just the slightest shake, and the ‘8’ in the
centre of the drawing visually changes into a Three of Clubs, the spectators
selection!

‘I told you it always works!’

The card is handed out to the spectators, and is completely examinable!

Tell

First up, you need to make a gimmick. You will need any four
red backed cards (blue doesn’t work so well as the drawing is
less visible) some glue, a craft knife and a circle cutter.

Take the first card, and cut a circle from the centre, about
2cm in diameter.

The second card needs to have a rectangle cut out from it,
aim for 7.5cm by 3.2cm. Keep hold of the little rectangle you
have cut out, and shave 1mm from the long edge, and about
23mm off of one of the short edges.

Cut the third card in the same way, but this time discard the inner rectangle,
leaving you with just the frame.

The final card is left complete.

Making the Gimmick

Start off by playing the regular card face up on the table, and
stick one of the rectangle cards onto it with some glue, and
then stick the other rectangle card on top of that.

Drop the loose little rectangular piece, back side up, into the
gap. Check that this piece moves freely – if not, you will need
to trim it slightly. It needs to be able to slide up and down.

Finally, stick the card with the circle cut out on top of
everything, with the back side facing upwards.

Give the completed gimmick time to try, and flatten it out if

necessary with a heavy book, or by slipping it into a boxed
deck of cards.

Once it is ready, grab a sharpie or similar marker and your

gimmick.

You will notice that the loose piece inside the gimmick slides
up and down. Slide it upwards, as far as you can, and then
draw a large figure 8 on it. Then, slide it down to the bottom, hiding the 8 and
then draw your force card onto the other end. In our case, that is the Three of
Clubs.

Your gimmick is now ready!

Grab another card (say the 9 of Diamonds for descriptions

sake) and draw a matching 8 Ball picture on it with the force
card in the middle, instead of the figure 8.

Set up for performance by dropping it face down onto a

regular red backed deck, and then putting your regular Three
of Clubs on top, and then place your 9 of Diamonds on the
bottom of the pack.

Now, CHARGE!
Performance

‘Take a card – any card! Have a look at it, and pop it back into the pack. We will shuffle,
and, erm… Ah! I think I’ve lost it.’

Start off by forcing the top card of the pack, in any way that you like. We often
slip cut to the centre as we begin, and then riffle or dribble force. Once the card
has been noted, have it returned to the deck anywhere – no need to control it!

Turn the deck face up and spread through a few cards, apparently as you try to
find the card. In the end, admit defeat and take the Nine of Diamonds off of the
face of the deck.

Flip the deck face down again, and secure a little finger break below the top card
before you put the face up Nine of Diamonds on top of all.

‘I can’t decide which one it is! There are too many choices. Normally, I use a gizmo to help me
with my decisions. Wait! That gives me an idea!’

Perform a double turnover over of the Nine of Diamonds and

the gimmick, but keep the deck turned towards you, so that the
spectators do not see the 8 Ball drawing on the gimmick just
yet. Use the marker pen and pretend to draw the 8 Ball, before
lowering it into view, ensuring that the 8 is showing on the slide.

I prefer to do this by ensuring that when the slide is down, the 8

is visible. If I find the deck is orientated the other way, I simply
turn it as I apparently finish the drawing.

Either way, lower the deck into view (if your slide is particularly loose, a little
pressure with the left thumb on the gimmick will hold everything in place).

‘I have a proper one at home, it is never wrong! Hopefully this one will
work the same!’

Now the cool part!

Shake the gimmick very gently, simultaneously tipping the

front edge of the pack downwards slightly. This causes the
slide to move away from you, and will cause the illusion of the
8 slowly melting into the Three of Clubs!

The key thing here is to practice a few times. You can shake
more, get a fast instant change, but it looks best when done as
slowly as possible (without revealing the method, obviously!).

‘I told you it always works!’

With the front edge of the deck still tilted down, do a double
turnover again, bringing the face of the Nine of Diamonds
into view, and then lift it away. The gimmick remains on top
of the deck, but a back shows, so everything is as it should be.

The spectator can now examine the Nine of Diamonds!

Final Thoughts

You can, of course, have the Nine of Diamonds signed. This

means making up a new card each time, but it does make a
good impression.

If you don’t have the card signed, you can return it to the
bottom of the deck, and then you just need to locate your
force card to reset. Or, you could simply make your force card
a short card (or thick card) and force it from its position in the
deck.

