The clever eight of spades, the clever

The clever eight of spades, the clever

eight of spades, the clever eight of
spades, the clever eight of spades, the
clever eight of spades, the clever eight
of spades, the clever eight of spades,
the clever eight of spades, the clever
eight of spades, the clever eight of
spades, the clever eight of spades, the
clever eight of spades, the clever eight
of spades, the clever eight of spades,
the clever eight of spades, the clever
eight of spades, the clever eight of
spades, the clever eight of spades, the
clever eight of spades, the clever eight
of spades, the clever eight of spades,
the clever eight of spades, the clever
eight of spades, the clever eight of
spades, the clever eight of spades, the
clever eight of spades, the clever eight
of spades, the clever eight of spades,
the clever eight of spades, the clever eig

-2-
Clever Eight
Copyright © 2008 by Brad L Gordon
First Printing 2002
Cover design by Brad L Gordon

All rights reserved.

No part of this booklet may be reproduced in any form or by any electronic or mechanical
means, including information storage and retrieval systems, without permission, in writing from
the author. The only exception is by a reviewer, who may quote short excerpts in a review.

-3-
 Thank You

Dedicated to the amazing Baze R Gordon, the miracle Jexi

Jane Gordon and Brayden

To my family
You are the real power and magic in my life, my best friends,
and the ultimate puzzle that I am truly a piece of~
With great love and admiration for you all.

To Amy
Who made everything happen.

-4-
 The Cracked Pot
A water bearer in India had two large pots, each hung on each end of a pole which he carried across his neck.
One of the pots had a crack in it, and while the other pot was perfect and always delivered a full portion of
water at the end of the long walk from the stream to the master's house, the cracked pot arrived only half full.
For a full two years this went on daily, with the bearer delivering only one and a half pots full of water in
his master's house. Of course, the perfect pot was proud of its accomplishments, perfect to the end for which it
was made. But the poor cracked pot was ashamed of its own imperfection, and miserable that it was able to
accomplish only half of what it had been made to do.

After two years of what it perceived to be a bitter failure, it spoke to the water bearer one day by the stream.

"I am ashamed of myself, and I want to apologize to you."

"Why?" asked the bearer. "What are you ashamed of?"

"I have been able, for these past two years, to deliver only half my load because this crack in my side causes
water to leak out all the way back to your master's house. Because of my flaws, you have to do all of this work,
and you don't get full value from your efforts," the pot said.

The water bearer felt sorry for the old cracked pot, and in his compassion
he said,

"As we return to the master's house, I want you to notice the beautiful
flowers along the path."

Indeed, as they went up the hill, the old cracked pot took notice of the sun warming the beautiful wild flowers on
the side of the path, and this cheered it some. But at the end of the trail, it still felt bad because it had leaked
out half its load, and so again it apologized to the bearer for its failure.

The bearer said to the pot,

"Did you notice that there were flowers only on your side of your path, but not on the other pot's side? That's
because I have always known about your flaw, and I took advantage of it. I planted flower seeds on your side of
the path, and every day while we walk back from the stream, you've watered them. For two years I have been able
to pick these beautiful flowers to decorate my master's table. Without you being just the way you are, he would
not have this beauty to grace his house."

-5-
 Preface
To begin I wish to point out that this manuscript is actually a revisit and re-write to an earlier
effort put together back in 2002. This e-book version is sort of a mixture between the original
and my recent attempt to update it. Packed together with a couple of bonus effects and ideas. I
am very proud of the final outcome.

The story of The Cracked Pot holds special meaning to me and my life. It directly inspired me to
share my ideas and thoughts with others and I am very thankful to have this opportunity to do so.

There is an air of simplicity within these pages of script, which is an open reflection of my
particular magic approach. Personally I would like to point out that the majority of the effects
contained within these pages, I have used and continue to use all the time inside of my everyday
performing arena.

It has been said that creativity is NOT a rare asset, we all possess some. In order to clear the
mind and make room for more creations, we must write down our ideas and share them. Clearing
the chalk board so to speak enables us to improve, expand and grow in whatever field we hold
interest.

In whatever way you have come across this book, I trust you will find something of value and
interest and I thank you for any time, energy or funds which have been traded for the opportunity
to experience my thoughts.

Now onward to the perfect choices, dedicated, and even the critics, may they all benefit in some
way from the colorful sample I am offering.

With Great Gratitude

Brad Gordon
November 2008

Never pay attention to what critics say. Remember, a statue has never been set up in honor of a
critic. –Jean Sibelius. Quoted in Sibelius: A Close-up by Bengt de Torne

-6-
 Introduction
Back in the zeroes – I guess that’s how you refer to the year 2000 – I was hanging out at
Showplace Magic and Novelty in Salt Lake City, when I saw this clever guy do this freaky-weird
thing where he squeezed a card and it suddenly changed into another card.

The moments later this same clever guy showed me a card, and as he dropped it to the table it
visibly changed to another card. Needless to say, I was definitely impressed. Later I discovered
that this clever guy was none other than Brad Gordon, and the moves that nailed me were The
B’Lip Move and Recover Drop Switch.

I was instantly hooked on Brad’s cool style and clever thinking.

I asked him, “hey Brad, do you have any published material?”

“Why yes Jeff, I do. I have a manuscript called Clever Eight, right over there on that shelf, “
Brad replied cleverly.

Long story short… Brad and I lost contact when the Magic Shop went the way of most Brick-
and-Mortar Magic Shops. About a year and a half or so ago, by happenstance, I came across
Brad again. Through several meetings, jam sessions and brainstorming assemblages, my level of
respect and awe at Brad’s cleverness grew and grew. I’ve read and seen a lot of his material, and
folks, let me tell you… it’s brilliant.

During this period, Brad was working on re mastering his old Clever Eight Manuscript to re
market it. I was so excited that he was doing this that I decided to purchase the rights to produce
it and distribute it. The two of us worked together to create Version 2.0 of Clever Eight. A few
effects were removed from the original, and a few were added.

We made a test run of only a small volume of copies, and they quickly sold out. So we thought it
was time to consider a Clever Eight DVD based on how well it sold and the feedback from the
fans. As we considered what to put on the DVD, we thought it would be good to include
everything in the original Clever Eight and the stuff in the new Clever Eight.

Meanwhile Brad was writing up some of his other material, and we decided to add those effects
to the mix as well. So, although the DVD is partly on the back burner for a period, we decided to
put all of the material together into one e-book, and give it away free to anyone who purchased a
previous version of Clever Eight, and then offer the e-book to the rest of the magic fraternity for
sale.

That final version is what you are reading right now: All effects from the Original Clever Eight
Manuscript, plus all the effects from the Recent Stone Cold Magic Version of Clever Eight. All
wrapped up in one electronic package. The final component to getting this project completed was
a delivery system in place to handle the volume of electronic sales.

-7-
That component is now in place, and we can deliver electronic media to our customers, so Clever
Eight rises again better than ever!

Enough of the history; let me leave you with this: I cannot overstate the fact that Brad is one
clever guy. He and I have performed together, worked together, brainstormed together and so on,
and the more time I spend with him, the more facets I see in his clever brain.

From his mind, you will learn more than just magic tricks, more than just presentations, more
than just funny clever gags, and more than just secrets; you’ll learn how to connect with people;
you learn how to be entertaining; you’ll learn clever ideas and tips and tidbits that will make
your magic memorable.

All this is found in Brad’s work, and Clever Eight is no exception. Sit back and enjoy the ride
inside the mind of Brad Gordon and his Clever Eight of Spades.

Jeff Stone
November 29, 2008

-8-
 Table of Contents
Thank You.............................................................................................................................................. - 4 -
The Cracked Pot .................................................................................................................................. - 5 -

Preface .................................................................................................................................................. - 6 -
Introduction .......................................................................................................................................... - 7 -
Two in the Hand & One Perfect Night ........................................................................................ - 10 -
Trans – Sticker ..................................................................................................................................... - 14 -
Alternate Handling for Trans - Sticker .......................................................................................... - 17 -
Forgettable Prediction .................................................................................................................... - 20 -
Tis W.I.D.E. Open................................................................................................................................ - 23 -
Spider Wave ....................................................................................................................................... - 27 -
Caps and Pens .................................................................................................................................. - 31 -
Un-picked............................................................................................................................................ - 36 -
Free Miracle........................................................................................................................................ - 43 -
Copper Silver – Thought.................................................................................................................. - 45 -
“Q” Aces ............................................................................................................................................. - 47 -
The Magician Versus Kreskin .......................................................................................................... - 51 -
The Vacuum....................................................................................................................................... - 53 -
The B’Lip Move .................................................................................................................................. - 55 -
Applications for the B’Lip Move ................................................................................................... - 56 -
Clever Control ................................................................................................................................... - 57 -
Jurassic Gag....................................................................................................................................... - 59 -
Recover Drop Switch ....................................................................................................................... - 60 -
About The Eight of Spades............................................................................................................. - 61 -
The Eight of Spades Chose Me ..................................................................................................... - 63 -
A Few More Thoughts to Ponder .................................................................................................. - 64 -
Special Thanks ................................................................................................................................... - 65 -
Credits .................................................................................................................................................. - 66 -

It takes a great deal of history to produce a little literature. ~ Henry James, Life of Nathaniel
Hawthorne

-9-
Two in the Hand & One Perfect Night
Here the fun begins by entertaining a carefree moment. If your significant other desires
something more enchanting from your magic, your search is complete because you have now
found the perfect storybook effect that will prove invaluable to you on your next date.

Many magicians have already implemented a “Two in the Hand one in the Pocket” routine of
some origination. The principle idea for the following modified routine was directly inspired by
David Regal and his wonderful book “Close Up and Personal”.

Effect
This is a “Two in the hand one in the Pocket” routine, which surprisingly ends with three larger
bills and an increased possibility for romance.

Set up
Three one-dollar bills, a twenty, fifty, and a one hundred dollar bill are needed. Crumple the
three larger bills (fig 1) being sure to hide the indices. Now place these in your right pants pocket
in any order. Make sure that these bills are on the furthest right side of your pocket.

• The one dollar bills should ideally be of the same wear and tear. The larger bills should
also be consistent with the smaller ones.

• You could very well borrow the three one dollar bills making sure that when you crumple
them up they look similar to the larger bills in your pocket.

