Copyright 2013

1
 Contents
Las Vegas Passover………3
Joker Poker Outdone……. 7
Symphony……………. 11
Salad Dressing…………. 14
Toss My Salad…………. 19
Jump Back Jokers, no wait, ACES...24
Pair-A-Dox……………. 26
Vanishing Point…………28
The Gypsy Hex…………33
Various Sleights…………40

2
 Simon Aronson’s Red See Passover is without a doubt one of the
scariest card tricks in existence. Two spectators are each handed a deck
of cards. One deck is Blue, and the other is Red. Each spectator deals out
12 cards from their packs. The red cards are fanned out, and a spectator
merely thinks of one of the cards. The red fan is closed, and the cards are
tabled face down. The magician snaps his fingers, and then asks the
spectator who dealt out the red cards to count them again. After the
cards are recounted it is found that there are now only 11 cards! The
blue pile is now counted. There are now 13 cards one of which is a red
card! The magician picks up the red pile, and turns the cards face up.

The cards are spread out, and the spectator who thought of the card
is asked which card is his. Whatever card he names is not found among
the 11 cards. The red card that is mixed in with the blue cards is now
turned face up. It is the thought of card!
This is a great trick! However, I do not like the fact that you hand
thirteen gaffed cards to spectators. If you are not 110% clear on what the

3
spectator is supposed to do, they might make a mistake, and expose a
gaff. Also, at the end of the routine, you turn the red card face up instead
of the spectator, and you are not “clean”. Also, the reset time is too long
(for my work anyway), and the set up is quite extensive.

What I offer here is a non-gaffed, clean trick that accomplishes

95% of the original effect. Because of the fact that this trick uses no
gaffed cards of any kind, a couple of small points from the original
effect have been sacrificed, but in doing so, however, a cleaner effect is
gained.

The most obvious change is the fact that the spectator cannot just
look at the fan of cards, and think of anyone of them. In this case the
card must be forced. Also, the spectator does not deal the initial pile
from the blue deck out. Rather, the performer merely cuts off a small
group of cards. This is a very small point, as the spectator will get to
count the cards in their hands. Some improved aspects of the trick are
gained in that the spectator can turn the red card face up at the end of the
routine instead of the performer. Also, because there are no gaffed cards,
and because there is minimal sleight-of-hand, there is about a 0.01%
chance of getting busted!

Let’s begin with the set-up of the two decks. You will need two
decks of cards (one red and one blue), and one duplicate red backed
card. The duplicate card you use is up to you. I use (and will use in this
example) the 9 of Spades. Place the duplicate 9 of Spades 10th from the
top in the blue deck. That is the set up of the blue deck. To set up the red
deck, just see to it that the 9 of Spades is among the top 10 cards. That is
the entire set up.

Performance: Remove the Blue deck from its case. Spread the
cards so that the spectator’s can see the faces of the cards, and you can
see the backs of the cards. Locate the red card, and as you square up the
deck, get a break under the card directly below the red card. Casually,
cut off all of the cards above the break, and place the rest of the deck

4
aside. Turn the cards face up, and spread the cards not calling attention
to the number or identities of the cards. As you spread the cards, locate
the 9 of Spades, and as you square up the packet get a break under it.

Explain to a spectator that you want her to count the cards in a

special way. You want her to count the cards in the same manner in
which cards are counted in casinos in Las Vegas. You demonstrate this
by taking the top card of the face up packet, turn it face down, and place
it on the bottom of the packet. You repeat this with the next card (the 9),
but this time you take the next two cards as one, turn them face down,
and place them to the bottom of the packet. After you have demonstrated
the procedure, give the packet to the spectator, and let her finish
counting the cards. She will count ten, although thanks to the “double
card” there are really eleven. Have the packet set on the table to your
right. This counting procedure is from Paul Harris’ Las Vegas Leaper.

Next, remove the red deck, and hand it to a second spectator.

Instruct him to deal ten cards into a pile onto the table. This is done, and
the duplicate 9 of Spades is now on the bottom of the face down packet.

Have the packet shuffled. While the packet is being shuffled, take
back the red deck, and place it in front of you, slightly to your right.
After the packet has been shuffled, take it back, turn it face up, and
spread the cards to show that they are all different. As you do this, locate
the 9 of Spades, and casually cut it to the top of the packet.

You will now use the Rumba Count to force the 9 onto the
spectator. Hold the packet face down, and perform the Rumba Count
until the spectator says, “Stop.” When you stop the count, show the face
down card on top of the packet to the spectator. This will be the 9 of
Spades.

Gather up the red packet, and shuffle it so that the 9 of Spades

becomes the bottom card of the face down packet. You now need to get
rid of the 9 of Spades. To do this is very simple. All you need to do is

5
the very simple Vernon Addition Move. To do this, hold the packet in
you right hand in a Biddle Grip position. Now, right jog the 9, so that it
is nearly palmed in the right hand. The card is not palmed however. It is
merely held by the right hand, so that when the left hand takes the packet
by the left long edge, it will not come into contact with the 9 of Spades.
Position your right hand above the red deck, and take the packet by the
left long edge as described. As you do this, your right hand with its
“semi-palmed” card lowers to a rest on the red deck. The misdirection
here is that you are placing the red packet in front of the spectator,
telling him to cover it with his hand. The heart beat after the right hand
comes into contact with the red deck, and as the spectator places his
hand over the cards, pick up the deck, place it into the box, and set it
aside. Now box the blue deck, and place it with the red deck.

For all intents and purposes the trick is now over. Just build it up,
and let the spectators count their piles, and reveal that the red 9 of
Spades has traveled from the red packet to the blue one.