After making the gimmick, you might find you need to flatten
it out to make it work, as the slide needs a flat surface ideally.
Leaving the gimmick in your deck of cards for a while will
work fine.
 Autograph Collector
This cool presentation adds something to the normal ‘Card in Signed Envelope’ routine, leading
people to believe a different effect is happening, so the revelation of the signed card comes as a
complete surprise.

Show

‘OK, let me show you one more card trick before I go. It sort of ties in to my other hobby, which
is autograph collecting! Let me show you a recent addition to my collection!’

You remove your wallet, show it all sides with empty hands, and then open it,
removing an envelope addressed to you. A spectator tears it open, and keeps hold
of it, but is directed not to look inside just yet.

‘Now, whenever they sell me a new one, there’s normally a receipt. Ah, here it is!’

A business card is removed from the envelope, and it is from the company that
sells you the autographs, congratulating you on your purchase of a Seven of
Diamonds, signed by ‘Tony’.

‘Here’s the weird thing Tony. Didn’t you choose a Seven of Diamonds earlier? And sign it?
Well how strange is that?! I wonder what they sent me then…’

The spectator is directed to take out the remaining contents of the envelope, and
show everybody. It is, of course, a signed card from earlier in your set, a Seven of
Diamonds signed by Tony!

Tell

First up, you need a ‘card to envelope’ wallet. Both Darren and I use a Harry
Robson one, as it allows you to instantly reset, but any version is fine.

Address the envelope to yourself, and if you are going ‘the extra mile’, stamp and
send yourself the empty envelope so that it looks worn, and has the postage
marked. If you plan on leaving the signed card and envelope as a souvenir, this
really adds something special.

You will also need to print some business cards

from a fictional autograph seller, with a
specific message on the back.

You can do these from home yourself, with the

pictures below, or head to vistaprint.com and
make your own from the templates they offer
at very little cost.
Performance Options

There are several ways you can go here. If

you are performing socially, then you can
easily pre-fill the card with the information.
Write a spectators name that you know will be
there, and fill in any card which you will later
force in performance. Drop this into your
envelope, and you are set!

However, if you are performing professionally,

then you won’t know specific spectators names. In this case, you can perform the
routine real time.

At some point in your act, you will need to perform a routine that requires you to
write something on a business card. Darren uses Bill Simon’s Business Card
Prophesy, and sets up for it as follows.

On a stack of his own personal business cards, he writes the force cards from his
regular deck. These are the cards on top and bottom of the deck. On the blank
side of the business card stack, he places one of the autograph cards, so that the
writing side faces you.

Now, in performance, Darren will remove the stack, and

apparently write a prediction. Instead, he slides the top card
down slightly, and then fills out the autograph card, writing
the spectators name he is going to perform it for, and a card
he will later force, before removing the business card behind,
that already has the predictions written on, and tabling it.

The rest of the business cards go into his pocket, where the
wallet is set up with the envelope, and he tucks the autograph
card into the wallet, sometimes leaving it up-jogged a little to
act as a guide later.

Final Thoughts

Note that you could have the force card pre-written, but the
problem that can occur while working professionally is that it
may be removed from the deck, already signed, or kept as a
souvenir. Writing it in performance means you are able to be
sure your target card is available!

Rather than constantly stamping and posting envelopes, Darren uses a home
printer to print stamps with the postage and simply sticks them on. This is
probably illegal in some way, but as the envelopes aren’t actually being posted,
you will hopefully not be arrested and beaten.
When you remove the business card from the envelope, you can ask someone else
to read out what is ‘printed’ on the card. This gives you a ‘Koran’s Medallion’
vibe, where the rest of the spectators will assume that all of the information is
actually printed onto the receipt!
 Bermuda CTW
This is a small presentational tweak on the Card to Wallet routine, designed with the idea of making the
vanish of the selection more of a ‘thing’. Usually, the signed card is simply returned to the deck, and then
appears somewhere else. To me, that misses a potential effect, and so this version puts emphasis on the vanish,
and it plays well!

Show

‘Have you ever heard of the Bermuda Triangle? It’s one of the few remaining real mysteries. I’m going to try
to demonstrate a smaller, more portable version!’

From a deck of cards, one is freely chosen and signed. (Or you can have the spectator draw a
boat if you are going for the full Bermuda Triangle experience!) The card is shown around,
and then the deck is split into two halves. The selection goes into one half.

‘With the other half, we are going to make a mini Bermuda Triangle. First, I need a rubber band…’

You bring out your wallet, which has a rubber band around it. The band is removed, and
using the spare half of the deck, you make a cool triangle with the cards and band!