- 10 -
 • The Performance •

Phase One
Take out the three one dollar bills.

“Please allow me to share something new with you?

Crumple each one dollar bill and lay them out in a row. Relax your hands and casually go to your
right pocket, classic palming one of the larger bills in your right hand.

“We have three dollar bills; they will represent the three phases of a play. Two go in my hand
and one will go into my pocket.”

Suit your actions to your words, by placing one bill in

the left hand, high up in the finger area (fig 2) pick up
the second bill and place it onto the left side of your left
hand, at the same time unloading the now classic
palmed bill directly to the right of the second bill,
followed by your hand instantly closing.

• The key to this first sequence is to keep track of the larger bill. (Whatever way you
choose to accomplish this will determine your desired out come). You may wish to mark
the bills, as part of the set-up, or leave a bit of the index exposed when you roll them up.

• Personally it is a very simple matter to pay close attention to the position of the bills.

• As in most routines of this nature the bills are not tossed into the hand, they will be
placed there casually, and smoothly. It may seem clumsy or unnatural to start, however
the point is not to be exact in your manner. Make your moves as relaxed as possible.

The last bill is freely and openly placed into the right pocket. This last bill is sort of shoved into
the furthest left side of the pocket. Palm a second larger bill to prepare for phase two.

• If you are using a pants pocket for this routine you will need to do some adjusting
however there is plenty of room even when using a pair of denim jeans.

“Now there should be two bills in my hand, however there are still three.”

Lay all three bills out in a row. “This is act one”.

- 11 -
Phase Two
Place the tabled larger bill (the one you are keeping track of) off to the left of your table or close-
up pad.

“Let’s try this again with only two bills. One goes in the hand and one goes into the pocket.”

Repeat the second part of the phase one, placing the first bill along with the palmed bill into the
left hand.

• The larger bill is unloaded onto the right side of the left palm (easy to keep track of this
one). Openly place the remaining bill into the right pants pocket, again shoving this bill
next to its equal (one dollar bill). Palm the next larger bill in the pocket.

“This time there should be one in my hand, but there are still two. This is Act II.”

Open your hand

• Again remember to simply place the bill along with the classic palmed bill into the hand,
no tossing or quick movements.

Phase Three

Finally place the larger bill (you are again keeping track of) off to the left of the table or close up
mat.

“One more try, this time with only one dollar. I’ll take this one and simply place it into my
pocket.”

The actions here are a little different. You get to perform an easy move, which is simply an
adding while taking away sequence.

The left hand picks up the last one-dollar bill and displays it in the open palm with all of its
fingers pointing to your right. The right hand reaches over the left hand to pick up the last one
with its fingers.

At the same time the right hand unloads the classic

palmed larger bill onto the left hand fingers (fig 3). When
the right hand picks up the one-dollar bill, the left hand
tilts palm toward the body and it relaxes (sort of similar
to the French drop).

- 12 -
 • When the larger bill is dropped, the right hand remains cupped to shield the falling bill.
When the left hand relaxes, let it relax all the way to the table, just as you would if you
truly removed something from your hand.

“Just one dollar bill goes into my pocket. With a little bit of magic the bill returns, for Act III of
this wonderful play.”

Open the left hand to show the bill has again returned to your hand. Place the last bill off to the
left with the others.

Phase Four
Begin to unfold each bill one at a time.

“Hmm what do we have here? A twenty, a fifty, and a

hundred dollar bill. The twenty we will use for desert,
this fifty can pay for the waiting limo outside, (fig 4)
and the hundred- well that will just about cover our
hotel room for the evening.”

With a little creativity and imagination, you could

magically produce a hotel key or some sort of concert
ticket. The dream is yours.

Final Thoughts
These days the U.S. currency is changing quite dramatically, so I would highly recommend using
denominations which have similar characteristics. The one dollar bills have not changed at all,
but the fives, tens, and twenties continue to regularly.

• It may be a good idea to use fives instead of ones for this routine.

• Of course the final revelation does not have to be larger bills; they can be other one dollar
bills which have been switched out containing specific writing on them.

• The three bills could have “Twenty”, “Fifty”, and “Hundred” written on them, or
something else conducive to your needs for the special evening or event.

- 13 -
 Trans – Sticker
The following effect was inspired by Jim Pace in a lecture some time ago. He included an
innovative segment on secretly loading objects under hands, coins under watches, spiders (The
Web), butterflies, etc. I believe you’ll appreciate this Novel approach.

Effect
A card is freely chosen, and a small sticker is stuck to the back of it. The chosen card is placed
on a participant’s hand. A second spectator chooses a card and that card is lost in the deck. The
sticker jumps from the back of the first card to the back of the participant’s hand.

The sticker is peeled off the hand, crumpled then vanished. The deck is spread, and the sticker is
found on the back of one of the cards. This card is turned over and found to be the second
selection.

Set Up

Have a small, single colored sheet of stickers available in a pocket (fig 1). One sticker is finger
palmed in the left hand, (fig 2) sticky side face up. A deck of cards can be taken out of its box
and casually handled, all the while keeping this sticker hidden.

Phase One
Start with the deck face up in the left hand (in a position as close as you can to dealers grip). Be
careful not to let the sticker adhere to the cards. Reach over the top of the deck with the right
hand, and grasp it from above in Biddle Grip (the right hand goes over the deck, fingers to the
front, thumb to the rear).

Start pulling off cards into your left hand with your left thumb. Be careful not to flash the sticker.
Explain to the spectator that they will stop you at any time. When they say “Stop” the card
showing on the face of the packet held in the right hand will be the card they choose.

- 14 -
 Participant gives the word and the freely chosen
card is shown let’s say for example it is the three of
clubs (fig 3).

The packet in the right hand is placed on top of the

packet in the left hand. Ask the spectator to hold out
their right hand palm up.

“Will you extend your right hand palm up? Just a

little bit closer, perfect thank you.”

As you say this, approach their hand and place the deck in their palm. At the same time reach
under their hand with your left hand. As you grasp their hand, bring it closer to you.

Under cover of this larger motion perform a smaller one by securing the sticker to the back of
their hand. If you tilt your left hand palm toward you as you lift the deck, the sticker will stay
hidden from view.

• Also use both hands to adjust theirs toward you to provide a bit more misdirection.

“Will you please hold onto the pack for me? I have something here to show you.”

Once the sticker has been loaded on the back of the

spectators hand, remove the stickers from your
pocket, or wherever they await (fig 4) and put them
on the table.

Phase Two
Explain that you are going to use one of the stickers to mark their card. Pick up half the deck
from the spectators hand.

“Will you please continue to hold half of the pack? Thank you so much.”

Perform a double turn over of the top two cards, place a sticker onto the center of the now face
down card.

Double turnover again, thumb the card off into the right hand and wrist kill the packet, so that the
card directly underneath the selection stays hidden from view. Tell the spectator that you’d like
them to hold onto their chosen card.

- 15 -
Trade the selected card for the half/packet in their palm, both face up.
Ask another spectator to assist you. With the deck face down, start a “Hindu Shuffle” from the
middle of the deck. Be sure to leave the bottom card undisturbed- this is going to be the card you
shall force.

Now Hindu Force the bottom card. After the force, clearly and plainly lose it in the deck, being
careful not to expose the sticker on the card, then place the deck aside.

Phase Three
Snap your fingers or use the magic of a shadow, over the card in the first participant’s hand.

“The Sticker has now vanished.”

Turn the card over showing that the sticker is no longer on the back of the card.

“But the sticker hasn’t gone far.”

Ask the spectator to turn his/her hand over. The sticker is surprisingly found on the back of their
hand. Have them peel the sticker off and hand it to you. Crumple the sticker into a tiny ball.
Perform a French Drop, or simply pretend to pinch the small piece. Reach over the deck and
make the small balled up sticker disappear.

At this point, don’t worry about the sticker. Ask the second participant what card they chose. The
deck is spread face up. Ask the spectator to remove his card from the deck.

As they do this you have plenty of misdirection to pocket or, depending on your environment,
toss the crumpled sticker onto the floor. The card is removed, turned face down, and the sticker
is found on the back of the card.

Additional Thoughts
An additional idea for added effectiveness could be to print stickers that contain all of your
business or trade show information. This will produce a souvenir to be given out permitting the
possibility for repeat business.

You could procure a small sheet of multicolored stickers and somehow force the color previously
planned to be palmed, or after loading the sticker. This may or may not make this routine more
powerful. I personally prefer NOT to force the color. When you try this effect, simply
experiment and conclude for yourself.

Choose stickers that are about the size of a nickel. If the sticker is too small, it makes finger
palming more challenging. Remember one side is sticky, so palming is a bit of a challenge. Try
out different sticker, sizes, colors and shapes, and have fun.

- 16 -
 Alternate Handling for Trans - Sticker
I am assuming that you have already read through Trans-sticker and have a general
understanding of the procedures involved.

Begin
Have the sticker ready to be loaded.

Ask a spectator to hold the deck for future use (the pack is still inside the box).

“Will you please hold the deck of cards for me?” “In a moment I will ask for the pack, and I
would like you to raise it in the air and say here it is.”

As you are saying this and while showing how high you wish them to hold the deck, load the
sticker underneath his/her hand.

Proceed with a different effect or tell a quick story to create some time distortion.

“Where is the deck of cards?” your spectator will answer “Here it is.”

Take the cards out of the box, and ask the spectator to hold the empty box because in a moment
you will ask:

“Where is empty box” and of course they will be one step ahead of you and say “Here it is.”

• This is an opportunity to create some laughter. The key is to allow the spectators to finish
your sentence.

• Example: “Will you please hold the empty card box, because in a moment I am going to
ask you _______________________________? And you’re going to say
______________________________”. “Perfect”. Of course the blank lines represent
you pausing and waiting for the spectator to respond. This may require a little bit of
coaxing.

• Having him/her hold the empty card box will insure that s/he will not prematurely turn
his/her hand over to find the sticker.

Take the pack, and begin thumbing through face up, asking the participant to say stop at any time
(this part is done exactly as in the original handling). Execute a double lift and place a sticker to
the back of the card now showing.

- 17 -
“We will mark this card with a sticker” Do another double lift and kill the pack while placing the
card casually to the table.

The pack is now facing down. Ask another spectator to choose a card. Hindu force or riffle force
the bottom card, and then bury it in the pack.