6
 This is an updated version of a packet trick of mine called, “Joker
Poker”. I have no plans to release that trick because this one is far
superior in both effect and method. Not only that, but since I have been
performing this one for so long instead of the original, I no longer can
remember how the hell to do it.
Effect: A packet of five cards is shown to be made up of all
Jokers. A single joker is placed face down on the table. This is the “hole
card”. The rest of the Jokers instantly turn into the 10, Jack, Queen, and
King of Spades. The card on the table is shown to still be a Joker. The
magician instantly and almost visibly changes the final Joker into the
Ace of Spades, completing the royal flush.
Here is a video performance of the effect:
[Link]

7
 Requirements: The 10, Jack, Queen, King, and Ace of Spades,
and a Joker all with matching backs. Also required is “roughing spray”,
which is available from any magic shop worth its salt, or you can go to a
craft store and buy either Testor’s Dull Kote 1260 or Krylon #1311
Matte Finish Spray.
Preparation: Spray the back of both the Joker and the ace with the
roughing spray. That is the only preparation of the cards. This really is
not totally necessary, but it helps to make the ending look a bit cleaner.
Set-Up: Set the card is the following order from the top down:
King, 10, Jack, ace, Queen, and finally the Joker. The Joker is the card at
the face of the face-up packet.
Performance: Bring out the packet face down and spread the
cards holding the final two cards as one. Square up the packet, turn it
face up, and perform a Rumba Count showing five Jokers (The Rumba
Count will be briefly explained at the end of this e-book). After the
Rumba count has been performed, four cards will be face down on the
table, and a double card is left in the hand (the audience should believe
that it is a single Joker). The double is turned face-down and is used to
scoop up the tabled cards.
The top card of the face-down packet is dealt to the table face-
down. This card is the Ace of Spades, but the audience should believe
that it is a Joker. Tell the audience that this is the hole card.
You will now show the rest of the packet to still contain nothing
but Jokers with a Flushtration Count (as with the Rumba Count, this will
be explained at the end). At the end of the Flushtration Count, the final
two cards (held as one) is placed face-up onto the face-down packet.
However, you keep a pinky break between the two face-up cards and the
rest of the packet.

8
 Perform a Double Turnover, turning the top two cards as one face-
down on top of the packet. With the packet face-down perform a
standard Elmsley Count (again, this will be taught at the end of the e-
book). The only reason for the Elmsley Count is to rearrange the cards
into the proper order.
You will now apparently change the Jokers into the first cards of
the royal flush by means of the Vernon “Through the Fist Flourish”.
Briefly, the packet is held face down in the left hand. The hand turns
palm down and in doing so turns the packet face-up. As soon as the hand
has turned palm down, the thumb pushes the packet from the rear of the
packet. As the packet is pushed through the fist, the right hand takes the
cards into Pinch Grip. The card at the face of the packet at this point
should be the Ten of Spades.
With the packet still face-up perform an Ascanio Spread, taking
the double card (the King with the Joker behind it) held as one to the
bottom of the packet. Spread the cards out, keeping the bottom two cards
held as one to show the royal flush once again.
Turn the packet face-down, and take off the top card (the Joker, but
believed to be the King) off of the packet. Use this card to make a
Mexican Turnover with the card on the table. This will show that the
card on the table is still a joker. Place the card that was just switched for
the Joker (the Ace of Spades), face down on top of the packet, but hold a
break between the Ace and the rest of the packet. Pick up the Joker and
place it face up onto the packet. Pick up the top two cards as one in
Biddle Grip. Holding the double card, turn the hand holding the rest of
the packet palm down in order to turn the packet face up. These cards
are then immediately spread on the table. The double card is then placed
into the left hand. The final Joker is “changed” into the Ace of Spades
by means of the Vernon “Through the Fist Flourish” as already

9
described. Done quickly it will appear as if the Joker visually changed
into the Ace.
After the changed has resonated in the spectator’s minds, use the
double card as a scoop, and scoop up the rest of the packet. Now, thanks
to the roughing spray, you can fan the cards neatly.
That is all there is to it. I hope you enjoy performing this as much
as I do.

10
 This effect was inspired by several people including Ed Marlo,
Phil Goldstein (namely the trick, “Overture” from his wonderful book,
“Focus”, and originally published in the March 1981 issue of Genii), Dr.
Daley, Dai Vernon, Tom McCarthy, and a few others. What I like most
about this routine is that it can be done with borrowed cards. There are
no gimmicks, and no extra cards. It really is amazing how much mileage
you can get with only four cards, and a small handful of sleights.

11
 This routine uses any four of a kind. Please, do not use the aces, as
some cards will be seen twice in one count. I also discourage the use of
face cards, as you want as much color contrast as possible. I prefer to
use, and for this explanation will use, the four 9s.
Begin by openly removing the 9s from the deck. Case the deck,
and place it aside. Patter about the two different colors. Alternate them,
so that you have a black, red, black, red situation. Turn the packet face
down, and fake an Elmsley Count by reverse counting the cards. Turn
the packet face up, spread the cards, and show that they are still in their
alternated state. Explain that reverse counting the cards does not change
their situation. Suit actions to words by again reverse counting the cards
face up. Turn the packet face down, and perform a Jordan Count. Turn
the packet face up, and spread the cards to show that the colors have
separated.
Next, turn the packet face down, and perform an Elmsley Count.
Turn the packet face up, and spread the cards to show that they have
once again alternated.
With the packet still face up, and in its alternating situation,
perform an Elmsley Count to show that the colors have not separated.
Rather one color sandwiches the other. This is, of course, a quick Oil
and Water sequence.
This next sequence was heavily inspired by Phil Goldstein’s
“Overture” effect. Tell the spectators that in order to make things a bit
easier to follow you will turn the two center cards face down. Suit
actions to words by turning the center cards (which should be either both
of the blacks or both of the reds) face down, and leave the two outside
cards face up. With the packet still face up perform a Jordan Count in
order to show two face down cards between two face up cards. Hold the

12
packet square, and do a “Vernon Through The Fist Turn Over Flourish”.
This will almost visually change the one color into the other.
Perform an Elmsley Count, and immediately spread the cards to
again show that the packet consists of two face down cards between two
face up cards. The only change is that the colors have switched places.
Do not rush this sequence. The effect is so subtle that some people will
miss it if they are not paying attention, or if you do it too quickly.
The next sequence is based loosely around Dai Vernon’s Twisting
the Aces plot. Flip the packet over, and spread the cards to show two
like colors face up between two face down cards. Square up the packet,
and perform an Elmsley Count. This will show the spectators that one of
the cards has turned face down, leaving one face up.
This next little move is tricky, but done casually it will go
unnoticed. Half pass the lower most card, leaving only one face up card
in the packet. If you wish, you may now spread the cards to show this
fact. Square up the packet, and perform another Elmsley Count to show
that all four cards are now face down. By making some sort of gesture,
secretly turn the entire packet over. Perform another Elmsley Count to
show that the other two colors are now face up, and sandwiched in the
middle.
There is now one small problem. There is a face up card on the
bottom of the face up packet. This card, in fact, should be face down.
This problem can be solved in one of two ways. First, you could
Half Pass it in order to turn it face down, or you can do what I do, and
casually turn the top card face up, spread the cards, and ignore the
discrepancy.

