To my wife, Debbie,

my daughters, Sarah and Emma,

and my mother, Diane.

G NOTES by John Guastaferro

© 2008

www.johnGstudio.com

OVERTURE

As a musician and magician, I see the correlation every day between a great song and a great magic effect. Both have the power to evoke emotion, transport the audience to another place or time, and create extraordinary moments. G NOTES is a collection of finely-orchestrated effects using one main instrument…a deck of cards. G NOTES is divided into three sections: The Card Suite offers five effects that work well as a set; The Key of A offers three distinct Ace effects; and the Encore offers a variety of effects centered around two principles/moves. So go tune your deck of cards and enjoy! THE CARD SUITE 1. Optical Opener 2. In The Doghouse 3. Clairvoyance 4. Homage to Homing 5. Turning The Tables Again / Hide & Seek THE KEY OF A 1. Spellbound Aces 2. Blindsided 3. Vino Aces ENCORE 1. Balducci Swap Principle 2. Trans-Pocket Switch

THE CARD SUITE The following five effects work well together as a set. Like any good music piece, it has a solid beginning, middle and end. This 10-12 minute set is designed to be presented with minimal preparation. All you’ll need is a deck of cards and one blank-faced card. If you choose the optional kicker ending in “Turning The Tables Again,” you’ll also need a blank deck. Or, you can close your set with “Hide and Seek,” a powerful impromptu effect you can do from a shuffled deck in use.

1. OPTICAL OPENER provides a visual introduction to your

act, a touch of mentalism and dramatic finish. 2. Show how well-trained your cards are with IN THE

DOGHOUSE. 3. Move from sleight-of-hand to sleight-of-mind with

CLAIRVOYANCE. 4. HOMAGE TO HOMING is a powerful repeat card-to-

pocket routine that would make Francis Carlyle proud. 5. Choose from two powerful closing effects: TURNING THE

TABLES AGAIN or HIDE AND SEEK.

1. OPTICAL OPENER “Optical Opener” provides a perfect visual introduction to your Card Suite.

EFFECT The spectator finds the only printed card in a completely blank deck. But just like an optical illusion, the audience finds that the exact opposite is true. This is one of my favorite openers. You get three distinct effects: 1) the spectator finds the only printed card in a blank deck; 2) the selection turns blank; and 3) the deck prints itself. All you’ll need is one extra blank card. The best part is that you don’t have to “ditch” it at the end of the effect; it becomes part of the presentation. Originally appearing on my 2007 Second Storm DVDs, this version provides two important updates: 1) the opportunity to glimpse the selection so you can name it before it is revealed; and 2) an additional display of blank cards to further sell the effect. METHOD & PRESENTATION Place one blank card on the face of your deck. Remove the deck and display it face down. You can give it any shuffles you like, just don’t flash the faces or disturb your set up. Although not completely necessary, you can have two Jokers together near the bottom of the deck, which makes it easy to move right into next effect, “In The Doghouse.” Ask the spectator to cut off any amount of cards. As she lifts the upper half of the deck, remove the card she cut to (the top card of the lower portion). Hold the card face down in your right hand, clipped from the side by your first and second fingers. Have her replace her cut-off portion onto the deck. Take this opportunity to secretly glimpse the selection by tilting the rear edge just enough to see the corner index. I usually do this with a casual hand gesture. Hand her the “unknown” card and ask her not to peek. Say, “Believe it or not, I knew that you would choose this card. Really, I knew…because they’re all the same. You see, no matter where you cut you would have gotten a blank card.” As you say this, swing cut a few cards into the left hand, then flash the face of the right-hand packet. Repeat this cutting sequence a few more times, then place the right-hand’s cards under those in the left. Turn the deck face up and perform a reverse fan to display all blank cards. Say, “The funny thing is, I always place one printed card in my blank deck for good luck. My lucky card has always been the (name glimpsed card).” Have her turn over the selection. Insert the selection face up into the fan of cards, leaving it outjogged for half its length. This is a very disarming display. The card genuinely looks like the only printed card in a sea of blank cards. Close the fan and place the selection on the face. Turn the deck face down and get a break above the bottom two cards. Pick up the cards above the break and use the deck to lever the double card face up in the left hand. Replace the face-up double on top of the face-down deck. Mention that the effect is an optical illusion. Say, “While you selected the only printed card in a completely blank deck…you actually selected the only blank card in a completely printed deck!” As you say this, turn the double face down and place it on the table or spectator’s hand. Pause a few beats, then show the selection is now blank. For the big finish, show the entire deck has printed.

2. IN THE DOGHOUSE From “Optical Opener,” we move to “In The Doghouse,” which

explains that the magic is possible because you have your cards trained. EFFECT Two Jokers in the card box change places with the spectator’s card. This is a variation of “Jokers To Go” from my 2007 Second Storm DVDs. Now, in addition to disguising the spectator’s card as two Jokers, you also disguise the two Jokers as the selection. The addition of Paul Harris’ “Las Vegas Split” at the end adds a wonderful visual moment. METHOD & PRESENTATION The only set-up is to have two Jokers on top of the deck. Either set them up ahead of time or casually cull them during performance. You can also use two other prominent cards, such as the red Jacks. Start with the empty card box on the right side of the table. The opening should face the audience, with the thumb notch facing upward. Leave the flap out of the box. Mention that you have your cards well-trained…like 52 little pets. I usually throw in a few fancy shuffles and cuts. Tell the spectator that you will give her the chance to train her very own card. You will begin by having a card selected (and secretly switched for another) using Marlo’s Convincing Control: Briefly, spread the deck face down and have the spectator touch any card. Break the deck at this point, taking the touched card underneath the right-hand spread. Loosely align the selection with the card above it. Raise your right hand so the spectator can see the face of the card. Place your left thumb on the back of the card that’s just above the selection. Lower your hands as your left thumb outjogs the indifferent card. At the same time, your right fingertips secretly pull the selection to the right and cull it to the bottom of the deck. Remove the outjogged card and place it in front of the spectator. Say, “I’ll place the card in front of its master. It will do anything you say.” A funny bit here is to have the spectator give commands like “stay” and “play dead.” Do an all-around square up of the deck and secretly glimpse the bottom card. This is the spectator’s real selection, so commit this card to memory. Let’s say it’s the Queen of Spades. Mention that the Jokers always try to cause trouble, so you will put them in the card box—better known as the doghouse. Say, “Since the cards are trained, I can make the Jokers come to me.” Double Undercut the top Joker to the bottom. Produce the top Joker in a flashy manner (such as the Benzais Spinout or Cornelius Pop-up Move) or merely turn the top card over. Place the Joker face-up on the card box. Now produce the bottom Joker. I like to use my Ballet Cut, but you can also just snap you fingers and turn the deck face up. Get a left pinky break under two cards. Pick up the tabled Joker and place it side-jogged on the face of the deck. Turn three cards face down. Immediately pick up one card in right-

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hand End Grip (as if you’re picking up two cards). Turn your left hand palm down and table the deck, being careful not to flash the reversed cards at the face. Place the right hand’s card in your left hand (mechanic’s grip), and square it as if it’s two cards. Pick up the box with your right hand and feed the left hand’s card into the box. Although you’re using just one card, your actions should mimic handling two squared cards. Draw attention to the card in front of the spectator. Have her place her “pet card” on top of the deck, then give the cards a complete cut. Show that the selection cannot be on the top or bottom, turning the deck face up in the process. Have the spectator say the command, “Roll over!” Mention that this causes her card to turn face down in the deck. Slowly begin spreading the cards, but when you approach the center, spread just one card at a time until you see the first face down card. Do not spread beyond this point. Push a block of cards to the right, then spread the remainder of the deck. You only want one face-down card to show. Take all the cards above the face down card(s) and cut the deck, bringing the face down card(s) to the top (face). Take the double in your right hand, held from above in End Grip. An easy way to get in this position is to hold the deck in End Grip, then loosen your grip slightly so all the cards below natural break fall into the left hand. You will be left with a squared double in your right hand. Table the deck since it is no longer needed. Say, “You caused one card to roll over in the deck…but is it your card?” Peek at the card and miscall it as the card you glimpsed earlier (Queen of Spades). The miscall is a powerful selling point and reinforces that you are holding the spectator’s card. Say, “They say you can’t teach on old dog new tricks, but maybe we can with a little magic.” Wave the double card face down over the box. Continue, “If I wave your card over the Jokers, something very strange happens.” You will now “split” the spectator’s card into two Jokers, a la Paul Harris’ “Las Vegas Split.” Re-grip the double card by its opposite corners: your left hand should be palm up pinching the rear left corner; and your right hand should be palm down pinching the front right corner (Photo 1). It is important to keep the double card squared as one as you get in this position. To “split” the card, rotate your hands, allowing the top card to snap off the left thumb and the bottom card to snap off the right thumb simultaneously (Photo 2). Continue rotating your hands to display a face-up Joker in each hand (Photo 3). This is an amazing visual moment. The audience will be stunned to see two Jokers! Say, “If the two Jokers are here, then your card must be…. in the doghouse.” Gesture toward the card box and have the spectator remove her selection.