“Whoops I forgot to mark your card. That’s ok, I shall invisibly steal the mark from your card
and place it on your card” gesturing from the now tabled card (first person who chose a card) to
the second.

Suit actions to words, and spread the deck to find the card with a sticker on its back. (This is the
second chosen card).

Now turn the tabled card over to find the sticker (mark) has indeed vanished.

The sticker is now carefully peeled from the back of this card.

Now crumple up the sticker, and state:

“Where is the card box?”

The spectator raises his/her hand and says “here it is.” Execute a false transfer.

• Use timing to your advantage by executing a false transfer at the very same time that you
ask “Where is the card box?” While the spectator is saying “Here it is” and raising the
box into the air, there will be plenty of misdirection to ditch the tiny balled up sticker.

• A fake take of some sort is what I prefer when dealing with smaller objects.

Remove the box from their hand and turn it over as if the sticker is going to appear there. Look a
little bit surprised and then simply point to their hand.

“Will you please turn your hand over?”

For the surprising finish, the sticker is found on the spectator’s hand, and this alternate handling
is complete.

- 18 -
Additional thoughts:
If loading a sticker under a spectators hand seems to be too bold or if you are performing this
effect for individuals whom you feel might consider their space to be invaded (which can
occasionally happen), you could simply have a sticker pre-loaded on the card box.

• Having the sticker stuck to the card box with the cellophane wrapped around it would
seem more impossible, however I prefer to stick it directly to the cellophane as the
premise suggests the sticker to be jumping to the outside of objects. You can certainly try
it but I feel it to be a bit overkill.
• By casually handling the box, the fingers can easily hide the pre-stuck sticker when
handing it out to the first spectator to hold.

• This idea will not require you to have the spectator hold the empty box, but why pass up
an opportunity to create a highly interactive/fun moment?

- 19 -
 Forgettable Prediction
Effect
Magician approaches a table full of onlookers, hands out an envelope with “prediction” written
on it, to one of the persons involved.

“Will you please hold onto this prediction for me? To make sure I remember exactly what this
envelope is I have taken the liberty to write the word prediction on it.”

Another effect is demonstrated, (I normally perform some sort of coin routine). The magician
asks the spectator who is holding the envelope to open it and reveal what is inside. A card is
found, say the Eight of Clubs.

Then the magician realizes that he totally forgot to have anybody choose a card. The prediction
card is placed back into the envelope. The magician politely asks all of the spectators to pretend
nothing has happened yet. Gesturing to one half of the audience a person is asked to choose a
card as the faces of the deck are fanned toward them.

The spectator sees the cards are all the same (Eight of Clubs). The cards are tilted downward to
have the spectator simply touch the back of one of the cards. One is touched and placed on top of
the deck, then turned face up. To everyone’s surprise it is a Jack of Diamonds.

The deck is spread face up to expose its one way nature.

“How could you have chosen the Jack of Diamonds when these are all the Eight of Clubs?
Unless, will you please open my prediction?”

For the grand finale the envelope is opened to reveal a Jack of Diamonds.

Set Up

All you need is a one-way forcing deck and 2

duplicate cards, (One-way deck = Eight of Clubs
and two Jack of Diamonds). Place an Eight of Clubs
inside of an envelope. Both Jacks of Diamonds on
top of the one-way deck. The one-way deck is
boxed.

- 20 -
Procedures
This one is easy, and rewarding. Hand someone the prediction envelope. Perform a few tricks to
create a time delay.

“Will you open up my prediction and show everyone?”

As the prediction is being opened, remove the one-way deck from its case, and in your favorite
manner, secretly turn the top card (Jack of Diamonds) face up.

• Keep the deck neck-tied or tilted toward your body so the Jack is not exposed.

• If the bottom Eight of Clubs is showing a bit, do not worry as you will be exposing that
momentarily.

Now take the card from the spectator, with the deck neck-tied place the Eight of Clubs face up
on top of the Jack of Diamonds.

“Oops, wait a minute; I didn’t even have someone choose a card.”

Now lower the deck to display the Eight of Clubs.

• You now have a face up Eight of Clubs, below that a hidden face up Jack of Diamonds,
and below that is the face down force deck (All Eight of Clubs).

“Could everyone please pretend you haven’t seen anything yet? Let’s start over.”

Execute a double lift, and place the top card (apparently the Eight of Clubs, but actually the Jack
of Diamonds) into the envelope. Close it and hand it back to the spectator. Grab the deck, and
slip cut the top card (Eight of Clubs) into the middle of the deck.

• You are now left with a full deck of Eight of Clubs, the Jack of Diamonds on top and a
Jack of Diamonds in the envelope.

“I am going to split the group into two halves.”

Gesture to the left half and fan the faces in front of another spectator. Be obvious so that they
clearly see that all of the cards are the Eight of Clubs.

“Sir I would like you to pick any one of these cards.”

Let the others see the deck full of Sixes. Be careful not to expose the top card (Jack of
Diamonds). Lower the deck and ask a new participant to just touch any card.

• I normally as the right half of the group not to peek or see what is going on because
usually the individuals on the left half laugh a bit or have some seriously confused faces
which creates a bunch of curiosity for the right half group.

- 21 -
“Please touch a card, but please do not remove it.”

After they touch any card remove it without showing its face.

“This is the card you want, are you sure?”

• This should create some laughs due to the fact that they just saw ALL of the cards to be
the same (Eight of Clubs). This humorous moment will provide you a little misdirection
to get a one-card pinky break under the top card.

Place the card on top of the deck.

“You could have chosen any card, yet you touched this one.”

Now perform another double lift to reveal the Jack of Diamonds. Pause a moment for this effect
to register.

• They just picked a Jack of Diamonds from a deck made up of entirely the Eight of Clubs.
Magic Moment Number 1.

Next, execute the KM move to clean up as you place the Jack of Diamonds face up near the
spectator who holds the envelope. Spread the deck face up if a table is available, thus reinforcing
that all of the cards are Sixes - at this point they are and can be examined.

Ask them to remove the prediction which they “know” is an Eight of Clubs, but of course when
they remove it, they realize that it is a Jack of Diamonds. Magic moment Number 2.

Everything can be examined.

Notes

• This is similar in effect to “McCombical Prediction” by Billy McComb, however when I

created this, I had no previous knowledge of the “McCombical Prediction”, and I’ve
since learned it to be completely different in methodology.

• There are many different ways to secretly turn the top card over. I prefer to use my left
leg when circumstances permit. This also will prevent the one-way deck from being
prematurely exposed.

• Now think of what awaits you after you’ve practiced this. You are moments away from
performing it for your next audience.

• If you are comfortable with a top change, it may be easier for you to use a top change
instead of the secret turn over/double lift. The timing will be very important here so
please use your own personal experience and caution with this.

- 22 -
 Tis W.I.D.E. Open
Back in the year 2000 when www.online-visions.com started up, they held a competition for the
open prediction premise, this had to meet certain stipulations/ rules so to speak. This was my
entry and it just so happened to win the contest. I think it’s a pretty neat idea and over the years I
have received many inspirations from this effect.

Wide Open
Are you curious about the legacy of the “Open Prediction?” History comes alive in this soon to
be timeless challenge. There are many versions in print and this is my take so please check it out,
you’ll be glad you did!

Effect
A prediction is made and placed out in the open. Afterwards a spectator deals cards from a face
down deck to the table forming a face up pile. At any time the spectator stops dealing and places
one face down card upon the pile.

The spectator continues to deal a few cards, and then the rest of the deck is placed on top of the
tabled pile. After all is said and done, the face down card in the pack matches the open prediction
made at the very beginning.

Set Up
You’ll need a regular deck and a duplicate card from a deck with a different colored back. For
the sake of an example, let’s assume this duplicate card is the Three of Clubs. Place this
duplicate into a compartment of your wallet, preferably someplace that looks “Secure”, such as a
zippered compartment.

On the back of a business card or slip of paper, write down a number between 2 and 20, which
will be a prediction used later on. In this example, the number will be 13. Put this prediction in
the wallet in such a way that when the wallet is opened the predicted number can easily be read
by the spectators.

You’ll need to stack the bottom of the regular deck a bit as follows.
Remove the Three of Clubs, a Four of any suit, and a Nine of any suit. Place the Three of Clubs
face down.

Place five indifferent cards face up on top of the Three of Clubs. Place the Four face up on top of
this stack, then the nine face down on top of the four, then the rest of the deck face down.
When you’re finished, the stack from top to bottom looks like this:
Deck (face down)

- 23 -
Nine of any suit (face down)
Four of any suit (face up)
Five indifferent cards (face up)
Three of Clubs (face down)

Notice that the four and Nine of any suit add up to your prediction number of “13”. Any two
cards can be used, as long as they total to your prediction.

Performance
Give the deck a series of false shuffles and cuts, keeping the stack on the bottom of the deck
intact. Hand the face down deck to a spectator.

Remove your wallet and place it down on the table.

“Earlier I made a prediction and placed it inside my wallet.”

Give the instructions for selecting a card. As your participant holds the cards face down, instruct
him/her to deal cards face up to the table, one at a time.

When they choose to stop they will place the card stopped at face down on top of the tabled face
up pile (without looking at it). As they deal face up cards onto the table, be careful not to let
them deal through the entire deck, otherwise they will discover the set up.

The easiest way of controlling this is to have the spectator deal slowly, and use some verbal cues
if you must. Ideally, you would like their card turned face down somewhere before the halfway
point of the deck.

After they have dealt the face down card onto the face up pile, ask them to deal a few more cards
face up on top of that, and then stop them.

Although it’s not necessary, if you want to end the effect completely clean, count the number of
face up cards dealt on top of their face down choice and memorize this number. Let’s assume the
number of cards is six.

Have the spectator place the remainder of the deck face down on top of the tabled cards. Explain
to the spectator that now there is a point where two cards lie face-to-face, and although it seems
odd, you had made a prediction about the exact point the cards will lie face to face.

Check Point
At this moment you really want to create some time misdirection because there will be a
discrepancy with the cards they actually placed face to face and the cards you will arrive at in the
next step.

Pick up the face down deck and deal the cards face up on the table until the point where the cards
meet face-to-face is reached. Stop; add the values of the two cards together. The two values will
be four and nine, and the total will be 13.

- 24 -
Place the cards that you just dealt to the table on top of the cards that remain in left hand
position.