13
 That is where I usually end, but sometimes I continue on with the
following phases.
Turn the packet face down, and perform an Elmsley Count. This
will set the packet for a trick that is best known as Dr. Daley’s Last
Trick. This is a very well known trick, so I will not go into it here.

This is a 3-phase Oil and Water routine that is easy to do, yet will
fry the minds of your spectators. The plot is simple. You show 3 red
cards and 3 black cards. You then alternate them, but the colors separate
in an instant with NO sleight of hand! This is repeated, only this time the
colors DO alternate. However, the colors instantly separate with a quick
flourish. The final phase is an attempt to show the spectators why the
trick is so simple. Once again the colors are alternated. You then place 3
of the cards to the left and 3 cards to the right. It is pointed out that for

14
the colors to separate only the center cards of each packet need to be
switched. Each pile is then slowly and cleanly turned face down. A snap
of your fingers and the piles are turned face up to show that the colors
have once again separated!

How is all this possible? With 2 gaffed cards (fig 1) that do 99% of
the work for you. The cards are gaffed so that if the cards are spread one
way a red card is seen and if the cards are spread the other way a black
card is seen. The other cards are genuine.

Fig 1.

Now that you understand the workings of the gaffs, let’s set up the
entire packet. From the top down: red/black gaff, red, red, black/red
gaff, black, black. Place these cards in a packet wallet or in a regular
deck. You are now ready to perform Salad Dressing.

Phase 1

Remove the 6-card packet and spread them in your hands from left
to right. If the colors are not separated rotate the packet 180 degrees. The
order should be from the top down 3 red cards followed by 3 black
cards. You will now turn the cards face down in a special way. Allow

15
the right hand to support the entire spread. Grasp the card that is at the
far left of the spread by its long edge, and pull it free from the rest of the
cards. Do not, however, let the full face of this card be seen, as it is one
of your gaffed cards. Instead, let it simply flip face down onto the table.
Now, repeat this last step with the next two cards.

Apparently, all that you have done is turned the three red cards
face down onto the table, and all is fair.

With the last three cards, take all three into the palm up left hand.
Do not square them up. Leave them spread a little. Flip the whole packet
face down without reversing their order. Table these cards to the right of
the first packet.

You are now ready to apparently alternate the colors. Begin by

placing the top card from the left hand packet between the two packets.
Now, place the top card of the right hand packet on top of the card you
just dealt to the center. Go back to the left-hand packet, and repeat the
procedure until both outer packets are exhausted.

Point out to the spectators that the colors should be alternated. Pick
up the assembled packet and hold it in your left hand in a dealing
position.

With the right hand grasp the entire packet by the top short edge, and
turn the packet over end for end. Spread the cards to the right. Do not
spread the cards too far or you will expose the gaffs. Because of the
gaffs, the colors have apparently separated.

Phase 2

You will now flip the cards face down again as you did in the
beginning of phase 1 with a few minor changes. Again, support the
entire spread with the right hand. Now, instead of grasping the single
card at the extreme left of the spread, grasp the two cards at the left of

16
the spread, and allow them to flip face down as a single unit. Grasp the
next card on the left and place it on top of the two cards that you just
tabled. Apparently, all that you have done is made a pile of cards all of
one color.

You now have three cards left in your hand. They are as follows: a
regular card, a gaff, and a regular card. Grasp the card on the left with
your left hand, and make a small gesture to emphasize the color of the
cards remaining in your hand. Place the card in you left hand on top of
the spread so that the gaff becomes the card that is at the extreme left of
the spread. Take the cards into your left hand as before and flip the face
down as you did in phase 1.

The mixing procedure is exactly the same as in phase 1, so I will

not go over it again. The turnover and display, however, is different so
do not get ahead of me. Pick up the spread and hold it in the left hand in
a dealing position as before. This time, however, instead of turning the
packet end for end, grasp the packet by the long right edge and turn the
packet face up as if you were opening a book. In other words flip the
packet over from right to left. Now, if you spread the cards the colors
will alternate. So, spread the cards and show the audience that the colors
are in fact mixed.

To separate the colors is very simple, and there are two ways to go
about doing this. The first (and easiest) way is to square up the cards,
and hold the packet with your thumb centered on the top and you first
finger centered on the bottom i.e. directly beneath the thumb.

Now, place the first finger of your right hand against the upper
left-hand corner of the packet and rotate the entire packet 180 degrees to
the right. All that you have done is basically turned the packet end for
end. Now, spread the cards to show that the colors have separated.

Another way to achieve this effect is to square up the cards, and

perform a “Vernon Through the Fist Flourish”. Whichever method you

17
prefer you are left in the same position at the end. This is also the same
ending position as phase 1.

Phase 3

This is the final phase of the routine. It is also, in my opinion the

most mind-numbing phase.

The separating of the 2 packets and the mixing procedure are the
same as in phase 2; so get to that point and then move on.

Once the cards are mixed, and the cards have been spread to show
that the colors alternate place the three left hand cards face up and
spread on the table to the left, and place the cards that remain in the right
hands on the table to the right. Point out to the audience that in order to
separate the colors, all that is required is that you switch the 2 cards that
are in the center of each packet. As the piles are separated on the table
this would seem impossible, and it would be if it were not for the way in
which your gaffed cards have been made. Notice that your two gaffs are
identical to each other. Therefore, if only one of the piles was rotated the
audience would see two Kings of Spades (or whichever cards you are
using).

Name the two cards that are going to switch place, and tell the
spectators to remember them, and to watch carefully.

So, you are now going to separate the colors one final time. Square
up the left- hand packet. Grasp it by the top short edge and turn it faces
down end for end (just like in phase 1). Now, do the same thing with the
right hand packet.

Wait a second or two, snap your fingers, and tell the audience it is
done. Grasp the left-hand packet by the left long edge and flip the packet
faces up by turning the packet from left to right. In doing so, allow the
cards to spread from left to right on their own momentum. Do the same

18
with the left-hand packet, and point out that the two center cards have
traded places.

This is another Oil and Water effect, however, unlike Salad

Dressing, this one does not use gaffed cards. By that I mean, the cards
are not specially printed. However, for the finale, you will need a
stripper deck, unless you want to use a series of false shuffles and cuts,
and make the effect not nearly as powerful. The stripper aspect of the
deck is used only for the kicker finale, so the majority of this effect can
be done with a borrowed deck.