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3. CLAIRVOYANCE The third effect of the Card Suite is an interlude that takes us from sleight-of-hand to sleight-of-mind.

EFFECT The spectator thoroughly shuffles the deck and just thinks of one card. You reveal the thought-of card. Originally included on my 2004 Brainstorm DVDs, “Clairvoyance” utilizes Marlo’s Faro Distribution and a clever way of narrowing down the selection. “Clairvoyance” uses what I call the “affirmative no,” which allows you to directly name the card with no apparent fishing. This updated version of the effect includes a fun way of having a card remembered from a group freely selected by the spectator. METHOD & PRESENTATION Spread the deck and have a card selected. Then, ask her to remove another one…then another one…then a few cards…from different places…and so on. Do this until the spectator holds about 10 cards (no more than 12). This is a funny bit, so have fun with it. Say, “Please remember your cards.” This will get a laugh. Continue, “Okay, just remember ONE.” Have the spectator shuffle the cards and return them to center of the deck. Keep a break above the block and casually cut it to the top. Perform two IN-faro shuffles (the original top card gets shuffled second from the top). These two shuffles distribute the spectator’s original group of cards to every 4th position in the deck. Mention that you want the selection to be the very last thing the spectator sees. Spread off eight face-down cards from the top (without any apparent counting) and fan the cards in front of the spectator. Say, “Don’t tell me what your card is, just tell me if you see it.” If she doesn’t, place the cards on the bottom of the deck, then fan the next eight cards. Repeat the above actions, until she does see her card. At this point, place the cards on the bottom of the deck. Due to your faro distribution, her card will either be at the face of the deck, or four up from this position (fifth card from the face). You will now secretly glimpse the two possible selections. Perform an all-around square-up and secretly glimpse the face of the deck (let’s say it’s the Eight of Hearts). Begin an overhand shuffle, peeling four cards singularly off the face of the deck. Glimpse the face of the deck (let’s say it’s the Queen of Spades) and continue to overhand shuffle. This is all done with the faces away from the audience. You will now execute my “affirmative no” procedure. In your mind, first identify the biggest difference between the cards, such as color, suit, or spot vs. face card. In this case, color is the biggest difference between the Eight of Hearts and the Queen of Spades. Ask the spectator, “You didn’t choose a red card, did you?” You ask this as if they actually may have (like you could hardly believe it). Depending on their answer, you will either respond, a) “That’s what I thought, you chose the Eight of Hearts,” or “I didn’t think so, you chose the Queen of Spades.” Notice how either of these options is equally direct. Your question was framed as if you knew what the answer would be. And since you immediately name the card, the revelation is very direct. Sometimes, I’ll follow the revelation by palming the selection and apparently removing a “prediction” card from my pocket (this is an easy matter if the selection was originally at the face of the deck, since it will end up on top after the overhand shuffle).

4. HOMAGE TO HOMING This variation of a classic draws your audience closer, inviting them to focus on just five cards.

It also provides perfect cover to do a deck switch in preparation for the final effect. EFFECT A selected card is placed reversed among four Jacks, yet travels to your pocket several times. In the end, all four Jacks travel to the pocket, with the selection appearing in your hand. Through my involvement on The Second Deal (TSD), John Carey sent me his handling of an excellent Lance Pierce effect called “Little Carlyle” (from Pierce’s Magic Pebble Forum). With its roots in Francis Carlyle’s classic, “Homing Card,” Pierce’s effect featured “an appearance, a vanish (translocation) and encore” using a signed card with four court cards. Carey’s variation simplified the method a bit and focused the effect on two strong vanishes. I set out to develop a variation that would feature three increasing impossible vanishes (translocations of the card to the pocket). One distinguishing factor is that the selected card is placed reversed among the four Jacks before each vanish. This addition has many benefits: (a) It provides needed focus so the audience is convinced where the selection is at all times; and (b) It makes the vanishes clearer and more visual, which consequentially makes the card’s appearance in the pocket more deceptive. The vanishes utilize Lee Asher’s Asher Twist to great effect, along with some other cool subtleties along the way. I also added a third phase to bring the effect to a strong and definitive ending. The effect is a real worker and completely impromptu. And since only five cards are in play, you can easily execute a deck switch by placing the deck away at the onset and retrieving another deck at the end (see final notes). METHOD & PRESENTATION Say, “Have you ever played five-card monte? It’s the newest craze.” Remove the four Jacks and openly arrange them in R-R-B-B order (or vice-versa). Hand the deck to a spectator and ask her to remove any spot card while you turn away. With the face-up Jacks in your right hand, turn your body toward the right and secretly thumb off the top (face) Jack into your right coat pocket. Turn back toward the spectator. Say, “The game uses five cards…the four Jacks and your card.” Place the rest of the deck in your left pants pocket since it is no longer needed. Phase One Say, “We’ll place your card face-down among the four Jacks. This makes the money card much easier to follow.” With the Jacks face up, perform a Stanyon Count (basically an Elmsely Count done with three cards), but do not reverse the order of the last two cards. Pick up one card as two and have the selection placed onto the bottom two Jacks. Replace the Jack on top. Say, “The last time I played this game, the hustler asked me to follow the money card. Easy I said…it’s face-down in the center. He then slowly turned the packet over and asked again. I replied that it was now face-UP in the center. ” Turn the packet face-down and perform an Elmsley Count to show four face-down cards – the face-up selection has vanished!

Immediately follow with the Asher Twist. This clearly shows four single face-down cards. Place the two cards from your right hand under those in the left. Turn the packet face-up and perform another Elmsley Count to show four Jacks. Say, “The hustler made a secret move and caused my card to vanish. I was out $100.” As you say this, casually fan the four cards, backs toward the audience, and glimpse the selection. With an obviously empty right hand, go to the right side pocket and remove the face-down Jack you placed there earlier. Say, “He removed a card from his pocket…the money card! Did you choose the (name card)? Funny, that was the same card I had!” Glance at the card and miscall it as the selection. Do not underestimate this miscall; it is PROOF that the removed card is indeed their card or how else would you know it? As you miscall the card, get a left pinky break under top card of packet. Place the card on top. Don’t turn it over yet; just let the effect sink in. After a few beats, do a Double Turnover. As Tyler Wilson put it, this turnover is not presented as proof of the first phase, but merely the beginning of the second phase (although it does provide reaffirmation of what they already believe). Phase Two Say, “The hustler invited me to go double or nothing. Instead of placing the card back in his pocket, he again placed it reversed among the four Jacks.” You will now do an excellent switch suggested by John Carey. Pinch the face-up double at the rear short end with your palm-up right hand. Turn your right hand palm down and dip the double in your pocket slightly, secretly pushing the selection into your pocket with your thumb. Suiting action to words, remove the single card and hold it face-down. As you do this, your left hand openly rotates the Jacks face up (a suggestion from Andi Gladwin). Buckle the bottom card and insert “money card” face-down into the break. Say, “The hustler clearly showed two Jacks on the bottom…my card…and two Jacks on top.” Suiting actions to words, perform this quick Biddle Count sequence from my effect, “Bizarre Prequel.” Peel the first two Jacks singularly into the left hand; as you peel the next face-down card, steal back the first two Jacks; Peel another Jack (downjogged a bit), then lay the remaining double on top. With the face-down card protruding from the apparent center, slowly square the packet, getting a break above the bottom card. This display accomplishes three things: (a) it displays four cards as five; (b) reiterates the position of the selected card in the exact center of the four Jacks; and (c) re-positions the face-down card to the bottom where you need it. Say, “The hustler asked me to follow the money card and I confidently said it was face down in the middle.” Perform the Asher Twist as you did earlier. This time, four face-up Jacks will genuinely be displayed. Cleanly remove the card from your right pocket. Continue, “With a snap, he spread the Jacks to show that my card had once again vanished. He reached into his pocket and pulled out my card for a second time.” Say, “I began to walk away, and the hustler said he would give me one final try to win my money back.”