Next open the wallet and read the prediction. It will, of course, match. As far as the spectator is
concerned this effect could be over with because you never mentioned anything about predicting
the reversed playing card.

Now have the spectator deal the cards face up onto the table slowly until the face down card is
seen and stop. Have him/her remove the face down card and turn it face up (Three of Clubs).

Now show your participant that there is a playing card inside your now opened wallet.
Instruct the spectator to remove the card.

The two cards, of course, match. The spectator goes nuts; you bask in the radiance of brilliance,
and the only thing left to do is very naturally place the card back into the wallet and the deck
back into the card case.

Clean Up
At this point, if you wish to clean up completely, and you’re already familiar with the easy “KM
move”, here is how you proceed.

Immediately after the three of clubs is removed and turned face up, pick up the tabled face up
pack and take the cards the spectator holds. Add his/her cards on top of yours, all remain face up.

Remember the cards that you counted, and memorized before, and in the example was Six?

Hold the deck in dealers grip and thumb over that memorized number minus one (in this case,
you’ll be thumbing over five cards). Be very careful not to expose the face down card. Move
these to the bottom of the deck, or double undercut them to the bottom. Execute the “KM move”,
which will unload the back card of the double lift, leaving you holding a face up card in your
right hand.

Turn your left hand palm up, placing the card on top, which accomplishes the correction of the
small mess. The spectators can now examine the deck, and nothing out of the ordinary will be
found.

Notes
There are of course many ways to clean up, because it’s simply reversing a card in the deck. I
know you are already considering other methods.

The first part of the “KM Move” is in “Q Aces”. After the left hand has rolled over the card
visible, simply pull the card out leaving the face-down card intact.

- 25 -
Additional thoughts 2008
I have found that this effect feels more comfortable NOT using the “KM Move” for cleaning up.
Simply spread the deck face down on the table or between your hands and keep the face up card
hidden below the top card. Spread in a casual manner so as to avoid any over-proving.

This will also eliminate the step where I ask you to memorize the number of cards dealt. Just
make sure they deal around 6 to 9 and when you arrive at the point where you will double
undercut a few cards to the bottom, smoothly cut around 3 or 4 to the bottom. Do your own bit of
estimation with this.

Then simply place the deck back into the box.

I have to admit the prediction of the face-to-face card “total” is kind of a weird happening, and it
feels kind of awkward, but to meet the guidelines of the challenge, it was necessary to create that
moment.

In the end, I really like the idea of predicting two different events within one effect.

- 26 -
 Spider Wave
Who here remembers The Web? Please raise your hand.

This is something I developed quite a long time ago. After experimenting with The Web and
performing it way too many times, I began to develop the feeling that simply having my
spectators freak out wasn’t going to meet my personal standards.

At the time one of my favorite effects was the “Eight Card Brainwave” of which I had obviously
learned through Michael Ammar’s Easy to Master Card Miracles. Yes, I was one of those
thousands who got their start in magic around that time- the year was 1993.

So I went down to the craft store and I bought some (spider) stickers that were fairly large
tarantulas. I removed eight random cards from a red bicycle deck, stuck a tarantula to the back of
every other card.

The key to what follows is the handling, combined with proper attention and sensitivity to the
possibility of someone actually having arachnophobia.

Experience
“Please madam, can you help me with something I have recently been working on?”

Remove a pack of playing cards and take them out of the box.

“Did you know that there are some people who actually have a phobia of playing cards, you
don’t hold such a fear, do you?” “Wonderful.”

Remove the eight cards to be used in this “WAVE”.

• I recommend simply having them preset on top of the pack. It may or may not add
deception to this effect to randomly remove the cards from the pack, face up of course.
So proceed at your discretion.

• One of the strengths of this version is found in the fact that all of the cards are the same
color, and by preparing the cards so that their order will leave a regular card on top of the
pack, you can create the scenario of spreading the cards face down briefly. Assuming the
tarantula stickers are not too big as to expose them, of which is the ideal situation.

- 27 -
“Since you are not afraid of the playing cards, let’s try an experiment using these cards.
Please take a good look at them and get one in your minds eyes, none of these eight cards scare
you do they?”

• Short note- “eyes” is not a typo.

“Perfect because there is actually a phobia of the figure eight it’s called Octophobia, there is no
eight dangling in here is there?”

• Here we are showing all of the face up cards, while talking.

• Also in order to use this patter you must NOT have an eight in the eight card packet.

“Great, now will you please name the card you are just thinking of, and please don’t be afraid to
point to it. Thank you.”

Here is where you execute the eight card brain wave sequence. I will not go into this at this time;
however it is very simple and very easy to hunt down. I have already clued you in on where to
find “it“.

After your participant has pointed to their chosen card, simply feel with your fingers whether or
not that particular card will have a tarantula sticker present. If their chosen card does have a
sticker on its back proceed as follows.

Spider
“Will you please hold out your hand?”

Place the card in their hand- face up please. Perfect.

“Now is there a specific reason you chose this particular card? We know that it wasn’t induced
by fear, or any sort of phobia.”

“You had a free choice of any one, but this is the card you moved to, I mean were drawn to
correct?”

Of course while stating the above you are doing the “Olram subtlety“, showing all of the red
cards to be consistent- normal backs.

“It is a very good thing that you do not have any fear of these playing cards.”

“And hopefully you do not have a fear of spiders, either because you chose the only card with a
spider on it.”

Turn the card over to reveal the spider.

If this makes them freak out, quickly calm them by stating.

- 28 -
“You have now faced your fear of spiders, and in doing so created the wonderful opportunity to
be at peace with them in your mind.”

If the card they chose does not have a spider stuck to its back, proceed with the following patter.

No Spider
“Now is there a specific reason you chose this particular card, we know that it wasn’t induced
by fear, or any sort of phobia.”

“This moment is crawling with suspense because every one of these cards have spiders on them
except one.”

“Olram” with the above patter.

“If you do happen to have a fear of spiders, your fear is now over.”

Turn the card over to show no spider.

Notes
This seems like such a simple addition to a very well known effect, but the fun takes place while
using the scripting included. Speaking of phobias in a casual way sort of disarms your spectator
and at the very same time embeds a small alarm in their mind, warning or reminding them of a
real phobia they might have.

Keep in mind that phobias hold within them the power to induce all kinds of emotional reactions
including panic, which is why I have chosen to apply such a presentation to the use of cards in a
tongue in cheek manner.

If you still want to floor someone, which I really cannot recommend you doing. You can if you
choose apply the spider to the back of your participant's hand combining the "Web" with this
routine. Please, please use caution and choose someone whom you already know to NOT be too
afraid of spiders.

- 29 -
Additional thoughts
You could create only one scenario each time you perform this effect by forcing your spectators
to choose either the card with a spider or a card without. You could use a little bit of verbal cuing
combined with some psychological subtlety.

• For more information pertaining to this subject please check out Psychological Subtleties
1 and 2 by Banachek.

There has been a great deal of work relating to the "Eight Card Brainwave". Personally my focus
here is not really in the fact that someone picks the only one with or without the spider. This
makes me quite reluctant to change the handling much, however I highly recommend that you
experiment with other handlings or even effects which implement the fun suggestive word play
involved.

By the way, did you almost raise your hand at the beginning of this effect? Something to think
about.

- 30 -
 Caps and Pens
Directing the disappearance, reappearance, and transportation of colored pen caps.

There was a point, quite a few years ago where I had considered this routine to be the first phase
of a competition act, but this never evolved as I had planned. Also the drive to enter
competitions dropped to the bottom of my personal list of magic goals.

Transporting Pen Caps

Some of us are on a shoestring budget so a trick like the following is definitely easy on
our pocket books. Red and Blue pen caps change places, after demonstrating some impressive
sleight of hand.

Needed
A solid purple pen with the purple lid attached. An
orange pen with a purple lid attached, and an extra
orange matching lid (fig 1)

Both pens are in the breast pocket, or a visible

convenient pocket, with the lids downward, hidden
from view. The extra red cap is in the right pocket.

Phase One
Pull out the purple pen.

“Have you seen the new and improved paper mate

pens? If you happen to leave them in your pocket, it
is impossible for them to bleed.”

After saying this, take the cap off, replace it on the

back of the pen and then ask a spectator to sign a
piece of paper to prove that it is a working pen.
While they are signing the paper steal the orange
cap from the right pocket and casually add it to the
left palm.

Now take the purple pen back and hold it in the left hand with its lid aligned with the orange
(hidden) cap (fig 2).

- 31 -
Phase Two
Now you are about to execute a "fake take" by holding onto the lids tightly and pushing the
purple pen upward with your left thumb, loosening it from the lid a little bit. With your right
hand reach above your left hand and remove the pen upward, taking the pen out as if the lid were
still attached. Cover the part of the pen where the lid was suppose to be, (fig 3) and leave the lid
behind.

Now place the purple pen's point inside of the purple cap (fig 4). Pretend to pull the lid off the
purple pen with your right hand, move away from it, squeeze, then open your hand to create the
illusion of a vanish.

• This is actually the first phase of “Re-cap” by Gregory Wilson, with the extra cap being
hidden along the way.

Grab the purple pen with your right hand and pull the pen out of the fist, keeping the orange pen
cap concealed in your left hand and show the cap has traveled to the other side of the purple pen.

Phase Three
Holding the purple pen in right hand, let the cap pivot downward and grasp it with the left
fingers (fig 5). Pretend again to take the lid and make it vanish once more by scrapping the right
thumb nail down the side and bottom of the lid, creating a sound, similar to that of the pen
actually being removed (fig 6)

- 32 -
Pretend to be holding the lid in your right hand and slowly open it to create another vanish. Hold
tightly to the two lids in your left hand, reach over with your right hand and pull the purple pen
out of the left fist but keeping both lids intact.

“It takes a second for the pen cap to return, this time it is flying through the air.”

• At this point you must keep your left hand closed

to hide both lids, and this may feel a little bit
obvious, but hold steady and continue on.

• Replace the pen back into the fist and place its tip
into the extra orange cap (Fig 7).

• This is a very important moment because if you

miss the extra orange cap, the trick will be adrift,
so do not move too fast, take your time and if you
need to crack open your left fist a bit to double
check, please do so.

Phase Four
Allow the pen to be protruding from the left closed fist for a split moment, and release your right
hands grip.