To set up, separate the red and the black cards of the Stripper
Deck, and give one of the packets a half turn so that when riffle shuffled

19
into the other packet they will protrude out of the sides. Thus, if you
“strip” the deck, the reds and blacks will be separated. Do not strip the
cards.

Continue riffle shuffling the deck until you are satisfied. You are
now ready to perform.

Remove any four high valued red spot cards, and 4 high valued
black spot cards. Place the deck off to the side. Take one packet in each
hand, and fan them out. Interweave the cards, so that the colors alternate.

Square the cards, and hold the packet face down in your left hand.
You are now going to flip pairs of cards face up and then face down
again to further show the alternating condition of the cards. Starting at
the bottom of the pack, flip the 2nd and 3rd (from the face) cards face up.
One will be red and one will be black. Flip those two cards face down.
Do the same with the middle two cards, then finally with the 2nd and 3rd
cards from the top.
Hold the packet squared in your left hand, and turn your left hand
palm up to flash the bottom card. With your left thumb push over the top
card of the packet to show it is of an opposite color of the face card.

Turn your left hand palm down, and spread the cards out between
your hands. Flip the two, center cards face up, and separate the packet at
that point so that four cards are in the left hand and four cards are in the
right hand. Refer to the face up cards as “The Leader Cards” (if you do
not like the whole ‘Follow the Leader’ stuff, I will give you an alternate
method for switching the places of the two center cards later). Flip the
leader card in the right hand face down onto the table, and place the
other three cards on top of it. Do likewise with the left hand’s cards.

What this has done is switched the places of the two center cards.
Each packet is now in a position where if you turn them face up and
perform an Elmsley Count, the colors will have appeared to separate.
After the Elmsley Count of the 1st packet (the one on your left), deal the

20
cards face down one by one to the table, thus reversing their order. Do
not, however, do this to the 2nd packet. Simply turn the 2nd packet face
down, and table it.

You now offer to do the effect again. Beginning with the left hand
packet, alternate the cards into one packet (in this phase, fanning the
cards face up is not an option). After the mixing, with the packet face
down, spread the cards, and flip over the “Leader Cards” as before. Deal
the top four cards to the table, and place the remaining four cards to the
right of the dealt packet. In this phase, the cards can be flipped over and
shown freely as the colors actually have separated.

For the 3rd phase, turn each packet face down (you could leave
them face up, but then the spectators may want the rest of the routine
done face up).

Now, have spectator A and spectator B alternate the cards. After

the mix, pick up the combined packet and repeat phase 1. However, this
time around, after the Elmsley Counts are performed, do not reverse
count either of the packets. Table the 1st packet, and after the 2nd packet
has been Elmsley Counted, turn it face down and casually drop it onto
the 1st packet.

Now, for what I consider to be the most mind-numbing phase to

any “Oil and Water” routine ever created (if I do say so myself).

Pick up the combined packet keeping it face down, and get a break
above the bottom card. There will now be one of those obnoxious counts
in which cards are switched for others etc, but it is clean and easy.

Transfer the packet to the right hand Biddle Grip position retaining
the break with the right thumb. Drag the top card into the left hand
taking the bottom card with it as one card. Do not retain the break. The
next card is peeled off the top legitimately, meaning as it is counted into
the left hand, let it fall flat on the packet, no break. Now, on the count of

21
three, catch a break under the 3rd card. On the count of four, peel off the
card onto the left hand packet, at the same time steal that 3rd card (the
one above the break) back under the right hand’s packet.

Place the left hand’s packet onto the table, and as you do so flash
the bottom card. Whatever the color of the card is what you will refer to
that packet as. Thus, if you see a black card, that is the “Black Packet”
and vice versa.

In reality, the situation of that packet is this: the top two cards are
of the opposite color of the bottom two cards. For example, if you have
two red cards on top, there will be two black cards on the bottom, and
again, vice versa.

The remaining packet requires a small adjustment. Milk off the top
and bottom cards into the left hand, and spread them casually. The two
center cards of the packet are casually spread by the right hand. The
right hand’s cards are then placed onto the bottom of the packet with the
left hand’s cards going to the top. Both of the packets are now in exactly
the same condition.

Now, explain to spectator C that the cards will be mixed once

again, but this time the cards will be mixed according to his whim. In
other words, he will decide which packet the card being mixed comes
from.

Ask spectator C to point to the pile he would like the 1st card to be
taken from. Whichever packet he chooses, the top card of that packet is
placed between the two packets. Now, ask from which pile the 2nd card
comes from.

It may be the same packet as the 1st card, or the other pile. Again,
whichever packet he chooses, the top card of that packet is placed on top
of the 1st selection in the center. This is done for every card; taking the
top card from whichever packet the spectator chooses.

22
 However, after the 4th card has been placed into the “mixed
packet”, look at what remains of the two original packets. Most of the
time (in my experience) there will be two cards in each pile, about 60%
of the time. If this is the case you are home free. Have the rest of the
cards “mixed” according to the spectator’s wishes. Then have spectator
C pick up the packet, and deal the top 4 cards into a packet on the table,
and turn it face up. The cards dealt will all be of the same color, as will
the remaining cards in his hand.

Now, let’s look at a couple of other scenarios. Because of the

different possibilities, it is hard to tell you what to look for other than the
one just described. However, if the above scenario is not the case, most
likely, you will resort to the “Leader Cards” bit. The outcome is the
same; you just have to do that little bit of “adjusting”. This will happen
about 35% of the time.

The other 5% of the time (which by the way, I am only describing

for completeness as it has never happened to me), you will end up in a
situation in which you have to deal the top four cards to the table. Then
turn the remaining cards face up and give them an Elmsley Count, and
then Elmsley Count the other pile that was dealt to the table. However,
there is one case in which one of the piles needs a Jordan Count rather
than an Elmsley Count. Either way, the top four cards are dealt to the
table to reverse their order. As I stated earlier, I have never ever in the
hundreds of times I have performed this routine had to resort to this, but
it could happen.

That is the end of the routine as far as the packets go. However, if
you are using the Stripper Deck, spread the cards face up on the table to
show its mixed condition. Turn the deck face down, give the deck a
legitimate riffle shuffle and in the act of giving the cards a straight cut,
strip the cards, and complete the “cut”. Turn the deck face up and spread
the cards to show that the colors have separated.

23
 Quite a few years back an effect was marketed under the name
“NFW”. To me, it was a great trick, but I really like to end clean. While
this is not based on “NFW”, or the Twisting the Aces plot, it is similar to
“NFW” in that four jokers change into four aces.