‘So here’s the thing – anything that passes through the triangle runs the risk of vanishing. This is only a small
version, but let’s try it!’

The selection is pushed flush into its half of the deck, which is then passed through the
triangle. On emerging, the spectator is directed to find their selection. It has vanished!

‘I can’t believe that it worked! It must be here somewhere surely?!’

All the cards are thoroughly checked, and even the triangle is pulled apart. There is no doubt
about it. The selection has totally gone.

‘Well some of the theories are quite amazing about what happens to the things that go missing in the triangle.
Talk of them being teleported to another dimension, that kind of thing. I wonder…’

With empty hands, you draw attention to the wallet that has been on the table the entire time.
You open it, undo the zip, and begin to remove a playing card at your fingertips.

‘I can’t believe it! You look, I don’t want to touch it!’

The spectator removes the card, and shows it around. It is, of course, the signed selection!

Tell

To perform, you just need an elastic band which is wrapped

around your card to wallet, set up in a convenient pocket (for me
it is inside left pocket, or right back pocket if in jeans).
Note that you don’t want the elastic band to interfere with the loading. So, if you wallet is a
hip style one that loads from the fold, make sure the band goes the other way.

A deck of cards and a marker pen complete the preparation.

Performance

‘Have you ever heard of the Bermuda Triangle? It’s one of the few remaining real mysteries. I’m going to try
to demonstrate a smaller, more portable version!’

Start off by having a card freely chosen from the pack and
signed. (if you are going for the full out Bermuda presentation,
have them draw a boat as well!)

I do this by spreading the cards in the traditional manner, and

having one removed from the middle, breaking the spread at this
point between the hands. This is because of the Marlo Control
I’m going to use, and although you can substitute any other
technique, in this situation the Marlo one is particularly efficient.

Once the spectator has signed the card, have it replaced onto the
left hand packet, but keep the right hand half spread. Then, as a
final display, take the selection onto the front of the right hand
spread, but take it so it is as square as possible with the card
above it. Show the selection around.

You now apparently take the selection back onto the left hand
cards, but in reality, your left thumb clips the roughly squared
double, and then immediately pushes the top card only over to
the right hand side. The retention of vision is great!

Put the apparent selection into the right hand half, somewhere central, but be careful not to
square it in. You want to drop the right hand packet to the table so that the apparent
selection is still visible.

‘With the other half, we are going to make a mini Bermuda Triangle. First, I need a rubber band…’
Square the left hand packet, and take the opportunity to palm the top card in the right hand.
Be sure to comment that you need a rubber band first, before moving the right hand to
retrieve it, to keep the heat at an absolute minimum, and then go to your pocket, load the
selection and bring out the wallet. Also, if you get the chance, peek the identity of the
selection. It’s not essential, but will allow for a miscall at the perfect time later.

Table the left hand cards, and use both hands to remove the band from the wallet, before
casually tabling the wallet off to the right hand side. You want it as far from the packets of
cards as possible, while still seeming casual.

Now, we are going to make the triangle. This is a cool Jay Sankey
idea.
Start off by picking up the left hand packet, and putting the band
around it vertically (that is, from top to bottom, or short edge to
short edge).

Now table the packet as if for a riffle shuffle, and cut two thirds of
the packet to the right, stretching the band to accommodate this.
Then, cut half of the right hand packet and slide it between both.

Release your grip. Depending on the tension in the band, the

cards will now either snap straight into a triangle shape, or they
will stay in their tabled configuration. If it’s the latter, giving the
table a whack will often make them jump into the triangle, or if
that’s not possible, slip a fingertip underneath the rightmost side of
the right packet, and give a gentle flick upwards. Ta Dah! Place
the triangle in the centre of the table, so it is like a box (that is, with
one of the open sides down).

‘So here’s the thing – anything that passes through the triangle runs the risk of
vanishing. This is only a small version, but let’s try it!’

Pick up the right hand packet, with the selection apparently still
protruding, and either push it flush, or if you glimpsed the
selection earlier, apparently look and miscall the selection before
squaring everything up.

Note that the apparent selection not going in flush at the beginning of the trick is a huge
convincer that it is the selected card. Spectators will notice it’s position is still visible, and will
assume that you have done it deliberately. Now, pushing the selection square, particularly
after the miscall, will entirely convince the spectators about the selections apparent location.
There is no doubt in their mind, which is what makes the vanish play strong!