Turn your right hand palm up and reach below the pen. Grab the pen with your right hand, right
next to the left first finger and thumb (fig 8).

• This grip is in preparation to shield the extra orange cap from view as you remove the
pen.

Remove the pen upward and turn your left hand, positioning it as in (fig 8). Reach up with your
right hand and gesture into the air.

“The pen cap is flying into my hand.”

- 33 -
Now tap the back of the left hand. Shake the left hand as though you caught the pen cap "I got
It". Push the end of the pen into your left fist adding the pen cap then open your left hand to
display the cap has reappeared.

“Can I place this pen in your pocket to show you that it will NOT bleed”

If they agree, remove the purple cap and then move the pen toward their pocket, with the extra
orange lid going in first. Place the pen inside of their breast pocket, with its cap hidden.

• It should be assumed by your spectator that the pen is going into their pocket with the tip
first.

• If a breast pocket is not available, use your own breast pocket or use your front pants
pocket. I recommend making sure you are wearing a jacket or an opaque shirt which has
a front pocket.

Finally execute your favorite sleight of hand moves with a pen cap. What I have done is what
some may call a “flurry”.

• A flurry consists of executing a pass with your right hand, vanishing the pen cap, making
it appear behind the elbow with your right hand.

While holding the lid in your left hand, execute a fake take with your right hand, which is simply
reaching over to your left hand and pretending to remove the lid, but in actuality the lid stays.

Pretend to hold the lid in your right hand and cause it to vanish. Then reach with your left hand
down below your right knee and reproduce the lid.

Finally I make it vanish all together by using my sleeves or Gregory Wilsons All Around Vanish
From his Video Off the Cuff, which will work perfect at this moment.

• Unfortunately I cannot explain the All Around Vanish but I highly recommend looking it
up, it is a thing of beauty.

• If you are not comfortable using sleight of hand to make the cap vanish, simply place it in
your pocket and snap your fingers, causing it to vanish from your pocket to the pen.

“The pen cap has vanished and will reappear on the pen.”

Where ever the two Paper mate pens are located reach for the purple pen, and pause, then begin
to motion toward the pocketed orange pen.

“In this case the purple cap has jumped to your pocket.”

Remove it slowly from the pocket to show that the purple pen cap has reappeared on the orange
pen. With a somewhat puzzled look on your face.

- 34 -
“If the purple cap is here, then the orange cap must logically be here.”

Remove the purple pen to reveal the orange cap.

Final Thoughts
Special thanks to Gregory Wilson and his routine Re-cap of which directly inspired the
formulation of this exercise.

While practicing, and experimenting with this fun adaptation I get the feeling that there is much
more magic involved that the title suggests. Please have fun.

- 35 -
 Un-picked
Effect
After working a walk around gig for a spell, you walk up to someone while holding a pack of
cards (out of the card case).

“Hello sir, how are you doing today?” “Can I show you something amazing?”

He delightfully agrees.

“All we need to do is spread through this pack” (spread it face down) “and a card turns over”,
(ace of diamonds).

The ace is seen to be placed back in the pack face down.

“If I place that card back into the pack, all it takes is a moment and the Ace of Diamonds turns
face up once again”.

The pack is spread again to show the ace has turned over once again.

“I know this is blowing your mind isn’t it?” “So let’s try it one more time”.

The card is clearly placed back into the pack face down, the pack is even spread face down to
show NO card is face up yet.

“Once again all we need to do is give your card a moment and it will turn around.”

Pause for a moment.

“And there it is your card has instantly turned over right before your very eyes.”

At this moment the ace visually seems to pop right out of the pack (face up). The card is
removed from the pack face up.

“Isn’t that amazing, your card has turned over 3 times?”

The spectator states that he didn’t even pick a card, so how is that his card.

“What? This isn’t your card?” “No” says the spectator.

“This isn’t your card?” “Hmmmm, very strange, but this has to be your card, because.”

- 36 -
As this is said, the ace is now turned over to reveal the spectators actual name written across its
back.

“Your name has been written on the back.” “Please keep this card as a souvenir.” “Thank you
for helping me with this magical moment.”

The workings
Obviously, before hand you must learn the name of your spectator and in my opinion only the
first name needs to be written.

• There are many ways of learning a spectators name through casual conversation.

• If you are doing a very important gig for a special client, it may be in your best interest to
simply ask the individual who has hired you for some details about the particular event.
Ask for a few of the names of the individuals who are in charge for your own
professional reference.

• In this modern age, you can “Google” the target individuals name to find out some
additional information which may or may not assist you. Chances are you will be able to
come up with either their name, a nickname, or the name of someone who is close to
them. Use your common sense and respect when choosing and including the name you
finally decide on.

Write the name across the back of a preferably red card (writing shows up better on red backed
cards). Write the name down the center; if it is a bicycle pack keep the name inside of the
rectangle found on the back of bicycle cards (where the angels are sitting upon their bicycles).

• This reason for this is to keep the name hidden from view, while spreading the pack.
Ideally you could perform a regular card effect before moving into “Unpicked” being
careful NOT to reveal the name card.

Once you are ready to perform this effect, secretly turn the “named card” face up in the middle
of the deck. A Braue Reversal will do the trick.

Step One:
Be sure that you have written the correct name of the spectator in question.

The best way to do this would be to ask them their name after your approach. I would
recommend that you ask the names of everyone else who might be amongst the group, and do try
to remember the names.

• This may be common sense but then again it could also be seen as sage advice.

Proceed with the patter, as stated in the effect section. Be sure to state after the first spread,
“Watch as A card turns face up” “A card”. Stating this will distance the first phase from the
last.

- 37 -
After you remove the card (face up), simply turn the rest of the pack (face up). Place the “named
card” on top of the pack (face up).

Check point

• You are now holding the pack in left hand dealers

grip, face up with the “named card” face up on the
face of the pack (figure 1).

Execute a “Braue Reversal” of the top “named card” and

either cut the pack so the “named card” will be in the middle
face up, OR while doing the “Braue Reverse”- on the second
cut, simply reverse the second half underneath the pack.

• Explaining the Braue Reversal is beyond the scope of this book. For details on the move,
check out “Counts Cuts Moves and Subtlety” by Jerry Mentzer. Or please find this move
amongst Daryl’s “Encyclopedia of Card Sleights” videos/DVDs, or even “Card College”
Roberto Giobbi.

Step Two:
Spread the pack face down again after pausing for a moment.

• I prefer to use a pause instead of a snap or a blow. If you design some script to create a
laugh, this would work even better as to create build up and drama inside of this effect.

At this point, instead of using the “A card” script, I suggest using “The Ace of Diamonds has
turned face up.”

• By stating “A card” in the first phase followed by “The Ace of Diamonds” in this second
phase will in my opinion, create steps leading from total disconnection/mediocre trick
leading into a little miracle.

Recap:
• The pack was spread and “A card” turned face up (wow big deal) is what you expect
your spectator to think.

• The card is lost back in the pack, and then spread face up again, and “The Ace of
Diamonds” turns face up. (Ok that was a little bit better because I just watched you put
that card back in the pack) is what you expect the spectator to be thinking this time.

• The goal now is to have the “Ace of Diamonds” embedded in your spectator’s minds, and
also to build up the expectation of the card turning over once again.

- 38 -
Step Three: (final step)
Now this will be the most difficult step to execute.

As in the second step, remove the “name card” and turn the rest of the pack (face up) in your left
hand.

“The ace of diamonds has turned face up again”

Place the “name card” on top of the pack again (face up) and perform Dai Vernon’s Depth
Illusion (also mistakenly known as Marlo’s Tilt Move)

Without going into great detail for the Depth Illusion it is simply pulling up the top two face up
cards and holding a fairly large break below. Take the “name card” or “Ace of Diamonds” from
the top of the pack and place it underneath the tilted card.

The illusion is that you are placing the card into the middle of the pack, but in actuality “it” is
going right underneath the top card.

Allow the pack to square up, and turn it face down.

• Obviously you don’t really need to do the “Tilt Move” because you can use your
favorite method for controlling the “named card” to the (face down) bottom.

• From the (face up) start point, you may actually use a “Hindu Shuffle Control” or
an “Over hand shuffle control” to get the “named card to the face.

Here is the moment which the pause is very important, because after a short pause you will go
ahead and spread the pack face down, but this time there will NOT be a face up card revealed.

Assuming the “Depth Illusion Move” has been used. It is very important that you remember the
bottom card is an indifferent card and the card right above is the “name card”.

You must now position the “name card” to be directly on bottom. This is a very easy thing to do;
in fact the best way to do it is while you spread the deck (face down) showing no face up card.

As the cards are spread, thumb all the cards over until you get to the very last card, this card is
simply moved to the top of the pack as you square it back up.

• The position now is that you are holding the pack in face down position (dealers grip).
The “name card” is on the bottom, and you are preparing yourself to do the “Pop Out
Move”.

• You can either use the Piet Forton “Pop Out Move” or Harry Lorayne's “Pop Out Move”
from “Quantum Leaps”, which requires a swing cut.

- 39 -
Again, at this point I am not going to explain the pop out move, I would rather that you hunt
down the material of these fine artists to learn a “Pop Out Move”.

• Briefly- the “Pop Out Move” is causing the bottom (face down) card to visually turn over
seemingly from the center of the pack.

Instead of explaining the “Pop Out Move” I shall describe something that I created on my own
some fifteen years ago. It is a very simple way of causing a card to turn over, while hiding its
back.

• I do realize that this little move was likely developed independently by many magicians
around the world; however I am currently unaware of anyone else using this.

Simple Move
All you need to do is grasp the deck in right hand ”Overhand” grip (Often mistakenly referred to
as “biddle” grip) and then swing cut the top half into the left hand. (Figure 2)

The left hand takes its pack and moves away from the right hand pack a few inches and then
rebounds back as if to complete a cut.

Instead of completing a cut, your left fingers move below the right hand pack until they reach the
center of the bottom card. (Figure 3)

Pause for a split second and press upward with your left fingers. At the very same time begin to
slide the bottom card to the left- moving your right hand a bit to the right and the left fingers
pulling to the left. (Figure 4)

- 40 -
Then the right hand moves downward causing the bottom card to instantly turn over.

This is a fluid motion which will create the illusion of the card jumping out of the middle, (face
up).