Phase Three Say, “Just as before, he clearly placed the money card face down among the Jacks.” Openly insert the spectator’s card face-down in the center of four face-up Jacks. To reiterate its location among the Jacks, perform the following Biddle sequence, similar to what you did earlier: Peel the top two cards singularly into the left hand; as you peel the next face-down card, steal back the first two Jacks; Peel a Jack on top (downjogged a bit), and lay the remaining triple on top, getting a pinky break beneath it. The face-down card should look like it’s protruding from the center, but it’s actually on the bottom. Slowly pull the face-down card flush with the packet, maintaining your break above the bottom two cards. Say, “I was watching closer than ever now! As sure as I was that my card was face down in the center of the Jacks, I took a long shot and said...‘it’s in your pocket.’” Slowly spread the top three cards, keeping the bottom two squared as one, to display four face-up Jacks. Say, “The hustler congratulated me and showed that my card had once again vanished!” Take the top face-up Jack, turn it face-down and place it underneath the packet. Repeat these actions with the next three Jacks. Due to the reversed selection, a face-down card will show – a further convincer that you only have four Jacks. Say, “Go ahead and get your winnings from my pocket.” With a nod to David Willamson’s “51 Cards To Pocket,” rotate your body to the left and invite the spectator to reach in your right pocket. As you do this, naturally bring your right hand on top of the left hand’s packet. Push the top card forward with your right fingertips and clip the bottom four cards with your right thumb (photos 1 and 2). As the spectator approaches your right pocket, quickly unwind your body and dip your right hand (with its four clipped cards) into your pocket. This is done as if you’ve had second thoughts about having the spectator reach into your pocket. Say, “Hold on there just a minute. Don’t get ahead of yourself. Inside my pocket is not your card…but rather the four Jacks.” Slowly remove the four Jacks from your pocket and spread them face-up in your right hand. Attention will naturally shift to your left hand. Continue, “Your card is over here!” Slowly lever the card face up with your right fingertips. Deck Switch Notes: This effect provides a perfect opportunity for a deck switch. Since you placed the deck in your pocket at the onset, you can easily retrieve a different deck once the trick is over (and ditch the five cards if necessary). In the context of this Card Suite, the next effect, “Turning The Tables Again” uses a blank deck and the four Jacks that are already in play. After performing “Homage to Homing,” take the four Jacks in your right hand and the selection in your left hand. Reach in your left coat pocket for the blank deck and leave the selection behind. You could also switch for a different deck, such as a memorized deck, by ditching all five cards from “Homage to Homing” as you retrieve the deck.

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5a. TURNING THE TABLES…AGAIN In the final effect, the spectator plays the role of magician and changes the identity of four cards.

The final kicker brings you back full circle to your blank deck intro, “Optical Opener.” EFFECT The spectator assumes the role of magician and causes four unknown cards to change into the four Jacks. For a mysterious and dramatic ending, the rest of the deck is completely blank. “Turning the Tables” originally appeared in my 2005 Second Storm lecture notes. There are a few updates presented here: a) You end with a powerful blank deck kicker; and b) the premise changes from merely bringing the Jacks to the top to changing four unknown cards into the Jacks. This is an important distinction that becomes even more dramatic considering the spectator does all the magic. The main sleight used is Daryl’s Rising Crime Display, which is disarming and completely fair within the context of the presentation. John Bannon effectively uses a similar display in “Tourist Class Travelers” from Impossibilia (1990). I encourage you to also explore Tomas Blomberg’s Low Life Display for an alternative way to show four Jacks. METHOD & PRESENTATION If you want to end with the blank deck kicker, you’ll need a blank deck, which you can easily ring in after the preceding effect, “Homage to Homing.” For more information, see the Deck Switch Notes at the end of “Homage to Homing.” You can certainly forgo the blank kicker altogether and just perform this effect with a standard shuffled deck in use. The ending is still very powerful. Say, “In this trick, you’re going to be the magician. Don’t worry; I’ll guide you along every step of the way.” During the presentation, you will give the spectator a script to repeat aloud. Recite the lines a few words at a time to make it easier for the spectator to follow. Most of all, have fun with it.

Have the spectator say: “I’d like to show you an amazing card trick ladies and gentlemen. In a moment, you are going to lose four cards in the deck…and I’m going to find them.”

After performing the deck switch in the previous effect, place the four Jacks on the face of the blank deck. Casually spread the cards and secure a break under seven cards, keeping the deck tilted upward. Take the seven-card packet in your right hand and turn the deck face down, being careful not to flash the face if using a blank deck. Replace the seven-card block on top of the face-down deck, keeping a break underneath. Spread the top three Jacks to the right. Make sure the lower two Jacks are opposite colors; if not, make the necessary adjustments. Injog the third Jack from the face, then lever all seven cards as a block face down onto the deck (a LePaul idea). Lift up on the injogged card with your right thumb and pick up the cards in End Grip. You should have five cards: two Jacks and three blank cards.

Have the spectator say: “Please hold on to the four Jacks and hand me the deck.”

Hand the deck to the spectator so she can hold the cards in mechanic’s grip. You can ask her to hold the cards as if she was to deal some cards. You will now utilize the mechanics of Daryl’s Rising Crime Display to apparently show four Jacks and place each into different parts of the deck. Keep in mind that two Jacks masquerade as four during this display, so it’s a good idea to cover the pips with your fingers. The handling described below helps position your hands to do this more easily.

Have the spectator say: “I’d like you to place each Jack into a different part of the deck.”

With the packet held in End Grip, take the bottom card into the left hand (using the left fingertips), then Biddle Count the top two

cards into it; you are left with a double in the right hand. Turn the left hand palm down and grip the long edges of the double between your thumb and middle finger (photo 1); turn your left hand palm up to show the face of the double (photo 2). The above action accomplishes two things: it casually flashes the Jack at the face of the left packet; and it allows you to easily get a break under the face-up double. From this position, you can also use the thumbs of each hand to cover the pips slightly. Turn the double face down and immediately push off the top card and take it into the right hand. You will insert this card into the bottom quarter of the deck held. Before you do this, turn your left hand palm down and use your thumb to apparently riffle a group of cards off the bottom of the deck held by the spectator (photo 3). This naturally displays the other Jack on the face of the packet and conditions the audience for a move coming later in the effect. Leave the inserted card sticking out. Transfer the packet to the right hand. Biddle Count two cards into the left hand. Turn your left hand palm down and grip the double between your thumb and middle finger; turn your left hand palm up to show the face of the double (photos 1 & 2). Turn the double face down and insert a single card in the center of the deck, using the same actions described earlier. Turn the remaining cards face up. Pinch them along the right edge—thumb on top. Do a multiple push-off with your right thumb and pinch this double in the left fingertips. Separate the hands slightly so each displays a Jack. Flick the cards up and down against each other a few times. This Paul Harris subtlety emphasizes the singularity of the cards and keeps the double in motion. Place the right-hand’s card on top of the double and turn the block face down. Take the top single card into the right hand, making sure

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the double in the left hand stays completely square. Insert the single card into the top third of the deck, again using your left hand to assist. Flash the remaining double. You may want to throw in some casual convincers to emphasize its singularity (such as holding it by the diagonal corners and giving it a few revolutions). Now is where the previous action of using your left hand really comes into play. Turn your left hand palm down and use your thumb to lift exactly two cards (photo 4). Insert the right-hand’s double inside. This double must stay protruding as a “single” card, so be sure to push it in deep enough so it stays tightly squared. The spectator apparently has four Jacks protruding from different parts of the deck (the four Jacks are in fact on top of the deck). Have the spectator push the cards square with the deck.