Needed for this effect are the four aces, and two identical jokers
from a matching deck. The Ace of Spades is face out in your back
pocket (which one depends on whether you are left or right handed). As

24
for the packet, its set up depends on the way in which you want to show
it as containing only four jokers. I have a couple of schools of thought
on this, but I prefer the following: You have a packet of five cards
(which the spectators will believe to be only four), three aces with two
identical jokers on the face of the packet.

Hold the packet face down, and using a Pinky Pull Down, get a
break above the bottom card. Do a quadruple turn over to show a joker.
Flip the quad face down, and thumb off the top card to the table. Now,
do a triple turn over to show a second joker. Turn the triple face down
and thumb it off to the table, so that it lands on the previous card. Do a
double turn over to show a third joker. Turn the double face down, and
thumb it off to the table on top of the cards already there. This leaves a
double card in your hand, but it is to be handled as a single. Grasp the
left long edges with the left fingertips, and flash the bottom card to show
a fourth joker. Using the double card, scoop up the three cards on the
table, flip the entire packet face up, and hold it in the left hand.
Comment that these are not ordinary jokers. They are, in fact, “magic
jumping jokers (whatever the hell that means)”.

Thumb over the face joker into your right hand, and place it in
your back pocket. The spectators should now believe that you hold 3
jokers in your hand. Perform a Rumba Count (keeping the last card in
your right hand) to show that you still have four jokers. Say, “Now, I
could do that again. I could put this joker in my pocket.” As this line is
said, you match words to actions. Act as if you are going to place the
card in your back pocket.

As you do, switch the joker for the ace already in your pocket, and
bring out the ace face down. The switch is ballsy, but it works. I have
never been caught. After the switch rub the cards together, and turn them
face up to show that they have all changed into aces.

25
 This effect is based around the classic Brainwave Plot. Most
people call the principle involved here, “Stay-Stack”, but I call it, “The
Palindromic Stack”. It just sounds cooler and perhaps maybe even more
cosmopolitan.

Effect: The performer tosses a packet of 7 arbitrary cards face up

onto the table. A spectator mixes the cards till content. The performer
takes the packet and tears it in half along its width, creating two packets.

26
 The spectator mixes each half packet. When satisfied that each
packet has been mixed, the spectator hands one of the packets to the
performer, and keeps one for him. The performer and the spectator mix
their packets thoroughly, even trading packets if desired. After the mix,
the packets are replaced on the table, and shown to be totally without
order.

The performer picks up a pile and so does the spectator. A random

sorting and elimination procedure now takes place until one half card
remains from each packet. The two half cards match. The discarded
cards are now turned face down to show that all the cards came from a
red-backed deck. The “selected” half cards are turned face down. It
came from a blue-backed deck!

This is stupidly simple, but it has fried many magicians who

should know better. The packet is made up of six cards from a red deck,
and one card from a blue deck making it a seven-card packet. The only
card that you care about is your one blue-backed card.

Give the face-up packet to the spectator (note: the cards must
always remain face-up so that the odd card is not seen. I should not of
had to say that, but there are some people…). Instruct the spectator to
thoroughly mix the cards. When she is satisfied, take the cards back. If
the odd card is the top or bottom card, give the packet a cut. This is not
absolutely necessary, but this insures that it will not flash. Tear the
packet in half along the width of the cards giving you two packets.

Have the spectator hand you either packet, keeping one for her.
Each packet is thoroughly mixed. However, sneaky work will come in
when you trade packets. In actual fact, you are mixing the cards, yes, but
you are insuring that the odd card ends up second from the bottom of the
face up packet. Once you have the odd card in position, take the packet
from her, and while casually showing the random order of the cards, cut
the packet so that the odd card is put into the same position as in your
packet i.e. second from the bottom.

27
 All that is left to do is a standard Down/Under Deal, and the effect
works itself. The Down/Under Deal works like this: The 1st card of the
packet is dealt to the table. The next card is placed at the bottom of the
packet. The 3rd card is dealt onto the table on top of the 1st card. The 4th
card is then placed at the bottom of the packet. This is continued until
the packet is exhausted.

Effect: A four of a kind is shown front and back. One at a time

they turn to blank cards until all four cards have “vanished” (turned to
blank face cards). Instantly, all four cards return. Only four cards are
used.

Required: A blank backed card, a blank face card, a regular card,

and a regular card all of which should be of the same value. This is also
the starting point of the packet from the top. Due to the fact that this
routine, for the most part, employs well-known sleights and packet

28
counts, I will explain it in a step-by-step fashion. Because of this, I
suggest that you read this explanation with cards in hand.

Here we go:

15. Hold the packet face up. Elmsley Count to show a four of a
kind.

2. Flip the packet face down and execute a 2nd Elmsley count showing
four regular backs. In doing so, catch a break above the bottom 2 cards.

3. With the packet still face down perform a double turn over, flipping
the 2 cards above the break over as one. This will show a face as
expected. However, do not call attention to the suit (it will be seen
twice).

4. Turn the double face down and thumb off the top card of the packet
(blank-facer) into the right fingertips. The right hand uses this card to
flip the three remaining card face up. Slightly spread the left hand’s
cards to show the three remaining cards, but take care not to show too
much of the lower most card as it is the card that is supposed to be being
held by the right fingers.

5. With the right fingers, flip over the card they hold to show that the
queen has “vanished”. Let this sink in for a moment.

6. The card that will “vanish” next is the card at the face of the left hand
packet (the blank-backed card). To make it “vanish”, a Three-
Card Monte switch will be put to use. Push the top card of the face up
packet about half its width to the right, and place the blank face card on
top of it, but down jogged to the right. The right hand lets go of the
blank facer, and the entire packet is held by the left hand.

29
The only reason that the right hand releases its grip is so that it can re-
adjust for the switch. The right hand grips the top two cards of the
packet with the fingers on top and the thumb at the bottom. The right
hand then rotates palm up. At the same time, the right thumb pulls its
card to the right while the fingers push its card to the left.

The left thumb then grasps the face down card for a brief moment in
order for you to flip it face up to show the 2nd card has “vanished”. The
right hand’s card (the blank back card with its blank side up) is placed
onto the bottom of the entire packet with the blank side up.

7. Briefly spread the packet to show a blank card at the ends of the
packet sandwiching the two remaining cards. Square the packet, and
give it an Elmsley Count to show that the 3rd card has “vanished”.