• If you don’t have a table available, it is a simple and ideal matter to use the spectators
hand as the landing platform for the card.

Conclusion
The “name card” has appeared and this time you shall state “Now your card has instantly turned
over in the pack.”

Pick up the card and pause a moment (the idea is for them to have heard you say “your card”)
wait for them to make a statement in regards to the “your card” patter. If they don’t right away,
slowly/clearly express it again in this manner.

“Wasn’t that amazing that your card magically turned over in the pack three times.”
Your spectator will surely get the clue at this point, but if “he/she” does not THEN another
spectator will surely speak out.

If not still then take this route:

“You don’t seem too impressed. This was your card wasn’t it?”

Of course they will answer “NO”.

Assuming your spectator has responded as desired, by saying “I didn’t even choose a card, how
could that be my card?”

“What, this isn’t your card?” “NO” “Are you sure, I was sure this was your card.” “Nope”.

“This has to be your card.”

While stating this, the card is turned face down to reveal their name written across its back.

“It has your name written across its back, please take this card and keep it as a souvenir.”

Final Thoughts
At first glance you may be tempted to use the old “Your Name” gag, PLEASE don’t. In my
humble opinion and as discussed with Jeff Stone, this effect is NOT even a magic trick until their
“actual name” is revealed.

The turning of the cards is a visual bit of fun, and there is clearly magical build up; however NO
card was chosen so it will not be that impressive until the end when the card visually flips over
after showing the conditions.

- 41 -
 • Revealing that you knew their name before hand is where the true magic will be
established.

There was a wonderful trick that I still perform from time to time called “Cardian Angel” by
Paul Harris. If you are not familiar with this effect, please look it up and check it out.

• Simply- “Cardian Angel” was an effect where the angel found on the back of a bicycle
card is seen to become animated, by riffling the pack the angel reaches inward and pulls
out a tiny card, this card is seen to have the spectators name printed across its back.

• There was an idea included in the instructions which due to certain restrictions of the
effect stated that you could learn the name of someone who is close to the spectator
instead of using their actual name.

• This idea might even be a bit more powerful, because after meeting and learning your
spectators actual name, the name of the person who is close to them has not even been
spoken and this will (in my opinion) add a very powerful, spooky moment to “Un-
picked”.

Another little tip:

• At the end of the effect create as much time distortion as possible after revealing the card
with a pop-out move. Place the card in their hand face up before revealing their name,
thus adding the element of magic happening within their grasp.

The appropriate patter would be:

• “Will you please hold out your hand sir” “Thank you”

• Place the card in his/her hand. “Now it is your card”

Quite possibly causing a few laughs, “It really is your card, please turn it over.”

Credits and Resources

I would like to state and give thanks to Al Schneider. This effect was initially designed to fall
under the guidelines of “The Schnieder Technique”

• Predictability
• Doing a single effect
• Showing previous conditions
• Pausing before an effect
• Pausing after an effect occurs
• Repetition (three phases)

- 42 -
 Free Miracle
The Experience
Approaching a small group- family- in a restaurant or at a private party-

"Hello my name is Scarnecky how’s everyone doing? we are giving away miracles tonight,
would you like a free sample"?

Suiting actions to words- a folded piece of paper is shown, the folded paper has MIRACLE
printed on one side and FREE on the other.

After your audience agrees the paper is slowly opened so we can see what's inside, (a curious
look on your face)- reaching inside a little red piece of tissue paper is removed.

This paper is unfolded and shown to be a small heart, which is then stuck to your lapel or shirt
where a piece of double stick tape is waiting.

The paper is now turned over to reveal the word LOVE on its inside.

Next the paper is opened again- (a delighted look now on your face)- a quick moment of eye
contact with the audience and then the next word is revealed to say FAMILY.

Finale- paper is unfolded once more, with a look of excited anticipation - and then a look of your
genuine charm. Slowly unfold the paper and turn over to reveal the last word in large bold print-
FOREVER....

The tissue is refolded, placed back into the FREE MIRACLE, paper folded- and now reset to
move on to the next group.

Preparation
Using a full 8 by 11 piece of paper- preferably opaque so the writing or print doesn't show
through- fold the paper in half - top to bottom, then fold again from right to left (the folds do not
have to be perfect) then one more fold from top to bottom- creating a semi-square rectangle.

Now all that's left is to write in the appropriate words for the effect. Write FREE on the now
current side of the fold, and MIRACLE on the other. With MIRACLE in front of you, open the
paper and clearly write LOVE on the inside of the first fold.

Follow this by writing FAMILY inside the next. To conclude open the paper once more and
write FOREVER inside the last fold..

- 43 -
Go to your local craft store and buy some red tissue paper and double sided tape. Cut out a heart
in whatever size that you wish and fold it to fit inside of the folded FREE MIRACLE on top of
the word love. Stick the double sided tape to your jacket, shirt or whatever you happen to be
wearing this evening.

Notes
Now you are set- follow the above experience sequence and that's it. Obviously you could
substitute any words to suit your goal, but without making this a magic trick I feel it stands very
well as is for maximum engagement potential.

A folded piece of paper used to reveal progressive content has been around for a long time.
Personally I own quite a few effects which employ this procedure, my first exposure being- "The
Insurance Policy".

I strongly recommend that you prepare many folded hearts, so that you can give away the special
tissue paper, which will create a physical memory of the moment created.

Thank you for your interest in this- This is truly a free miracle with many possibilities. In return I
welcome any and all feedback, and or opinions to assist me with my own magical growth.

At the end of this booklet I have included a layout of how your free miracle should look when
completely open.

If you have purchased the e-book version of this manuscript- it would be very easy to print the
included design and use this in your next performance.

- 44 -
 Copper Silver – Thought
Most of us already own a copper/silver gimmick, and many of you probably know several
routines incorporating this versatile coin. The following is a neat little handling that can also
serve as a brief exercise in psychology.

Method and Effect

A copper English penny, and a silver half dollar are shown, both coins are placed in the
participants hand, their hand is closed and turned over. The spectator is asked to think of both of
the coins.

“Please concentrate on both coins, the silver and the copper”.

One coin is slowly removed “The copper coin”. Magician asks participant to now
try very hard not to think of the copper coin, and repeated twice:

“Please try very hard NOT to think of the copper coin?”

“I am asking you NOT to think of the copper coin because I am getting rid of the coin”.

Now place the coin in your pocket and the following patter follows.

“Isn’t that kind of a strange thing? The more I ask you NOT to think of the copper coin, the more
you have to think about it” “Another example of this phenomenon would be if I were to ask you
to try very hard NOT to think of pink elephants, you would have to think about them in order not
to.”

After this is said you say to the spectator

“For a split moment did you forget about the silver coin?”

The spectator answers yes- “So did I, please open your hand”. The normal copper coin is now
revealed.

- 45 -
Set Up
All you need of course is a Copper/Silver gimmick coin and a regular Copper English penny that
matches the gimmick.

• You could easily replace the regular copper coin with a regular American half dollar, and
then change your patter to suit, however I use the copper coin because the half dollar is
more common, and seemingly easier to forget in the moment- a kind of consciously
invisible detail.

In the presentation make sure the silver coin is placed on top of the copper coin in the spectators
palm. Gently close their fingers over the two coins, then softly turn their hand over (palm down).
When reaching in to remove a coin, grasp the coin that is lowermost. That’s it, perfect.

Notes
In addition- this patter and handling could be applied to other effects, for example I sometimes
apply this presentation to the wonderful effect "Beswitched" by George Hample.

The Copper/Silver gimmick coin has obviously been around for a very long time, I am currently
unaware of who the originator is.

Personally I first learned the sequence of this effect right out of the instructions from the
Copper/Silver coin trick made by "Sterling".

I actually read a beginners book on NLP "Neuro Linguistic Programming" back in 2000- where I
found the exercise of asking a person not to think of something which causes them to think of it
in order not to.

Yes - very basic, better yet very easy. I honestly use this all the time every where I go, it's a great
warm up effect as well as what many call a tester trick- to sort of evaluate your audience, and or
get your performing juices flowing.

- 46 -
 “Q” Aces
The motivation here was to create a fast, interactive, four card routine which maintains an
anytime anywhere function.

Effect
Four aces are placed in different parts of the deck, followed by a quick shuffle. With the
spectators help, each ace is quickly located.

Set Up
None really, simply find and remove the four aces from any shuffled or borrowed deck, or have
them left over from a previous lead in effect.

Begin
Hold the deck face up in dealers grip. Run your thumb down the top left corner, a little over three
quarters of the deck down. You will be performing what I believe to be an Ed Marlo multiple
shift. When you stop at a card you should be able so see its pip.

Insert an ace above this card half way, and memorize it. (fig 1). For example let us say that you
are now memorizing the two of clubs. Place another ace a few cards up in the same manner,
followed by the next two aces exactly the same.

• The four aces should be protruding from the pack about half way.

Now grasp the deck firmly in a high dealers grip. Place your left thumb on top of the deck
pressing downward (fig 2). Now with your left index finger, push the aces downward, this should
push a packet of cards out of the bottom.

- 47 -
Grab this packet and strip it out of the bottom followed by a Hindu Shuffle.

• Now if the deck were face down it should be set with 6 to 10 cards on the top of it,
followed by the memorized card and then the four aces.

Phase Two
Holding the deck face up, thumb over some cards:

“No aces on the bottom.”

Turn the deck face down and thumb over a couple

of top cards. Turn them face up to display them (fig
3). “No aces on the top, I trust”

Now thumb over one card at a time, displaying it

face up with the cards already in hand, turning over
the whole packet until you get to the memorized
card. Stop.

Get a break under that card and the whole packet

above it. Double under cut those cards to the
bottom.

“As a magician I will try to cut to an ace, it may be challenging, so let us give it a shot.”

Perform a “Braue Reverse” of the top card. When the first pack turn up into view:

“No ace? Ok one more cut.” “Still no ace?”

This sets one ace face up in the middle of the face down deck.

The situation now should be:

One ace is reversed in the middle of the deck with three aces on top of the deck.

Phase Three
“The aces are being stubborn so I’ll demonstrate some sleight of hand”.

At this point the deck is in my right hand, and I position it behind my back, snapping the card up
over my left shoulder catching it in my left hand. This move is challenging to describe, any kind
of revelation will do as the deck stays intact.