Have the spectator say: “I will push all four Jacks into the deck to lose them. I will now deal four unknown cards on the table.”

Nonchalantly suggest that the spectator deal the top four cards onto the table or into another spectator’s hand.

Have the spectator say: “With a wave of my hand… they CHANGE into the four Jacks!” This creates a great moment of anticipation. Have the spectator turn the cards over to see that they have in fact “changed” into the four Jacks! She will be amazed and perplexed on how this happened since she held the cards the entire time. Playing into the fact that the audience may suspect duplicate Jacks in the deck, the optional blank deck kicker really delivers. Say, “There are a lot of skeptics out there who think you may have cheated…perhaps using extra cards. Hold the deck to your heart for a moment to erase all the evidence. Now spread the deck to show that there are no cards at all.” The blank deck will be a startling surprise for everyone.

5b. HIDE AND SEEK

This is an alternative to “Turning the Tables Again.” It is completely impromptu and provides continuity by using the four Jacks from the previous effect, “Homage to Homing.”

EFFECT The Jacks and Aces play a game of hide and seek. The Aces are placed aside to count to ten, while the spectator helps you hide the four Jacks. The Aces begin their search and magically change into the Jacks; the Aces are now found in the four hiding places. This is a variation of my effect “Quickpocket,” but uses four “hiding places” rather than your pockets. In the original, the four signed Jacks were placed in different pockets, then instantaneously transposed with the Aces. I explored ways to present the effect without having to sign the cards, while still maintaining the effect’s strength. I found that if you placed the Jacks in four different places that were out in the open, the cards really did not need to be signed since there would be no suspicion of switching for duplicates in your pocket. This led into the “hide and seek” premise, where you have the audience help you hide the Jacks rather than arbitrarily placing them in four pockets. The result is an effect that is fun, entertaining and relatable to audiences. The presentation also provides justification for hiding the Jacks in the first place. While pockets are not used (actually one is used), the premise stems from the pocket interchange plot, popularized by such magicians as Jerry Sadowitz, David Solomon, Jack Carpenter, Allan Ackerman and Jon Racherbaumer. For more history, I encourage you to read Racherbaumer’s Modus Operandi VII. METHOD & PRESENTATION Say, “Have you ever played hide and seek? We’re going to play a game now using the four Jacks and four Aces.” Remove the Aces and Jacks and arrange them face up with the Aces on top of the Jacks; the bottom two Jacks must be of opposite color. Square the packet and get a right thumb break above the bottom two Jacks. Make sure the right thumb holds the break at the inner right corner. You will begin a Biddle-type Count in preparation for the Swivel Switch (my variation of the Veeser Concept). Say, “The Aces will be ‘it’ so they’ll close their eyes and count to ten.” Peel the top three Aces, one at a time, into your left hand. As you peel each card, the wrists should turn inward, which naturally causes the cards to swivel off the right thumb in a clockwise direction. As your left hand comes back to peel the fourth card, align the three previous Aces directly underneath the right packet. Reach all the way across the face of the cards and contact the right edge of the packet with your left thumb; begin dragging the three cards above your break in unison toward the left, leaving the three Aces underneath. The swivel movement described above should cause the four cards to easily break off the right thumb. Continue dragging the four cards into the left hand. Rotate your left hand palm down and place the “Ace” packet face down on the table (you can also place the packet on the spectator’s outstretched palm, being careful not to expose that there are only three cards instead of four).

Hold the “Jacks” packet face-up and transfer the face card to the bottom. Flip the packet face down and hold it from above in the right hand. You will now do Daryl’s Rising Crime Display as you place the four “Jacks” in different hiding places. Refer to “Turning the Tables Again” for photos and a more detailed explanation of the Rising Crime Display. Say, “As the Aces count to ten, help me figure out some good hiding places for the Jacks. Please point to somewhere around the table.” (You can suggest placing it in the card box, under a napkin, under a drink, etc.). Briefly: With your left thumb, peel the top three cards one at a time into your left hand; you are left with a double in the right hand. Turn the left hand palm down and grip the long edges of the double between your thumb and middle finger; turn your left hand palm up to show the face of the double. Turn the double face down and immediately push off the top card and take it into the right hand. Place it in the hiding place designated by the spectator. Similar to the above actions, peel two cards one at a time into your left hand and repeat displaying the face-up double. Turn the double face down and place the top card in the second hiding place. At this point, I start to hurry as if our ten seconds are running out. Turn the remaining cards face up. Pinch them along the right edge—thumb on top. Do a multiple push-off with your right thumb and pinch this double in the left fingertips. Separate the hands slightly so each displays a Jack. Flick the cards up and down against each other a few times (a subtlety by Paul Harris). Place the right-hand’s card on top of the double and turn the cards face down. Ask the spectator to quickly point to a third hiding place, and place the top card in that location. The last “Jack” should apparently be placed in your left pocket. Since you can’t ask the spectator where the last Jack should go, Tyler Wilson suggested placing it in your pocket out of desperation because your ten seconds are up (this is why you begin rushing a bit earlier). Apparently place the last “Jack” (really a double) inside your left coat or pants pocket. With your left hand out of sight, position the card in Gamblers’ Cop (face down). As you do this, say, “We’re running out of time…I’ll just place the last Jack here in my pocket.” Remove your apparently empty left hand and relax at your side. Pick up the “Ace” packet from above with your right hand (End Grip). Turn your right hand palm up to display the Ace. Bring the Ace packet toward you and onto the concealed cards in the left hand. It should appear as if you’ve merely shown the face of the Ace packet and placed it in your left hand. You are now in a great position. The audience believes the four Jacks are in four different hiding places—in reality, you are holding all four Jacks, with one Ace in the center. Say, “Let’s see how long it takes for the Aces to find the Jacks.” Count to three and snap your fingers over the face-down packet. Continue, “It’s done!” Turn the packet face up and perform an Asacnio Spread to show four Jacks. Place the double underneath and re-square the cards. Cop the bottom card in the left hand as you spread the Jacks face up on the table (or hand them to a spectator). Say, “Not only did the Aces find the Jacks, they went into hiding too!” Dip your left hand into your pocket to apparently retrieve the first Ace. Turn over the remaining three cards to show the Aces.

1

2

THE KEY OF A

Tune your deck to the Key of A and explore three distinct Ace effects: a spelling effect, a revelation and version of the classic MacDonald’s Aces. These effects can be performed individually or as a set.

1. SPELLBOUND ACES Spelling to the Aces leads you to a Daley-esque

transposition. 2. BLINDSIDED Show your dexterity by cutting to the four Aces using one

finger…with your eyes closed. 3. VINO ACES Using four wine glasses, this version of MacDonald’s Aces

provides visual charm and a sophisticated presentational hook.

SPELLBOUND ACES

EFFECT Spelling the Aces meets Daley’s Last Card Trick. The starting point for this effect was Stanley Collins’ “Spelling Collins Aces,” with a nod to Dr. Jacob Daley for the transposition idea. I developed the effect back in 1998, and have since learned from my friend Andi Gladwin that that he developed a similar effect called “SpellAce” (Magician’s Ltd Cookbook, 2007). The primary difference between our effects is how we position the Aces in the beginning and how we spell to the last two Aces. I think you’ll find my procedure for fairly losing the Aces in four different parts of the pack quite deceptive. Discovering the last two Aces reversed in the deck is another nice moment. PERFORMANCE Remove the Aces and arrange them from the face: Ace of Diamonds, Ace of Hearts, two black Aces. Get a break under the top card of the face-down deck. Place the Aces face up on the deck and lift up all five cards in preparation for a Braue Add-On Move: Peel off the Ace of Diamonds and lever it face down onto the deck. Repeat this with the next two Aces. Drop the remaining double on the deck, then flip the top card face down. Spread the top four cards (without reversing their order) and place them aside face down. If you wish, you could casually flash their faces, spreading them in such a way that the indifferent card is covered. You will now divide the deck into four seemingly haphazard piles, as follows: Spread about a quarter of the deck and place the packet in position B (see below). Spread off another group of cards but casually count them so there are exactly ten cards (I usually spread three groups of three, plus one card). Place the ten-card packet in position C. Divide the remainder of the deck in half and simultaneously drop each packet at positions A and D. The idea is to be as nonchalant as possible. A B C D You will now apparently lose the Aces in different parts of the deck. Pick up the four cards and perform a face-up Elmsley Count to display four Aces (at the start of the count, cover the center pip of the Ace of Hearts, since it will be seen twice during the count). Turn the packet face down and deal the top (indifferent) card onto pile A so it is outjogged. Continue dealing the next three cards outjogged onto the remaining packets from left to right. You can flash the faces of the last three Aces as you do this. Pick up pile A and hold it in Mechanics Grip. Pick up pile B and drop on top to bury the first “Ace,” pulling the protruding card flush. Pick up pile C and drop it on top of the master pile, again squaring the packet. Since no breaks are necessary yet, the procedure seems extremely fair. Pick up the remaining pile (D), and drop it on top of everything, but keep a break between the packets. To apparently bury the top Ace, perform a Slip Cut, sliding the top card to your break and completing the cut.