8. The right fingers draw back the top two cards from the face to reveal
the “final” card to be vanished. The middle finger contacts the face of
the exposed card, and the thumb contacts the rear edge of the drawn
back cards. The middle finger pushes its card forward as the thumb
pushes the two down jogged flush with the rest of the packet. The final
card is now up jogged from the rest of the packet.

9. The way in which the final card is vanished is the standard Glide
move. In brief, hold the pack face up in the left hand between the first
joint of the thumb on one side and the second joints of the four fingers
on the other. Call attention to the bottom card. Turn the packet face
downwards, and with the tip of the left fingers draw the bottom card,
back towards the body about 3/4 of an inch. Now with the tip of the right
hand’s second finger draw out the next card, and hold it face down. The
glide is simply pulling back the bottom card so that the second to bottom
card can be slipped out as if it was the bottom card. Show that it is
blank. Place the card to the face of the packet taking care not to flash the
card that it is being placed on.

10. Turn the packet face up. There should be a blank card at the face.

30
11. Get a break between the top two and bottom two cards. In other
words, in the middle of the packet.

12. Give the packet one complete cut at the break, and at the same time
catching a break between the two halves.

13. Turn the double at the face of the packet face down and in-jogged
about an inch.

14. Now, perform a standard Paintbrush Change thusly. Push the in-
jogged double flush with the packet, and then draw back the top single
card. This will apparently “print” the card. Turn the top card (the one
used in the Paintbrush Change) face up and place it on the face of the
packet.

15. Give the packet an Elmsley Count to show that the four of a kind is
back to normal.

Vanishing Point Presentation:

The Prestige

Yes, this is basically the opening monologue from the movie, “The
Prestige” with a few minor changes.
Every great magic trick consists of three parts. The first part is
called “The Pledge”. The magician shows you something ordinary: a
deck of cards, a bird, a man, or as in this case, four ladies. He shows
you this object, these girls. Perhaps he asks you to inspect it to see if it is
indeed real, unaltered, and normal. But of course… it probably isn’t.

31
 The second part is called “The Turn”. The magician takes the
ordinary something and makes it do something extraordinary. In this
case we are going to make these 4 girls disappear one at a time. The 1st
disappears like this. She is gone. The second vanishes in much the same
way, like this. That leaves me with these two. But if I snap my fingers:
one, two, three girls are gone. That leaves me with this last one. Watch
carefully or you will miss it. She is gone.
Now you’re looking for the secret… but you won’t find it, because
of course you’re not really looking. You don’t really want to know. You
want to be fooled. But you wouldn’t clap yet. Because making something
disappear isn’t enough, you have to bring it back. That’s why every
magic trick has a third part, the part we call “The Prestige”.”

32
 Have you ever bought a trick based on a description in a dealer’s catalog,
and when you got it you were disappointed? Of course you have. Such is the case
with The Gypsy Curse by Peter Kane and myself. While it is a great trick, the
handling that is supplied lacks in visual impact. The trick as it comes is quite dull.
It becomes more of a puzzle to the spectators as to where the black spot cards went
to, and where the Kings came from instead of how did the black spot cards change
into the Kings.

So, what I have done is I have taken the set of Gypsy Curse cards, and have
reworked the routine so that the cards visually change right in front of the

33
spectator’s eyes. To do this routine you must have a working knowledge of the
original routine, and you must have a set of Gypsy Curse cards. I am not going to
go into the work of the gaffs, so you need to read this description with cards in
hand.

Routine: This routine is the same as the original up until you are ready to
deal the three cards to the table. Holding the cards face down in your left hand
casually spread the top 4 cards to the right hand. Do not reverse their order even
though it doesn’t matter if you do or not.
Put the cards back and square them up in your left hand. Now, to deal the
top three cards to the table you could do it as described in the given instructions,
but I like to do a modified Flushtration Count.

Now, flip the remaining cards face up, and as in the original routine, take the
top card of the packet (a spot card) and with it gesture at the cards on the table.
After the gesture, place this card on the bottom of the packet.

You will now apparently show that your packet consists of only four cards,
three black spot cards, and one King of Diamonds.

To do this all you have to do is an Ascanio Spread. After the spread, square
up the cards, and take them into your right hand in a Biddle Grip position. With the
cards held in this manner you will now make a quick pass over the cards on the
table. You now tell the spectators that that is where your Great-grandfather
switched the king for one of the black spot cards on the table.

Now, you will follow the original routine in that to show that the packet in
your right hand now consists only of 4 black spot cards you will perform an
Elmsley Count. Flip the packet face down and do another Elmsley Count. Flip the
packet face up, hold it in your left hand in a Mechanic’s Grip, and get a left pinkie
break under the top 3 cards of the packet.

You are now ready to visibly change the four “black spot cards” into four
“Kings of Diamonds”.

For the first change, do a Triple Turn Over, but do not let the three cards (as
one) fall square with the rest of the packet as in the original handling. Instead,
allow the cards to fall down jogged. Now, do a Paint Brush Change by pushing the
triple flush with the rest of the packet, and then down jog the top single card. It will
appear that the spot card changed into a king. Now, push the top single card flush

34
with the packet, get a break under the top two cards, and do a Double Turn Over
allowing the two cards to fall as one down jogged onto the packet. This will now
display one King and one spot card.

Now, for the second change, do a second Double Turn Over. This is easy
because of the fact that the double card is down jogged. Allow the double to fall
flush with the rest of the packet. Square up the packet, and deal the top single card
(a king) into your right hand. Give this card a little shake, and the turn it face up to
show that it too is a King of Diamonds. Drop this card face up onto the table in
back of the three face down cards dealt there previously.

Now, get a break under the top 2 cards of the packet. Down jog this double
card. This will show a 3rd spot card. To change this card into a king all that you
need to do is another Paint Brush Change. After the change has occurred, deal the
top single card to the table on top of the other face up king.

Now, for the 4th change, Thumb over the top single card of the packet into
your right hand, and take it into a Biddle Grip position. This will display 1 king,
and one spot card. The card in your right hand is a single card, and in your left
hand is a double: a spot card on top with a king underneath.

To make the change, place the right hand’s card side jogged to the right on
top of the left hand’s double card. Re-grip the cards so that the right hand holds
everything in place in a Biddle Grip. With your left fingers underneath the double
and the left thumb along the double’s left edge push the double to the right so that
it is flush with the right hand’s king. Now, once everything is squared up, with
your left fingertips draw out the bottom single card, a king. The left hand now
holds a single card while the right hand holds a double card. This change is most
often associated with Darwin Ortiz, and is great because the heat is placed on the
card that is clean.