Drop the packet into the triangle, and then lift the triangle up,
allowing the loose packet to fall onto the table top. Spread it across
the table, face up, to show that the selection has apparently
vanished! Encourage the spectators to get involved in checking the
packet for the selection.
‘I can’t believe that it worked! It must be here somewhere surely?!’
If you feel the vanish has gone across well, continue by pulling apart the triangle and
spreading the cards out on the table as well, as it’s the only other place in the spectators mind
that the selection could have somehow got to. When everyone knows the selection is nowhere
to be found, continue.

‘Well some of the theories are quite amazing about what happens to the things that go missing in the triangle.
Talk of them being teleported to another dimension, that kind of thing. I wonder…’

Draw attention firstly to your empty hands, and then look at the
wallet. Because it has been in full view, long before the apparent
selection even vanished, people may already start reacting.

If they do, don’t waste any time, just open the wallet with empty
hands, and partially remove the selected card.

‘I can’t believe it! You look, I don’t want to touch it!’

Have the spectator finish off removing the selection, and don’t
forget to direct them to show it to everyone.
 Memory Test
One of Darren’s go-to regular deck tricks, this incorporates ideas from several sources, including
the Kick Back plot (particularly the Bob King version) the Eddie Fetcher ‘Be Honest, What Is
It?’ and blends them into a fast, visual piece of card magic.

Show

‘Can I borrow your hand? I want to give you a quick sort of memory test. You see, the more
you notice, the harder I have to work when I show you other tricks, so this is a good way of me
knowing what I am up against!’

The Ace of Clubs is shown, and placed onto the spectator’s hand. The Ace of
Spades is shown next, and placed on top of the Ace of Clubs.

‘Ok, so which one do you think is the Ace of Spades? The bottom one? Interesting! Before we
check, let me show you a move…’

Two random cards are removed from the pack, and you demonstrate a crude
switch with them.

‘Do you think I could have got that move past you and swapped the Aces around? Or are you
sticking with the Ace of Spades being the bottom card?’

Whatever the spectator says, they are shocked when they turn over the cards in
their hand to reveal the two random cards you used to demonstrate the switch!

Looking back at the cards in the performers hands, they have changed into the
missing Aces. Everything can be examined.

Tell

For now, I will give you the set up so you can follow along with
cards in hand. In the final thoughts section though, we will
describe a handling from a borrowed shuffled pack.

Remove the Black Aces, the Eight and Nine of Hearts, and
the Eight and Nine of Spades from the pack. Set them up as
pictured below.

‘Can I borrow your hand? I want to give you a quick sort of memory
test. You see, the more you notice, the harder I have to work when I show
you other tricks, so this is a good way of me knowing what I am up against!’

Start off by doing a Triple Turnover, showing the Ace of Clubs.

Call attention to the card, and then flip the triple face down, and deal the top
card into their hand. A good idea here is to use your right hand to slightly adjust
the height of their hand, which serves as cover for your left hand to get a break
under the top three cards, in preparation for another Triple Turnover.

Do another Triple Turnover, this time showing the Ace of Spades, and again flip
the triple face down and deal the top card onto the other one already in the
spectator’s hand.

‘Ok, so which one do you think is the Ace of Spades? The bottom one? Interesting! Before we
check, let me show you a move…’

Ensure that the spectator doesn’t prematurely expose the cards in their hand.
Normally the ‘before we check’ bit will be enough, but if you suspect your
spectator is a little frisky, you can direct them to place their other hand on top,
securing the cards while you show them the next move.

Remove the bottom two cards, apparently at random and turn one of them face
up on top of the pack. Turn the other one face up, and go to place it on top of
the first one, but do a blatant and uncovered switch, quickly slipping the lower
card out and on top.

‘Do you think I could have got that move past you and swapped the Aces around?
Or are you sticking with the Ace of Spades being the bottom card?’

As you ask this question, casually spread the cards between your hands and secure
a little finger break below the top four cards as you square back up.
However they answer the question, direct them to check out their cards and show
them around. The moment they turn the cards over, you will get a strong
reaction, prolonged by the spectator holding up the cards to
show the rest of the table. Use this strong misdirection to
simply flip the four cards above your break over.

Then, call attention back onto the cards in your hand to

show the missing Aces, and conclude the transposition.