Checkpoint: The order of the cards from the top of the deck should be Ace of Hearts, black Ace, ten X cards, black Ace, Ace of Diamonds. You can throw in some false shuffles if you which, as long as you do not disturb the top 14 cards (overhand shuffles work great here). Wave your hand over the deck to cast a spell on the cards. Say that this allows you to find the Aces by simply spelling to them. Spell A-C-E-O-F-D-I-A-M-O-N-D-S, dealing one card for each letter. When you get to the last letter, do not deal it, but rather do a Double Turnover to show the Ace of Diamonds. Turn the double face down and deal the top card aside (really a black Ace). Pick up the dealt pile and place it on the deck. This time, spell A-C-E-O-F-H-E-A-R-T-S. On the “S,” perform a Double Turnover to display the Ace of Hearts. Turn the double face down and deal the top card onto other tabled Ace (really another black Ace). Reach for the dealt pile as your left hand spreads off two cards and gets a break underneath them. Turn the dealt pile face up and place them on the deck. Lift all the cards above your break and turn the balance of the deck face up underneath. This reverses two Aces at the 12th and 13th positions. Say that you will find the black Aces at the same time by simply spelling their suits from a face-up deck. Spell C-L-U-B-S and S-P-A-D-E-S. On “S,” the audience will be surprised to see two face-down cards. Take the two cards into the right hand and place the balance of the deck face up onto the dealt pile. Spread the deck and point out that there are no black Aces. Snap your fingers over the two cards and turn them over to show the red Aces again! Turn over two tabled cards to show the black Aces.

BLINDSIDED EFFECT The magician to find all four Aces with one finger…with his eyes closed. Mark Leveridge has a wonderful Ace production called “Aces Under Control” (The Strolling Magician, 2003). The effect utilizes Al Smith’s variation of Vernon’s Ginsberg Poke, called the Perpetual Ginsberg. The effect allows you to use one finger to poke a group of cards from the center of the deck four times in a row to find the Aces. After playing with this for many years, I felt it needed some variety to break the monotony and escalate the revelation of each subsequent Ace. “Blindsided” meets these standards, and like the Leveridge effect, can be done completely standing, so it is practical for most performing situations. The handling provides enough physical cues that you could actually perform it without looking. As a result, I often present the effect with my eyes closed, a premise used by Darwin Ortiz in his effect, “Blind Aces” (Cardshark, 1995). Performing the effect in this way is optional. METHOD AND PRESENTATION Either cull the Aces to the top of the deck or openly remove them. Arrange the Aces face up in a known order. Either memorize the random order or rearrange them in CHSD order, as in this explanation. With the deck face up, insert the Aces into four different parts of the deck, leaving them outjogged. The uppermost Ace should be Clubs, followed by Hearts, Spades and Diamonds. Perform any multiple shift to control the Aces to the back (top) of the deck. Turn the deck face down. Perform any shuffles you’d like as long as you do not disturb the top four cards. Say, “One of the most impressive tricks magicians often perform is cutting to four Aces from a shuffled deck. But, I thought it might be cool to find the Aces…with ONE hand.” Perform a one-handed shuffle if you wish. Continue, “Even more impressive would be to cut to the Aces with one FINGER.” Demonstrate what this might look like by using your right index finger to poke a group of cards from the rear of the deck so a center block protrudes from the front. Swivel this group out as your left hand gets a break under the top two cards. Place the center portion on top of the deck, then casually cut at your break. You should now have two Aces on top, two on the bottom. Say, “You’re probably thinking that if you were a magician, you could do that with your eyes closed. Okay, I’ll give that a try…finding all four Aces, from a shuffled deck, using one finger, with my eyes closed.” To prevent the possibility of peeking, I usually tilt my head back and face toward the ceiling. You will now produce the Aces in their known order, naming each Ace prior to revealing it. Prepare the deck for Tilt by lifting the rear edge of the top card. You will not be doing the Tilt move, however, but rather a variation of the Ginsberg Poke to find the first Ace.

Say that you will start with the Ace of Clubs. Raise your left hand and tilt the deck forward slightly. This angle provides optimum viewing for the audience. With your right index finger, poke the back of the deck into the break. Because of the Tilt position, the illusion is that you are poking near the center. Push a block of 10-30 cards forward so they protrude from the front. Swivel the cards out and place them on top of the deck, maintaining a break between the two groups. Turn the top card face up to show the Ace of Clubs. Deal it to the table or hand it to spectator. Next is the Ace of Hearts. Perform the Ginsberg Poke again, poking your finger into the break so that a group of cards protrudes from the front. Swivel this group out and place it on top of the deck. Turn the top card face up to show the Ace of Hearts, then deal it to the table or hand it to spectator. Since your eyes are closed, a funny bit here is to ask if the audience is still there. Mention that you are ambidextrous and you will use your left finger to find the Ace of Spades. You will now depart slightly from the “poking” procedure by performing Swiveleroo by Hubert Lambert/Leipzeg. Transfer the deck to End Grip and use your left index finger to swivel a group of cards from the rear center. Allow the cards to swivel around toward the front and land in the waiting left hand. With your left thumb, pull back the top card slightly. Drop the right hand’s cards in the left hand directly onto the thumb. Move your thumb toward the left, dragging the card above it. Continue this motion, allowing the card to emerge from the left and lever face up onto the deck. Deal it to the table or hand it to spectator. Due to the card you backjogged earlier, you have a key card next to the last Ace. Turn the deck face up, sideways like the page of a book (this keeps your backjogged card in position). Square the deck, lifting up on the backjogged card with your right thumb. Transfer this break to your left pinky. Say you will find the last Ace from a face-up deck…with your right pinky! Perform the Ginsberg Poke as you did earlier. This is particularly baffling when done with the deck face up since they actually see the Ace of Diamonds emerging from the front. I usually perform this very slowly. Swivel the cards out and place them on top. Triumphantly display the last Ace!