If you wish you may now show the backs of these cards as they will only
show normal backs. Now, place the left hand’s single card on top of the cards held
as one in the right hand, and place these cards face up underneath the kings already
on the table.

Although this series of changes have taken up a lot of paper to describe, they
should take no longer than one minute or so. At the end of this description I will
give you the patter that I use to help you get the timing down.

35
 The top card of the king pile is a double-sided card: king on one side and
black spots on the other. With the aid of this card you will now show that the cards
that were dealt face down on the table earlier are still spot cards. The sleight that
you will use is very seldom seen which is a shame because it is a very cool move.
It is called the Mexican Turn Over. To show that the face down cards are all spot
cards you will do this sleight six times in rapid succession, so in order to learn this
sleight let us take only one face down card and the double facer and go over this.
The sleight looks like this: a card lies face down on the table. The right hand
approaches with another card, and uses this card as an aid in flipping the tabled
card face up. In reality the card in the right hand is switched for the card that was
originally on the table. This is a two-step process.

The technique is this:

1. Grasp the card (king side up) held by the right hand at the inner right corner
between the tips of the right thumb and 1st finger.

2. Slide the left side of this card underneath the right side of the face down tabled
card, the right hand’s card extending an inch or so beyond the top short edge of the
tabled card. Tip both cards upwards to a vertical position. Place the tip of the right
2nd finger against the inner right of the tabled card, and shift the right thumb to this
corner, grasping the card with the right middle finger. Remove the original tabled
card to the left as the right 1st finger tips the other card face upwards onto the table.

This sleight may seem complicated in writing, but with a minimum of

practice it becomes quite natural. This is not a sleight that can be done slowly. It
must be done rather rapidly. When it is done properly with this routine you will
notice that because of the double face card, at the end of the sleight, there is one
spot card and one king showing which is what the true situation would be if the
cards were normal and the sleight were real. Therefore, here is how to show three
spot cards one at a time.

Pick up the double facer with the king side up as described above in the
explanation of the sleight. Starting with the face down card at your far right do a
Mexican Turn Over to show a spot card. Now re-grip the card (the normal king) in
your right hand a repeat the Mexican Turn Over, switching the normal king for the
double facer, which, at the end of the sleight, will be king side up. The normal
king, which the spectators believe to be a spot card, will be face down in its
original position.

36
 Now, move on to the middle card in the row, and repeat the above moves.
Then move over to the card that is on the far left, and again repeat the turn over
moves as with the two previous cards. At the end of the series of turn over moves
drop the double facer (king side up) on top of the king pile. In other words, put it
back where you got it.

Now, to show that the face down cards have changed to kings, simply turn
them over as they are normal kings. Gather these 3 cards up, and drop them face up
onto the king pile.

Now, square up the cards, and hold them in your right hand in a Biddle Grip
position. With your left thumb, count off the top 6 cards into you left hand one at a
time. The final king (the 7th card) is a double; king on top spot card underneath.
Place this double card on top of the cards in your left hand, but before you release
your grip on this card with you right hand begin “fanning” the cards in your left
hand. This way you can show all 7 cards as kings.

To show the backs as being normal, lift the cards to a vertical position, and
as you do so push the 4th card from the top flush with the 5th card from the top.
This will hide the double face. That is it. I hope that you like this better than what
you got with your set of Gypsy Curse cards.

O.K. as promised here is my patter for this routine. It follows the original
patter pretty closely.

“As it turns out I am not the only thief and con-man in my family line. No, as
it turns out, my Great-grandfather was a snake oil salesman in Germany. I found
this out only because when he passed away my father and I went through his
belongings to see how we could profit from his death.

As we were rummaging through his things I found this old piece of

parchment paper, and inside of it was seven cards: three black spot cards, a King
of Diamonds, followed by three more black spot cards. I asked my Dad to tell me
about them. He told me that my Great-grandfather used them to play a con game.
What He did was He dealt three black cards to the table, and kept four of them in
his hand.

He then showed the suckers that the cards in His hand consisted of three
spot cards and the king.

37
 Then, he would say to the sucker (in a street wise tone), “All you have to do
is follow the red card, it’s, like, totally not hard.” Then, He would ask the suckers
to guess which pile was the one with the king (as you say this line make the pass
over the row of cards on the table).

Now, when He did this (make the pass again), He switched the king for one
of the spot cards on the table. So, when the sucker guessed that the king was in the
pile in his hands he was able to show all the cards as spot cards and say (in the
same street wise tone), “Sorry, Dude. All that’s here is black.”

I thought that this was a great con, but then my Dad told me the rest of the
story. See, one day my great-grandfather played the game with an evil Gypsy, and
took A LOT of money from the old man. Of course, He took a lot of money from
most everyone, so He didn’t think much of it.

What He didn’t know was that He had pissed off the old Gypsy so badly that
that night He sat at the campfire and placed a curse on my Great-grandfather’s
cards.

So, the next morning when He went to play his game, He was surprised to
see one of his spot cards change into a king. Then, when a 2nd spot card changed
into a king He got really nervous. And, when a 3rd card changed He began to
panic. And, when the 4th card changed, well... legend has it that He lost control of
his bodily functions, but then He remembered that he still had three spot cards on
the table, and that He could still play the game with them (the series of Mexican
Turn Overs is performed).

However, as soon as he said that they turned into kings as well, and He was
never able to play his game again, but He learned never to turn his back on a
Gypsy.”

O.K. that is it. As I said it doesn’t stray to far from the original patter, but it
does eliminate the need for the odd coin which I thought was unnecessary to begin
with. I think that if you run through the routine with this patter you will learn the
timing of the routine shortly. I hope that you like this.

Alternate Opening to “The Gypsy Hex”

If you are like me, you hate the Hamman Count. It is just something that I
cannot do well. Therefore, I have worked out this new opening that utilizes Aldo

38
Colombini’s Laughing Count. Because of the nature of the Laughing Count, The
initial set-up of the cards must be slightly altered. The only change is that the
regular-backed spot card must be on top of the packet. So, from the face down, you
have a regular spot card, two double face cards with the spot sides showing,
followed by the five regular kings.

To perform the Laughing Count, hold the cards in the same position as you
would for the Hamman Count. Now, count over the top three cards into the left
hand reversing their order, just as you would in a Hamman Count. Here is where
the count changes. Place the king packet on top of the spot cards holding a little
finger break between the two packets.