• There are some fine moves by Jeff McBride in his Card manipulation videos of which
you could use for this sequence.

- 48 -
 • If you wanted to get super simple, take the pack behind your back with both hands and
then act like you pull an ace right out of the deck. Of course it comes right off the top.

Phase Four
Now we reveal the next ace with a very gutsy little sequence. Spread slowly through the top of
the face down deck and ask another spectator to simply touch the back of any card. Be very
careful, there is still a face up ace in the middle of the deck. Now when they touch the back of a
card, slowly out jog it:

“Are you sure this one?”

Slowly remove it from the deck and touch it to the face up ace, (now on the table) then place it
on top of the deck.

• While you are moving the touched card back and forth (from the pack to the tabled ace) it
is a very easy matter to obtain a left pinky break above the top card.

Execute a double lift to show that they actually touched an ace. Thumb this ace off the top and at
the very same time wrist kill the deck (turning your palm face down to hide the other card).

“Wow an ace, your psychic skills are exceptional”.

Regrip the deck with the right hand keeping it face up, then place it in left hand dealers grip.

Phase Five
Two aces have been located and placed on the table, or a spectators hand. Ask another
participant to hold his or her hand above the deck and slowly turn it over.

“Your hand will influence an ace down in the middle of the deck”.

As you say this thumb through the face up deck until you come to the face down ace. Out jog it
and ask them to remove it. They will show everyone that it is indeed an ace. After the ace is
removed, cut the deck at the exact point the ace was removed. Turn the deck face down.

Phase Six
Ask another spectator to hold their hand over the deck and turn it just like the previous spectator
did. Now thumb through the face down deck, or spread it, if you are working with a tabled mat.

One card will be seen in the middle face up, and it is NOT the last ace.

“Oops , well that is ok, no problem at all- will you do me a favor and reach back into your life,
maybe back to your childhood and recall a magic word of some sort, you’ve got it? Will you
please say your magic word?”

• Usually people are quite quick to say some sort of magic word, and often times the will
invent something very funny which of course adds to the presentation.

- 49 -
As you are saying this cut the face up card to the top of the deck. Obtain a break under the 2 top
cards (the top one is face up, the second one is the last ace face down beneath it).

Any magical way that you know of changing one card for another in this situation is good. I
prefer to use sort of a delayed change. It is simply a modified double lift.

Start a normal double lift with these two cards but before it is turned over, stop. Instead of
turning the double card over, turn the deck over on top of the double (fig 4).

Stop and wait, wave the deck over the three aces on the table (fig 5), saying their magic word in
this case: “Abracadabra” then turn the deck over to find the card has changed into an ace. Thumb
it off onto the other aces and cut the deck to get rid of any evidence.

• A one-handed “Charlier” would be perfect, or a pass. I personally feel this clean up is

unnecessary. All I do is thumb off the last ace with my left thumb. Then I grip the deck in
to Biddle grip with my right hand and swing cut the top half into the left hand and I keep
the bottom half in right hand “Biddle grip”, pointing with the right hand index finger at
the aces.

“The four aces”

Then I replace the right handed half onto the left hands half. Casual and smooth it’s invisible.
I’ve never yet had someone ask about the deck, and I have done this routine hundreds of times.

Notes
I trust you’ll try this one, it is very fun and VERY versatile. You’ll find it can be performed walk
around very easily. Simply use a participants hand to hold the aces as they are produced. I prefer
to perform it standing with no table, allowing more spectators to pleasantly get involved.

I have always agreed with many, that pulling the aces out of the deck just to lose them again,
followed by finding them in a magical manner is seemingly illogical. Obviously producing them
magically first is ideal. Sometimes I will have the aces preset on top of the deck or better yet I
will pull the aces out to perform “Vacuum Cleaner Cards” or “Dr Daley’s Last Trick” or
something else that uses the four aces, kings, or jacks. After a few of these effects, I can choose
to perform this practical routine.

- 50 -
 The Magician Versus Kreskin
Effect
Performer removes a pack of playing cards, any card is removed from the pack. The chosen card
is shown to everyone and the performer places the card face up on top of the pack for everyone
to see.

“Has anyone here ever heard of The Amazing Kreskin, the great Mentalist? He is famous for
finding objects hidden by his audience. I am going to attempt to duplicate this amazing feat.”

A manila envelope is introduced, the chosen card is turned face down and placed inside of the
envelope, then sealed.

“After I leave the room, I would like someone to hide this envelope anywhere in the room, when
you are finished have someone retrieve me.”

The envelope is hidden and you return to the room. After searching high and low for the
envelope, you almost call it quits, but then the you move to the center of the room, close your
eyes, full of concentration, reach into the air and seem to grab nothing.

“I’ve got it, will someone bring out the hidden envelope, please tear it open. Is the card still
inside? Please remove it.”

The card is found to be blank, you open your hand slowly, a folded clear plastic is unfolded to
find the image of the selected card.

Preparation
You will need a one way forcing deck, a regular deck, a blank face card, a manila pay envelope
of some sort, a card copied at any copy center on the clear plastic sheets used for overhead
projections.

Place a few regular cards at the bottom of the one-way force deck to serve as proof cards. The
blank face card is placed on top of the force deck. Have the regular deck (minus) the force card
unboxed in a convenient pocket.

Manila envelope is in the inside jacket pocket or front shirt pocket. The folded piece of clear
plastic is in the front right pocket.

- 51 -
Secrets
Have someone select a card from the one-way deck. As they are showing the card to the rest of
your audience, secretly turn the top card (blank face) face up. Take the card from the participant
and place it on top of the blank card (secretly hiding the blank face).

While speaking of The Amazing Kreskin, remove the manila envelope, execute a double lift and
place the blank faced card into the envelope and seal it. Hand the envelope to a spectator, and
exit the room.

While you are outside the room, switch the one-way forcing deck for the normal pack. This
should be easy because hopefully you will be all alone.

• Obviously the motivation for switching the deck is for those skeptics who may wish to
examine the deck after the routine has ended.

Re-enter the room, pretend to intensely search for the envelope, (there will be a lot of room to
play this up). During all of the searching, casually reach into your right pocket and retrieve the
folded plastic card, place it in right hand finger palm.

When you are ready, move to the center of the room, reach into the air and pretend to grab
something. Ask the spectators to bring out the envelope and check it’s contents. Finally reveal
the plastic card in your hand.

Final Thoughts
You may want to use a thumb tip for the final revelation of the card, I personally don’t, and it
could add more mystery to the presentation if you wish to show your hands empty before
reaching into the air.

Another option would be to have the clear plastic card finger palmed from the moment you re-
enter the room. The simplicity of this trick is nothing compared to the drama and power of such a
great presentation.

I have in recent times learned of special pips which can be purchased. I have not seen them yet
however it is my understanding that they will adhere to objects, and then re-adhere accordingly.
These pips could be stuck to the inside of your hand, peeled off and then stuck back to the card.

- 52 -
 The Vacuum
Before Magician vs. Kreskin came along, I had an idea for a presentation that was both engaging
and versatile. Along with many of us, I used to do young adult (kids) shows and I designed The
Vacuum, with that in mind.

Before my thoughts evolved from The Vacuum to The Magician vs. Kreskin I had initially
imagined a very wonderful presentation that involved an actual physical vacuum.

Here is the thing:

• I, like so many people out there began my card work with a Paul Harris book. Super
Magic, was one of my very first “real” magic books and I learned the Vacuum Cleaner
Cards of which I still perform to this day.

• I always loved the vacuum presentation and one day I formulated this cool idea to use a
vacuum for playing out a simple chosen card effect as far as possible.

The Effect:
The following procedures assume that you have an understanding of The Magician versus
Kreskin effect.

A very willing spectator chooses a playing card in the fairest of manners. You ask them to “Take
the card;, while I step out of the room, hide it ANYWHERE”.

• Of course this is exactly the same sequence as the Kreskin routine.

Upon returning you are holding a vacuum, and proceed to turn it on. After doing a thorough
search of the entire room- playing this out, making people laugh by suctioning shoes, bags, torn
pieces of paper, etc.

You continue to search until suddenly the vacuum begins to sound as if it is having a bit of
trouble. A high pitched noise appears and then as if by some strange phenomenon- the vacuum
stops (it seizes up).

You make an attempt to get the vacuum working again, but it won’t.

• The magician is in REAL trouble.

- 53 -
 • This is the perfect moment to use your favorite vacuum jokes like “This magic trick
started out sucking, but it doesn’t suck anymore” or “I was hoping to clean up my act
with this”.

• I have never used any of the above jokes but I just might some day.

Finally you decide to look into the guts of the vacuum by opening the bag portion to find that it
has been, clogged by some sort of large object.

Reach into the bag and pull out a few dirty sponge pieces that unfold, puffy with a bit of dust to
reveal the number and shape of the playing card which was previously chosen.

• Of course you never really find the hidden card but the sponge items from the vacuum
pretty much sum up the wondrous vacuum cleaning effort.

Additional Thoughts
Feel free to try this out and please give me some feedback from your successes.

There are actual resources for sponges shaped like letters and symbols, however I prefer to use
padding usually used for camping bedding, the softer the better.

• Take a trip to your local fabric store and you can find all sorts of materials that will suit
your specific needs.

• I suggest using a vacuum that you do NOT use for normal house cleaning; in fact I would
only use it for your performances, thus keeping it quite clean.

• For the dust, I would suggest using regular old baby powder or some sort of powder that
is of a cleaner nature like talcum.

• Any kind of vacuum can be used, even the smaller dirt devils, however I prefer to use one
that is big enough to require a hose, as I feel the whole picture of carrying a vacuum in
one hand while searching with the hose is more dramatic.

• To create the vacuum sounding as if it has something clogged- you will have to just find
a nook or cranny where you can completely cover the end of the hose. Preferably out of
sight.

- 54 -
 The B’Lip Move
Many years ago I was experimenting with a pack of
cards, as many of us do. The year was probably 1996 and
I had only been into magic for around three years or so.

I developed this move purely on my own in my basement

while watching movies. Later on in my magical
adventures I attended the 2001 IBM convention which
was held in Orlando Florida.

I met many wonderful individuals and upon showing my

little B’Lip move, I was approached and told that there
was a Japanese gentleman who had invented something
similar- but the move was very different while achieving the same result.