VINO ACES

EFFECT This is a handling of MacDonald’s Aces using four wine glasses. With each vanish/change, the magician toasts the spectator, who holds the “leader” glass. “Vino Aces” was first published as a bonus item to my 2005 lecture notes. It has since appeared on my Second Storm DVDs, as well as L&L Publishings World’s Greatest Magic series. During its development in 2005, I had the pleasure of working on the effect with Jon Racherbaumer, who I’m proud to say has performed it in his travels and lectures. His input has helped elevate the effect to its present state. New to this explanation is an alternative vanish offered by David Regal, which you’ll find at the end of the write-up. I sometimes substitute David’s vanish for one of the three presented. Give it a try. One of my favorite parts of the effect does not involve the wine glasses at all; it is the switch of the real Aces for the double-facers, a challenging part of any MacDonald’s Aces routine. I think you’ll find the switch very deceptive compared to many. Keep in mind that you can utilize the switch for any similar Ace assembly in your repertoire. I found it works particularly well with “Vino Aces.” The presentation provides a wonderful setting and approach because it adds “sound” (clinking), elegance (wine glasses), visibility (upright cards) and audience interaction (toasting). The use of wine glasses allows the audience to enjoy the effect from nearly any position in the room, making it ideal for parlor conditions. Other Ace Assemblies often don’t work in this setting since spectators must be positioned to look down at the table. Additionally, there is a satisfying “hands-off” quality to this effect. The idea of using a wine glass and cards is not new. The idea has been seen as early as the mid-1890s in the notebooks of Karl Germain. “Vino Aces” utilizes the idea of using wine glasses to produce a different effect. The following presentation of MacDonald’s Aces has many benefits, both for the performer and the audience. SET-UP You will need a standard deck of cards, plus three double-faced Aces. Go through your deck and discard the three cards that match the indifferent sides of your double-faced Aces. Place the three gaffed cards at the face of the deck, with the indifferent sides showing. Scatter the four ungaffed Aces throughout the deck. If you are preceding this routine with other effects, you can have the three gaffed cards in your left coat pocket. When you are ready to perform “Vino Aces,” simply dip the deck in your left pocket and add the gaffed cards to the face. Other than the three gaffs, the order of the rest of the deck does not matter, so you can easily get into the effect from a shuffled deck in play.

METHOD & PRESENTATION You can perform this effect in both close-up and small parlor settings. Introduce the wine glasses and cards. Arrange the glasses in a row on the performing surface. Invite a spectator to stand to your right and slightly in front of you. While you begin with a complete deck, you will have the spectator remove the necessary cards, which contributes to the hands-off quality of the primary effect. Give the deck a casual face-down overhand shuffle, being sure not to disturb the gaffed Aces at the face. Say, “For this routine, we will use four wine glasses and 16 playing cards. In a moment, I will pour some cards into each glass. While some establishments use the house wine, tonight only the best will do, so we’ll use the four Aces.” Hand the face-up deck to a spectator and ask him to spread through and hand you each Ace as he comes to them. Once you have all four Aces, make sure the Ace of Spades is on the bottom of the face-up packet. These are normal Aces, so you can show their fronts and backs; just be sure not to over-prove. Say, “In addition to the four Aces, we’ll need exactly 12 more cards.” Extend your hand and ask your spectator to deal 12 face-up cards onto the Aces (from the face of the deck). Since you have the gaffed cards pre-arranged on the face of the deck, these will be the first three cards dealt. Have him place the deck aside. Hold the cards at eye level and spread the cards with the faces toward the audience. Several things will now occur simultaneously. Your right hand takes the four Aces as your left hand prepares to secure a break under the top four cards; this is done as your left hand lowers the cards into Mechanics’ Grip. Your right hand rotates the Aces end for end and places them onto the packet, thereby covering the gaffed cards. (Status check: four face-up Aces, three gaffed Aces, face-down packet; with a left little finger break under eight cards). Your right hand lifts the eight cards above the break in End Grip as your left thumb casually peels the first three Aces onto the left-hand packet. Place the right hand’s cards on top and square the entire packet. Spread off four Aces (a face-down card will follow so everything looks normal). Place each Ace into a glass so they face the audience. During the above steps, the Biddle display is very casual and unassuming. It is accompanied by the sentence: “We’ll pour one Ace into each glass.”

Turn the packet face up. Casually transfer the bottom card to the face (or do a quick overhand shuffle where you begin by stripping off the top and bottom cards together). Hold the face-up cards in Mechanic’s Grip, slightly tilted forward. Refer to the 12 remaining cards as you take one or two cards off the face, turn them over and place them underneath. Repeat these actions until all the cards are face down (you only turn over nine cards, but since you don’t actually count them, it should appear as a casual display of the 12 remaining cards). Without pausing, spread off the top three cards and place them back outward behind the Ace of Spades (see illustration, page one). Place three cards with each remaining Ace in a similar fashion. You can casually flash the faces of the remaining indifferent cards as you place them in the glass; just be sure not to over-prove. Hold up the glass with the Ace of Spades. Remove the Ace, turn it over and replace it on the face of the packet. You can now show all sides of the glass without the identity of the other three cards being seen. All the cards are facing the same way now, which will make the final display more visual. Hand the glass to the spectator. You will now cause each of the remaining three Aces to vanish—in fact, change places with the cards held by the spectator. The beauty of MacDonald’s Aces is that with each “transformation,” it is not readily apparent that the Aces are changing places with cards in the leader packet. That’s what makes the final display such a satisfying conclusion. “Vino Aces” has the added benefit of allowing the spectator to hold the leader packet the entire time without the fear of fiddling with the cards. First Ace Draw attention to the glass on your far left. Remove the Ace and place it behind the three indifferent cards (from the audience’s point of view). In a moment, you will show that the Ace has vanished/changed, but there will be a slight discrepancy: all the cards will be facing the same way, yet the Ace was just seen reversed among the three cards. The following toasting actions should provide sufficient time misdirection to cover this discrepancy. Say, “There’s something magical about a toast. Thousands of toasts are being made right now around the world, celebrating everything from engagements to multi-million dollar deals. Tonight, I would like to make a toast to you. Here’s to a magical and memorable evening.” Raise your glass and clink glasses with the spectator who holds the Ace of Spades. After the toast, place the glass on the table and slowly rotate the stem so the audience can see the face card. Remove the cards one at a time so that the audience can get a clear view of all four faces (you can casually flash the backs of the cards, with the exception of the double-facer). Return all four cards to the glass. *Note: For a nice alternative vanish by David Regal, see the end of the explanation. Second Ace Draw attention to the center glass. Remove the four cards, holding them upright. Openly reposition the Ace so it is second from the face (your point of view). Unlike the first phase, you now want to stress that the Ace is the only reversed card in the packet. Also, highlight the fact that the Ace is sandwiched between the other cards, thereby making it more impossible to manipulate it. Replace the cards in the

glass. Clink glasses with the spectator as you make another “magical” toast. Place the glass on the table and remove the four-card packet, keeping the cards upright. Perform an Elmsley Count at eye level with the backs toward the audience. From the audience’s point of view, the Ace has magically turned face down. Slowly turn the packet over to display all four faces. Place the cards back in the glass. This is a very strong sequence derived from Elmsley’s “Four Card Trick.” Third Ace You will further elevate the impossibility of the proceedings. Remove the packet from the third glass. The cards are held in Mechanic’s Grip, slightly tilted forward. Openly turn the bottom three cards over so they are all face-up with the Ace at the face. During the two previous changes, you placed all four cards in the glass, but this time you will place just one card in the glass. Perform a Double Turnover, then thumb off the face down card (ostensibly the Ace) and place it in the glass with the back toward the audience. (Though not necessary, a nice touch here would be to use the Hofzinser gaff that would show the silhouette of an Ace when backlit. You can have a candle on the table from the onset to help facilitate this.) Pick up the glass with the right hand and make a final toast to the spectator; your left hand holds the remaining three cards in an upright fan so the audience can clearly see their faces. Slowly rotate the glass to show that the Ace has changed. Place the glass on the table and remove the card. Give the four cards one final display to reiterate their singularity and place them in the glass. Final Display Draw attention to the spectator's glass. Roll up your sleeves, and slowly remove the four cards from the glass. Hold the cards at eye level so the audience can clearly see that the four Aces have assembled. *Alternative Vanish by David Regal During the effect’s development, David Regal offered the following vanish. I’ll sometimes use this vanish in place of the first vanish. This change makes full use of the cards being upright in the glass. Remove the four cards from the first glass. Clearly show the Ace (without showing its backside) and the three indifferent cards, which you can openly show on both sides. Turn the three indifferent cards face up and place the Ace on top. Say, “I’ll leave all four cards face up, with the Ace in the front so you can all see it.” As you raise your hands to place the cards in the glass, perform a Half Pass to reverse the bottom three cards. Place the cards in the glass with the Ace facing the audience. To create the visual change of an Ace into an indifferent card, you merely have to twist the stem of the glass so it rotates 180 degrees. You need a bit of camouflage to cover this, so either wipe your left hand in front of the glass or flick a dinner napkin to provide cover. It is a very magical and visual moment under the right conditions. Remove the cards one by one from the glass. You can flash the backs of all the cards except the double-facer of course.