Here is the “move”: Turn your left hand palm down, and dump the king
packet onto the table. In one fluid motion, turn your left hand back face up. Take
the spot cards back into right hand Biddle Grip, and re-count them into the left
hand.
At first, you may think that this will not fool anyone unless they have the
I.Q. of a carrot. However, let me assure you that this gets ‘em all! Try it and see.
By the way, you need to transfer the regular spot card to the center of the two
double-facers before you add them back to the face of the king pile. That is it.
Good luck!

39
The Elmsley Count
The Rumba Count
The Flushtration Count
The Jordan Count
The Ascanio Spread
A Standard Double Lift
The Biddle Grip

40
 The Elmsley Count
1. Select four cards from a deck, two of which should be the same type but
different suit. For these instructions, use the ace of spades, the ace of
diamonds and any other two cards.
2. Stack the four cards as follows: the ace of diamonds on top and facing
upward, the two random cards in the middle and facing downward, and the
ace of spades on bottom and facing upward. Between your left thumb and
pointer finger, hold the stack of cards at the lower left corner.

3. Remove the ace of diamonds away from the stack with your right thumb and
pointer finger, while pushing it aside with the right thumb, and count out
"one."
4. Place the ace of diamonds on the bottom of the stack and grip with your left
pointer finger. Simultaneously push the middle two cards with your left
thumb and move them slightly away from the ace of spades.
5. Retrieve the middle cards, as if they were one card, with the right hand and
count out "two." Cradle the cards in your right hand and hold it under your
left.
6. Push the ace of spades, which should now be on top of the stack in your left
hand, out from the stack with your left thumb. Place it on top of the cards
cradled in your right hand, count out "three," and put your right hand under
your left again.
7. Move the ace of diamonds from your left hand by cradling it on top of the
cards in your right hand and count out "four." You have now performed the
Elmsley Count. Practice until you can perform it smoothly to maximize the
element of illusion.

41
 The Rumba Count
The left hand is palm up and open. Hold the cards face up and resting across
your outstretched fingers of your left hand. The right hand is palm down and
approaches the cards on the left. The right thumb goes beneath the packet of cards
and the right fingers pinch the cards from above.

The right hand (still pinching the packet) now rotates palm up (this rotates
the packet end for end the long way). This rotation should be done right above the
left fingers so that when the rotation is complete the backs of the right fingers are
resting on the front of the left fingers.

The right hand now pushes its packet into the area at the base of the left
fingers. The left middle and ring finger curl around and touch the back of the right
hand packet.

Now 3 things happen at once...

1. The right hand pulls to the right (pulling the card directly below the thumb
with it keeping this card face down)

2. The right index finger contacts the back of the remaining packet and starts
to push it to the left, pivoting it along the base of the fingers.

3. The left middle and ring finger continue the push of the packet and the left
palm rotates up to meet the packet and returns flat again, this causes the packet to
flip face up onto the left palm.

Now place the card in the right hand (keeping it face down, on the table).
Repeat the same moves for the next card. This way you have shown all 3 faces to
be the same while in reality only showing one face.

42
 The Flushtration Count
Have the cards you want to hide the identities of behind the card you want
them to be in a stack face towards the audience in the left hand, middle finger on
the top edge and thumb on the bottom edge. Flash the face of the card on the front.
Bring the left hand down and slip off the card on the top. Flash the bottom card
again and slip off the new top card. You are really only showing the same card
over and over at the bottom of the packet, while taking an indifferent one off of the
top of the packet.

43
 The Jordan Count
Start with the cards in your left hand. (Reverse if you'd rather start with them
in your right.) Have the bottom card face-up, different back design, etc. I hold
them with my thumb on the left edge, on top, with my other fingers below the
cards.
Slide the top card off to the right, into the right hand.

Slide the second card off the same way. (It'll help the next move if you catch
a break under this card.)

Slide the two right-hand cards underneath the left-hand cards. Grab the top
card of the right-hand packet with the left hand, adding it to the bottom of the left-
hand pile. (That leaves one card left, pinched between your right and left hands, on
the very bottom.) Then slide the entire three-card packet into your right hand,
leaving the one card behind in your left-hand.

Now you should have three cards in your right hand (with the face
up/different back card hidden in the middle of this packet) and one card in your left
hand. Now you simply slide the last card off into your right hand, on top of the
other packet.

This shows four cards the same, concealing one, and leaves the packet in this
order: original top card on top, a matching card next, the face-up / different backed
card third, and the other matching card on the bottom.

If instructions call for an “Underground Jordan Count”, place the final card
to the bottom of the packet instead of placing it on top.

44
 The Ascanio Spread
In a face down packet of five cards, the Ascanio Spread will hide the third
card down.

The packet is held face down in a sort of Biddle Grip, however the hand is
more to the right. The packet is held with the right thumb on the lower right corner,
and the middle finger in the upper right hand corner. The left thumb drags the top
card for about a quarter of its width to the left. At the same time the pad of the left
1st finger contacts the face of the bottom card of the packet and pulls it to the left
for about ¾ of its width as the left thumb then in- jogs the top card. The left middle
finger then contacts the card second from the face and pulls it to the left for about
½ its width.

The thumb and middle finger of the right hand stays stationary throughout
the entire procedure and retains a double card. This double card is pulled to the
right free of the packet. The double is placed on top of the packet. At this point the
packet can be squared.

There is a move known as a Partial Ascanio Spread. In this case the double
card is left in its original position, and then the cards are squared leaving the packet
in its original order.

45
 A Standard Double Lift
Hold the deck in your left hand as you bring your right hand over the deck to
square up the deck this is misdirection for what you are going to do as you are
squaring the deck what you are going to do is lift two cards with your right thumb,
and you want to stick the ball of your left pinky in the gap were you lifted the two
cards.

You then can talk for a little while to let them forget you squared up the
deck or you can go right to the turn over. For the turn over you take your right
index finger and slide it into the break and lift it up raising your right thumb to
keep pressure on the cards so you don’t flash the card behind it. Then you square
up the deck, and get a break again and turn them face down. This can be done with
three or four cards at a time.

46
 The Biddle Grip
Biddle grip is as follows:

1) Your holding the deck in your right hand from the top of the deck.

2) Your right thumb is at the back of the deck.

3) Your right middle and ring finger are on the front of the deck with your
pinky finger at the right corner.

47