Final Thoughts

First up, here’s how to get into the routine with a borrowed
shuffled deck. Begin by spreading through and cutting a
suitable pair of cards to the face. By suitable, any vaguely
similar cards will do, as long as they are different suits. Then, spread through
again, up-jogging the black Aces, and taking the opportunity to cull the mates of
the cards on the face of the deck. Keep the mates under the spread, in cull
position, as your left hand removes the up-jogged Aces and apparently slips them
to the back of the pack. In reality, they go to the back of the main pack, and then
the culled cards are added behind them as you square up and flip the deck face
down. You are now in position!

If you are worried about being caught flipping the four cards above the break at
the end, you can substitute a colour change. For example, the Twirl Change is
good here, or the Flip-Flop Change from Paul Harris’s Backlash routine (see the
Art of Astonishment).

You could also play this in a more conventional fashion, by using the Twirl
Change or similar technique to change your indifferent cards to the Aces first,
and then allow the spectator to check the cards between their hands to find the
odd cards. For us though, the more unconventional structure feels best, as the
first strong moment of magic occurs in the spectator’s hand, rather than in yours.

Finally, don’t worry about the indifferent cards being noticed. As long as you
don’t refer to them by name, you will have no problem, as all attention is always
focussed on the Aces.
 One Way to Chicago
Anybody who has worked at restaurants, or even just frequently performed magic, will
eventually be asked to teach someone a trick. Darius came up with this routine for that exact
occasion, and what is great about it is that it teaches the spectators a trick, then ups the ante
somewhat to fool them again, twice, and then leads into a true classic of magic that always
gets a killer reaction.

If you carry the pack around with you set up, you will get some killer reactions
next time somebody asks ‘Can you teach me a trick?’

Show

‘Sure, I can show you a simple trick, and it will work with most packs of cards that you have at
home. Here’s how it goes…’

A spectator chooses a card, and then returns it back into the middle of the pack,
squaring it fairly into the middle. Despite this, you quickly locate the card.

‘Here’s how it works. You see the backs of the cards? They have what we magicians call a
‘One Way’ pattern. So, when you put your card back in the pack, it just goes in the other way
up! The only thing you have to be careful with though, is that nobody shuffles the cards like
this…’

You split the pack into two halves, and riffle shuffle the cards together, mixing
their orientations. This, you explain, makes it harder but not impossible, as you
still know that the selection is an upside down card. You go through the pack, and
a spectator calls stop on an upside down card, and it is the selection!

‘Beginners luck! This is how magicians would do it!’

The selection is returned to the shuffled deck, but with a quick riffle, you spread
through to reveal all the cards now facing the correct way, apart from one – the
selected card!

‘Now, that’s better, but sometimes it can still be hard to find the card, especially if you are
sometimes using a pack that has a symmetrical back! That’s why I sometimes do it this way…’

The selection is fairly cut into the centre of the deck again, and another magic
gesture made. This time, when spreading through, one card in the centre has
changed back colour! It is the selected card!

‘Now that’s a good trick! Would you like to see it again?’

A second card is chosen and buried in the centre of the deck, but this time it
doesn’t seem as if any of the backs have changed colour.

‘It should have worked exactly the same, I don’t understand. Oh, wait. Exactly
the same! That means… the same card!’

The tabled odd-colour card is turned over again, and it has changed into the
second selection while on full view on the table!

‘Now you know all the secrets!’

Tell

You will need a very obvious one-way deck, which is basically

a pack of cards with a non-symmetrical back design. We are
using the smiley face pack, but there are plenty of others
around if required. Make sure, before you begin, that all of
the backs face the same way.

You also need a duplicate card (the Four of Hearts in this

description) that has a different colour back which goes on the
bottom.

‘Sure, I can show you a simple trick, and it will work with most packs
of cards that you have at home. Here’s how it goes…’

Start off by removing the deck, and spreading the cards out,
having one chosen (and taking care not to spread right to the
bottom, so that you don’t prematurely reveal the odd-backed
card).

Have the spectator show the selection around, and then take it
back and push it into the centre of the deck, ensuring that the
back design is opposite to the rest of the deck. If you like, you
can throw in a false cut, or any shuffle that will leave the
bottom cards of the deck undisturbed.

To find the selection, spread the deck with the faces towards
the spectators, backs towards you, and explain that you will
gauge their reaction to find the card. In reality, spread
through until you see the reversed card, and eventually
remove it from the spread.