ENCORE

The following effects are grouped into two encores: 1) The Balducci Swap Principle; and 2) The

Trans-Pocket Switch. Each section describes a particular move and offers several effects within each

to explore.

1. THE BALDUCCI SWAP PRINCIPLE is a new take on the

classic Balducci Cut Deeper Force. By beginning with two

packets, there are many deceptive possibilities.

2. THE TRANS-POCKET SWITCH lets you show a card in

your back pocket before it’s actually there. The three

accompanying effects that illustrate some cunning

applications.

THE BALDUCCI SWAP PRINCIPLE and applications

ABOUT THE BALDUCCI SWAP PRINCIPLE So what is the Balducci Swap Principle? In a nutshell, it’s a variation of Balducci’s Cut Deeper Force, but utilizing two packets. Divide the deck in two and note the top card of each. Cut a small packet off each, turn them over, and replace them onto the opposite packets. Repeat these steps, cutting deeper this time, turning over each portion and replacing them on the opposite packets. Spread to the first face-down card of each pile and you’ll find the original selections. Even though the cut portions were openly switched, the selections still end up in the same location as if you had done the standard Balducci Force. Using two packets provides an added layer deceptiveness since each free cut genuinely captures a mixture of cards from both packets. This is the basis of the Balducci Swap Principle. Even vs. Odd Also interesting is that based on the number of cuts, the selections can end up in different locations. An even number of “swap cuts” will position the selections as the first face-down card in each pile. But an odd number of cuts will position the selections as the bottom card of the face-up portion in the opposite packet. This provides for some interesting applications as well. Applications I’ve included some effects to illustrate some of the possibilities using the Balducci Swap Principle. The effects are ideally suited for two people. Since each spectator gets to cut and replace their cards on the other person’s packet, it contributes to the deceptiveness, while getting the audience involved. The first two effects are “Triumph-esque,” providing good justification for turning over and swapping packets. There are also a few card revelations, an Ace production and an interesting application using four packets. I hope after playing with it, you discover more creative ideas.

UNDOING BALDUCCI The following effect demonstrates several interesting outcomes of the Balducci Swap Principle. Starting with the deck divided into reds and blacks, and having the spectators perform three swap cuts (followed by a swap cut of your own at the natural break) you get two piles that are apparently mixed up/down and red/black. Yet, you end with a surprising triple ending: 1) the selections return to the top of each packet where they started; 2) the topsy-turvy deck is straightened out; and 3) the reds and blacks are still divided. It’s as if the spectators’ cuts never took place. Here are the specific steps:

1. Openly divide the reds and blacks, making a pile of each. 2. Have each spectator shuffle their respective half and remember the top card. 3. Have them do the Balducci Swap Cut (as described above) three times, cutting deeper each time.

4. Mention that: (a) the selections have been lost by them; (b) the cards have been mixed face-up and face-down by them; and (c) the reds and blacks have been mixed by them (you can accompany this by displaying various groups of cards from a pile and showing the underside).

5. Remind them of the cutting procedure they freely followed as you do the Balducci Swap one more time, but you must cut to the natural breaks. An easy way to do this is to lift each pile about an inch, then loosen your grip slightly to let the cards below the break fall to the table. Do these actions simultaneously, beginning with your arms crossed.

6. Have each spectator place their finger on their half and press the “undo” button. Mention that despite the extensive mix-up, they have undone everything. You get a three-part ending: (a) Turn the top card of each pile over to show original selections are still there; (b) Spread each half to show that the topsy-turvy cards have righted themselves; and (c) spread the cards face up to show the reds and blacks are still divided.

DOUBLE VISION TRIUMPH With a few tweaks to the above effect, you can present an effective double Triumph effect. This time, not only do the cards straighten out, and the reds and blacks separate, but the selections appear reversed in the opposite colored packet.

1. Divide the reds and blacks, and make a pile of each. 2. You can have a card selected from each half and control them to the top; or you can merely

have each spectator remember the top card. 3. Have the spectators do the Balducci Swap Cut two times, cutting deeper each time. 4. You will now further sell the Triumph aspect of the effect by apparently riffle shuffling face-up

and face-down cards. Start with the pile on your left. Lift at the natural break and do a Zarrow Shuffle so that the face-up portion goes under the top face-down card (selection). Repeat the Zarrow procedure with the pile on your right.

5. Demonstrate the Balducci Swap one more time by simultaneously picking up at the natural break of each pile and exchanging/turning over the packets.

6. Spread each pile to show all the cards have righted themselves, except for the face-up selections. 7. Now spread the cards face-up to show the reds and blacks have separated, except for selections

which are the opposite color.

AMBIDEXTROUS CARD DISCOVERY #1 This effect can be done without a table. You will hold half the deck in each hand and perform the effect with your hands mirroring each other throughout. It’s a great way to show your dexterity, finding two cards simultaneously. The Balducci Swap works perfectly here since it lets the spectators cut/mix the cards without you having to bring the halves together. Due to the nature of the Balducci Swap, you’ll always know where the two selections are. What’s more is that you’ll easily be able to cut to them one-handedly. Here are the steps:

1. Have a spectator on your left and another on your right. 2. Hold half the deck in each hand and have each spectator reach into their respective packet to

remove a card. 3. As the cards are noted and shown, begin the first part of a Charlier Cut in each hand. Have the

spectators return their selections into the break of each half. By merely completing the Charlier Cut, you’ll bring the selections to the top. Done while facing the spectators, it is a very convincing illusion of losing the cards, not to mention a great demonstration of dexterity.

4. Have each spectator cut a small packet of cards off their respective half, turn it over and place it on the other half. Have the spectators repeat these actions, this time cutting deeper. (By the way, the rationale you give for these unusual cuts is that you want them to see the cards being mixed.)

5. Due to the Balducci Swap principle, the two selections are the first face-down cards of each pile. 6. Using a Harry Lorayne idea, you can easily cut a natural break using a Charlier Cut. However,

in this case, you’ll do the Charlier Cut in each hand simultaneously. This makes for a very pretty and impressive card discovery.

7. Turn over the top card of each pile to reveal the selections.

AMBIDEXTROUS CARD DISCOVERY #2 This variation of the above effect uses an odd number of swap cuts (three to be exact). The presentation changes too; you will have the spectators find each other’s card.

1. Perform steps 1-3 from the previous effect. 2. Have the spectators do three Balducci Swap Cuts. 3. Perform simultaneous Charlier Cuts at the natural break (the selections will end up on the

bottom of each half (facing upward). 4. Have the spectators check the top card of each half and confirm their selections are not there. 5. Ask the spectators to hold out their palms. Using this as misdirection, turn both your hands palm

down and place each packet onto their outstretched palms (you have secretly turned the packets upside-down).

6. Due to the nature of doing an odd number of cuts, their selections will be on top of the opposite packet from where they started. Mention you will have the spectators find each other’s card.

7. Have the spectators mimic removing each card from the other person’s packet and placing it on top of their own.

8. Have them name their cards and turn the top cards over. They will be the selections, bringing the effect to a successful conclusion.

NOTE: Knowing the different outcomes for odd and even cuts, you can give the spectators a choice of how many swap cuts they would like to give (two or three). Depending on the number of cuts they choose, you can move into the appropriate effect above.

AMBIDEXTROUS ACES With a nod to the previous two effects, it is possible to have a nice ambidextrous Ace production.

1. Secretly arrange the Aces on top of the deck, alternating in color. 2. Cut one Ace to the bottom. Then, slip cut the next two Aces to the center, catching a break

between them. 3. Openly divide the deck in two, cutting at your break. Or do a casual Dribble Force to your break

to make it appear more random. 4. Have two spectators help by giving the packets two Balducci Swap cuts. 5. Spread through the face-up portions of each half, seeing if there happens to be an Ace. This is a

subtle way of reminding them of the randomness of the cards and that Aces could have possibly been there by chance.

6. Take this opportunity to get a break below the first face-down card of each half. 7. Say you will try to find the Aces ambidextrously. Ask if they would like you to find the red or

black Aces. Regardless of their answer, you will now execute the Flippant move to reveal two Aces. Basically, you’ll drop your hands very sharply, letting the block of cards above your break lever over. This is made possible by letting the cards trip over each thumb slightly.