I wish I had taken better notes to recall who the Japanese creator was. I must state that this B’Lip
move is quite simple and probably has been created by many magicians experimenting on their
own. It has come to my attention through good friends and allies that Ben Harris has a similar
move called Super Flip (Off the Wall, 1988), so I would like to give credit where it is due. At the
same time, I would still like to include the B’Lip in this book as I did develop it on my own.

Begin
You’re in for a pleasant surprise, introducing another move for the finger flickers or even those
who want something fast, easy, and works immediately. I am confident this will strike a
responsive chord.

By simply squeezing the right or left side of a playing card, bending upward, and a quick release
will flip the card completely over. Seeing is believing, so grab a card or two and you’ll be doing
the B’Lip move within moments.

Hold the card at it’s edges roughly six inches above the mat or table (fig 1). You will find that it
just takes a light squeeze followed by a release of both finger and thumb (opening
simultaneously) as fast as you can.

• No downward pressure is needed, just simply let it go.

• Trust that the card will turn over on its own, squeeze, hold perfectly still and let it fly.
• Obviously the current possibilities are only limited to your imagination.

You now have an indispensible tool, which will provide countless hours of B’Lip entertainment.

- 55 -
 Applications for the B’Lip Move
Imagine the possible applications for the B’Lip move. You’ll still be able to do it your way only
better.

• You could change one card into another, using a double face card as in a “Wild Card”
routine, available at any good magic shop.

• Executing a quick, fancy double lift on top of the deck. With a little experimentation, a
double card can be B’Lipped to the table, both cards staying aligned almost perfectly.

• Dealing cards in a fancy manner, ideal for a “Black Jack” dealer.

• Revealing a chosen card with the B’Lip move in a flourish.

• Using the B’Lip move to perform the classic “Color Change”.

There are of course many moves to accomplish color changes, enjoy adding this little gem to
your arsenal.

- 56 -
 Clever Control
I originally developed this on the spur of the moment, motivated by a very out spoken audience.
I welcomed the challenge, and now having been tested hundreds of times this has become one of
my favorite methods for controlling a chosen card.

Purpose
For displaying the top portion of the deck, and also displaying the bottom portion of the pack, at
the same time controlling the selected card to the top, all the while providing a glimpse of the
card.

Procedures
A participant chooses a card and returns it. Use your favorite method to control the card to the
bottom. At this point you may glimpse the card, in your most deceptive manner.

Now obtain a break above the bottom card, with your right thumb in “Biddle Grip”. Swing cut
the top half of the pack to the left into the left hand. Bring this packet underneath the bottom
card, while holding your break still.

Transfer the break to the left hand pinky.

• This position is a lot like that of a “Classic Force” get ready.

Spread a few of the now top cards over to the right. With your right hand, turn these cards face
up and display (prove) them to NOT contain the selection (fig 1).

“Your card is not on the top”.

Replace these cards back on top (face down). With your right hand and right thumb grasp the
upper half at the break lift up an inch. The two halves are now separated.

• Two things happen at the same time.

- 57 -
Your right thumb lifts its end upward and your right index finger will assist with flipping this
packet face up (fig 2, 3, and 4).

At the same time your left hand performs a half pass type of move to simply turn its half of the
deck face up.

“Nor on the bottom”

The right hand places its cards on top of the left hands cards.

• Obviously the card is now on top of a face down deck ready for all kinds of mischief.

• Every time you use this you may find that it feels very Clever.

- 58 -
 Jurassic Gag
Stirring the imagination is very important in my experience.
The following is one of those silly things that tickles the funny
bone, and forces your spectators off their guard.

Never once has this failed to create the desired effect (a smile).
Obviously as we all know, the use of one-liners and playful
tricks are very useful in misdirection, as well as time distortion.

Procedure
Cut the deck in half, and pull them apart as if you were going to execute a double “S” fan.
However you will move the two packets up behind your ears. Right pack- right ear, left pack-
left ear. Fan the two halves behind your shoulders and say:

“Has anyone here ever seen Jurassic Park? The first one, the
original? Do you remember this part?”

Bend your wrists forward to create two fans behind your ears,
this emulates the spitting lizard from “Jurassic Park”,
remember?

Watch them laugh as you proceed with an invisible top change,

pass, or vanishing elephant effect.

- 59 -
 Recover Drop Switch
Here is another great tool for card magic, which will function as a card switch as well as a color
change. This is a novel, unique approach with many possibilities for the card worker.

Procedures
Obtain a break above the bottom card with your right
thumb in “Biddle Grip”. Now swing cut the top half
of the pack (to the left) into the left hand.

Use the right packet to assist in turning over the top

card of the left packet. Then turn it back face down.

• I am trusting that you are familiar with the

wipe away vanish because I won’t be
explaining this unfortunately.

As you thumb over the top card into your left hand, the right hands pack moves above that card.
Two things happen at once.

• As the left thumb pulls the top card back, (to the left) (fig 1) the right hand releases it’s
card- accomplishing the switch.

Place the left pack on top of the right, leaving the card just seen on top of the deck and a different
card face down on the table.

Notes
That’s all there is to it, when this is used as a color change be sure to move your left hand out of
the way and kill the deck so the face up card being changed will remain hidden.

- 60 -
 About The Eight of Spades
Spades - Wisdom, Labor
8 of Spades - Power in Healing
Control in Health and Labor problems
Challenge for the 8 of spades - Materialism

As the ‘Eight of Eights’, the power card of power cards, the Eight of spades has the heaviest
burden and obligation to use his or her power for good. All of them are tempted to take this
power and use it to escape from their fears and avoid facing themselves from time to time.

They are here to work and make a contribution and ultimately this must take priority above their
romantic life. These are the workers and the workaholics of the deck. Their power is expressed
through action and the force of their indomitable will. It would seem natural that those with the
greatest power at their disposal would be most likely to abuse it. Merely having the gift of such
power could be the justification to use it any way we choose.

One might think to one’s self, “If I am given such power, it must mean that I am to use it and that
I am right”.

Nothing could be farther from the truth and the Eight of Spades, and all the other Eights for that
matter, are the ones that suffer from the results of actions based on others misconceptions of that
fact.

Spades take us into the spiritual realms though most spade people cannot unrivet their attention
from material gain and mastery. Success is almost easy for them, as long as they are willing to
work for it. Many of these people are workaholics. They know that they possess great power.
The test comes in how they choose to use it.

They can handle obstacles, which often serve as a measure of their true abilities. They have a
profound healing power, and if directed, can transform the lives of those they meet. Part of their
life challenge involves developing a more positive attitude about life amid the changes that life is
sure to bring their way from time to time. Study of spiritual subjects always brings healing and
more personal freedom.

With much power at their disposal, the Eight of Spades usually finds out that this same power
can ruin the delicate balance that is required in a loving relationship. There are subtle fears of
abandonment that are often hidden beneath their need to control their relationships.

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They are here to study love and learn by experience. This can lead them into many changes
romantically as they sample the spectrum of what love has to offer. Their own restlessness is
often at the root of any separations, regardless of what they might tell you.

The 3 Birth dates ruled by the Eight of Spades are:

January 6 – (Capricorn) February 4 – (Aquarius) March – 2 (Pisces)

The following text was sampled from a “Metasymbology” book, title: Unavailable.

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 The Eight of Spades Chose Me
Some individuals have a favorite card found in a normal pack of playing cards. How they come
to hold such an agreement is their own personal story. Some simply choose one they like or even
still, some change their card from day to day. In my case this card chose me.

My Birthday does not call for this card according to the metaphysics book, however it’s
personality does suit me in many ways. The countless stories that prove it’s choice to enter my
life are too many to tell, but there are some that have witnessed the many amazingly odd
occurrences.

By knowing this bit of information about me, you may or may not care to use it to your
advantage. If by some chance we should meet, and you wish to do a card trick for someone, you
could simply turn to me and ask what card your spectator chose, and I will delightfully answer
“The Eight of Spades”.

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 A Few More Thoughts to Ponder
If you are a serious artist your work will be about you. Francis Ford Coppola

Don’t part with your illusions, when they are gone, you may still exist, but you have ceased to
live. Mark Twain

Immature magicians imitate

Mature magicians steal
Bad magicians deface what they take
And good magicians make it into something better.
Adapted from T.S. Eliot

The only way to discover the limits of the possible is to go beyond them into the impossible.
Arthur C. Clarke

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 Special Thanks
Jerome Finley – For his outstanding support and energy throughout our friendship and for
directly inspiring me to revisit this manuscript. The input, advice and wonder I receive from
Jerome continues to place me in a state of welcomed appreciation every single day. He is my
biggest brother.

Paul Vigil – For continuing to remind me of how much I enjoy the art of magic by way of his
superb example and performing style. The memories of our magic upbringing are priceless.

“Super” Dave Sorensen – For being a fantastic magician, keeping in touch and reminding me of
how to be an exceptional individual.

Jeff Stone – For guiding me along smoothly with this project, and for being a remarkable friend,
advisor and magic creator, thank you.

Showplace Magic – And all of its excellent employees who made the experience incomparable –
Derrick Welling, Eric Baker, Michael Fraughton, Steve Simbeck, Dee Pollard, Dan Paulus,
Randy Naviaux, Mark Broschinsky, Mike Naylor, Nate Ingles, Max Roach, Josh Nichols and
Andrew Baerlocher.

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 Credits
Open Prediction by Paul Curry (1949)
The KM Move was published in a booklet with the same name (1962) and was created by
Tony Kardyro and Ed Marlo

Easy to Master Card Miracles Volume 1 by Michael Ammar

The Eight Card Brainwave by Nick Trost
Ed Marlo for The Olram Subtlety
The Web by Jim Pace

Paul Harris Cardian Angel

Roberto Giobbi Card College
Jerry Mentzer Counts Cuts Moves and Subtlety
Daryl Encyclopedia of Card Sleights video series
Piet Forton Pop out move
Harry Lorayne Pop out move Quantum Leaps
Dai Vernon Depth Illusion
Frederick Braue Braue Reversal Counts Cuts Moves and Subtlety

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- 68 -
Contact Information
4614 Quail Park Drive
Apt D
Salt Lake City, UT
84117

scarnecky@hotmail.com

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To have begun is to have half the task: dare to be
wise~ HORACE, Epistles

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Notes

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Notes

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