‘Here’s how it works. You see the backs of the cards? They have what
we magicians call a ‘One Way’ pattern. So, when you put your card
back in the pack, it just goes in the other way up! The only thing you
have to be careful with though, is that nobody shuffles the cards like
this…’
When you have finished giving the explanation, casually
return the selection to the top of the deck, again so that the
back design is reversed, and cut the deck, retaining a break
between the halves.

Create some time misdirection by explaining that you have to

be careful how you shuffle the cards, and then demonstrate
what you apparently mean by cutting the deck at the break
and tabling the packets for a riffle shuffle.

Because the selection is on top of one of the packets (in my case, the packet on
the right) it looks like you are shuffling the back designs together. In reality, they
are all facing the same way except the selection.

Start the riffle shuffle, ensuring that the left hand riffles off a couple of cards first
(these are the cards from your set up) and then continue the shuffle as normal,
allowing the selected card on the right hand packet to fall on top of everything.

Make a big deal of squaring the deck up, apparently mixing the back designs and
their orientations.

Now comes a GENIUS Paul Harris / Looy Simonoff display and force, from the
Son of Stunner routine from ‘True Astonishments’.

Take the top card (the selection) and apparently push it into the centre of the
deck. In reality, you use the Tilt / Depth Illusion move to
place it second from top.

(The Tilt Move simply consists of getting a little finger break

under the top card of the pack, and then widening the break,
so that it runs across the full short edge of the pack. The far
edge of the card is still square, but the rear end (end nearest
you) is raised off the rest of the deck by about a quarter of an
inch. Now, pushing the selection into this break, from the
front, makes it look like it’s going into the middle of the deck
when viewed from the front.)

The next card will be a random one, but will be orientated differently to the
selection, so point this out, before you lift it off the deck and genuinely insert it
into the middle of the pack, emulating the tilt move as before.

You are now back to the selection! Again, point out that this faces the other way,
and repeat the Tilt process. Note that you don’t always want to Tilt the selection
underneath the top card, or the back designs will seem to perfectly alternate. If
you instead sometimes Tilt the selection 2 or 3 cards down, the orientations will
seem much more random.

Comment that you will now rely on the spectator to find their own card, but you
will give them a clue. Stop the Tilt display when you have their selection secretly
on top, and point out the orientation of the back design.
Tell the spectator that their card will be that way around,
and then continue on with the Tilt display, having them call
stop on ‘any’ card that is orientated that way.

This is Paul Harris’s very clever force. Of course, every

card that they see orientated that way IS the selected card!
So, when they do call stop, lift the selection off the pack, and
dramatically reveal that your spectator got it right!

‘Beginners luck! This is how magicians would do it!’

Take the selection again and insert it into the middle of the pack so it’s
orientation is again reversed compared to the rest of the pack. Then, click your
fingers dramatically over the deck, and then spread them between your hands,
showing that now all the one-way cards are orientated the same way, with the
exception of one right in the centre!

Remove it, and show it is the selected card again.

‘Now, that’s better, but sometimes it can still be hard to find the card, especially if you are
sometimes using a pack that has a symmetrical back! That’s why I sometimes do it this way…’

Place the selection back on top of the deck, and then cut the pack to lose it again
in the centre of the deck. This puts you in position to do the classic ‘Chicago
Opener’ routine!

So, riffle the pack, and spread through, showing that now
one card has changed colour in the middle of the deck.
Table all the cards above the odd-backer, and do a double
turnover to reveal the selected card. Given all the rest of
the routine, and how much emphasis has been placed on the
back of the selected card, and the rest of the deck, the
appearance of this odd-backed card, and then the fact it is
actually the selection, plays incredibly strongly.

Flip the double face down again, and table the odd-backer,
and reassemble the deck by dropping the cards in your hand
onto the ones on the table.

‘Now that’s a good trick! Would you like to see it again?’

This leaves you free to force the bottom card of the deck, which will be a
duplicate of your odd-backer. We normally use the old Hindu Shuffle force, and
justify the change of procedure by asking a spectator who is further back to select
a card. Of course, any force will do.

Then, in time-honoured tradition, riffle the pack loudly, and spread through,
apparently looking for another odd-backed card. Of course, there isn’t one. So,
call attention to the odd card on the table, and have a spectator flip it face up to
reveal the surprise appearance of the second card!
 Final Words
Many thanks for checking out this collection of routines from Darren ‘Darius’ McQuade and
myself, and we hope you have found something cool and commercial to add to your sets.

Big thanks to all the usual suspects for general inspiration, and keeping this game fun. You
know who you are!

Until next time,

Liam Montier and Darren McQuade

www.tricktastic.com