8. Depending on your starting order, you will end up with either red or black Aces on top of each packet. If you got the chosen color, great; thumb these into their hands. If you did not get the chosen color, say you will change them. Immediately mimic the Flippant actions, but merely flip each half completely over to produce the two Aces.

9. Produce the remaining two Aces (reversed on the bottom of each half) in any creative way you wish.

DELAYED ACES The Balducci Swap does not have to be limited to two packets. Here, we explore it with four packets. It provides some fun audience interaction, conveys even more randomness of the cards, and makes for a fun, virtually sleight-free Ace production. You begin with any standard “spectator cuts to the aces” effect, ending with four packets with an Ace secretly on top of each. Instead of instantly revealing the Aces as you normally would, utilize the Balducci Swap. This delay in giving the spectators the freedom to do some more cuts (and apparently mix them further), provides an interesting way for the audience to find the Aces from a haphazard cutting procedure that they did.

1. Assume you have four spectators cut a quarter of the deck, a la "spectator cuts to the aces." (I use John Bannon’s “Directed Verdict”).

2. Instruct each spectator to cut off some cards, turn them over and replace them on any other spectator’s pile.

3. Repeat these actions with the “cut deeper” instruction, again giving them the freedom to replace their cards onto any other spectator’s pile. This could be a fun part of the performance, watching the spectators decide where they want to place their cut cards.

4. Have all four spectators spread to the first face down card to find an Ace.

THE TRANS-POCKET SWITCH and applications

ABOUT THE TRANS-POCKET SWITCH The Trans-Pocket Switch is a method of showing that a card has flown to your back pocket before it’s actually there. It is designed for casual performing situations when you are not wearing a coat. This move was originally published in 1999 by Stephen Hobbs in the Labyrinth #9. It is also featured on my 2007 Second Storm DVDs. In these notes, I’m presenting an unpublished application of the switch, called “Interlaced Mystery.” Here it is in action: Place an indifferent card in your rear right pants pocket so it is protruding. Only the back design should be visible. In this example, let’s say you have the Ace of Spades on top of the deck. After some subterfuge in making the Ace of Spades vanish, you would say it has flown to your back pocket. Twist your body to the left enough to display the card protruding from your back pocket. At the same time, secretly palm the top card of the deck. Unwind your body to face the audience, and as you do, swing your right hand (with the back of the hand toward the audience) behind you to your back pocket. Push pocketed card inside with your thumb and bring forth the card you had palmed, as if you removed it from your pocket. You can turn your body slightly again so the audience can see that the card is gone from your pocket. Turn the card over to show the Ace of Spades. If you’ve been afraid of palming cards in the past, this is a great move to learn. Your back is turned while you palm the card, and for the few seconds that the palming hand is visible to the audience, it is in motion. Doing this will build your confidence in palming—and stunning audiences! So now that you have the move down, let’s explore three effects using the Trans-Pocket Switch.

THE MISSING CARD EFFECT The spectator names any card in the deck. It is shown to be missing, then one card is seen poking out the performer’s back pocket…the named card! METHOD AND PRESENTATION This is a great opening effect. Before approaching the spectator, place a card in your back pocket, leaving it sticking half way out with the face of the card toward your body. Ask a spectator to name any card. If they name the card that’s in your pocket, you’ve got a great effect on your hands. If they don’t name the card, spread through the deck and cull the named card to the back. Have the deck tilted up slightly so that they can’t see the faces. Once you have the card under the spread, tilt your hands down so the audience can see the faces. Mention that their card is missing. Turn the deck face down.

State that you had placed one card in your back pocket earlier. Execute the Trans-Pocket Switch: Slowly turn your body to show a card sticking out of your pocket. While your back is turned to the audience, palm the top card of the deck in your right hand. Swing to face the audience and reach behind your back to apparently remove the pocketed card. This handling results in a quick, powerful effect. It works great when you have the opportunity to place a card in your pocket ahead of time. The next effect offers a different premise and requires no advance preparation.

PICKPOCKET YOUR MIND EFFECT The spectator thinks of a number and remembers the card the falls at that position in the deck. The performer takes the deck behind his back and explains that he removed the card from its exact position. The cards are dealt to verify the card is gone. It is shown in the magician’s back pocket. METHOD AND PRESENTATION Have the spectator shuffle the deck and think of a number from one to twelve. State that you would like the spectator to remember the card that falls at her chosen number. Show her the top twelve cards of the deck one at a time (not reversing their order). Just thumb off each card and flash their faces. After the spectator has remembered the card at her chosen number, say that you will pickpocket her mind. Take the deck behind your back. Transfer the bottom card to the top. Take the new bottom card and put it in your right back pocket, but leave it sticking out about half way with the face toward your body. Bring the deck back out and say that the card is no longer in the deck. Offer to prove it and ask for the number the spectator thought of (let’s say it’s six). Due to the displacement behind your back, the card will always fall at the position exactly one more than her chosen number. Deal six cards face up into the spectator’s hand. Show the sixth card to verify that her card is not there. Her card is now on top of the deck. Execute the Trans-Pocket Switch as described earlier. Look at the card and name it aloud. This is a strong moment since you are naming a thought-of card. Turn the card over to verify that you did indeed pickpocket the spectator’s mind.

INTERLACED MYSTERY EFFECT The spectator deals about half the deck, alternating them face up and face down. She is asked to name any face-up card. The performer mimics removing the card, and when the cards are re-spread, the face up selection is gone. All the cards are shown front and back to verify this. The card is found in the performer’s back pocket.

I dug this effect out of my notes from 12 years ago after recently reading David Solomon’s excellent book, Wisdom of Solomon (2007). There is an effect called “Marlo’s Secret Kato” (a variation of an effect by Hideo Kato), which also makes a card vanish from a similar up/down spread. While our methods are completely different, it re-inspired my interest in this intriguing premise. The addition of the Trans-Pocket Switch creates a powerful and mysterious way to reveal the vanished card. METHOD AND PRESENTATION Before starting, place a card halfway in your back pocket. Hand the deck to a spectator. She may shuffle them if she likes. Have her deal a face-up card onto the table, followed by a face-down card on top of it. Have her continue dealing in this alternate fashion for at least a dozen cards, but less than half the deck. Make it clear she can stop whenever she wants within these constraints. Pick up the packet, spread the cards and have the spectator name any face-up card (somewhere in the middle; not the top or bottom card). For future reference, I like to name the face-up card that falls just above her selection and point out that every face-up card is sandwiched between two face-down cards. Square the cards and get a break above the spectator’s named card. Perform a Half Pass with all the cards below your break. As you complete the Half Pass, use your left hand to mimic pulling out an invisible card from the left edge of the packet (this action provides perfect cover for the Half Pass and justifies any movement of the left hand). The Half Pass secretly brings the selection to the bottom and positions two consecutive face-down cards where her card should be. Mimic handing the spectator the invisible card. Spread through all the cards showing that the face-up selection has vanished from its exact location. You can also reference the face-up card that was above her card originally and point out the two face-down cards where the selection should be. To further sell the vanish, outjog each face-up card (as if you’re doing a reverse Faro). When you get to the last face-down card, do not bring it all the way down in alignment with lower portion. Close the packet from side to side, getting a break under the bottom card. With the telescoped packet held with both hands, use your right third finger to secretly slide the lowermost card forward; this can be done with no extraneous movements of either hand. Strip out the face-up cards, secretly hiding the face-down selection underneath. Turn the remaining face-down cards face up in the right hand. Peel them one by one onto left-hand portion. I do this in such a way that the cards do not end up perfectly squared; this allows me to secretly pull the face-down selection toward the right under the loose spread of cards, providing a very fair and open display. You will let the reversed selection on the bottom work to your advantage. Take small groups of face-up cards, turn them over and place them underneath the packet. Continue this until all the cards are face-down. Not only is this another convincing display, it brings the selection to the top. Perform the Trans-Pocket Switch as described earlier to show the selection has traveled to your back pocket.

Some of the effects from these notes can be

seen on the video section of my website,

www.johnGmagic.com.

The beat goes on…