Nursery Rhymes

Nursery Rhymes vol. 2

NR 2

PDF ADDITION

Written, illustrated, photographed, designed, and published by

Dan and Dave Buck

Enjoy…

These notes were purchased at www.dananddave.com

© 2004 by Dan and Dave Buck

Nursery Rhymes vol. 2 2

Foreword 03

As a production, 2nd method 04 Molecule 2

08 The Forte Flourish

Transplit 11

“Dribble This!” 15

Kryptonite 22

…at the Card Table 25 2nd method

27 Ace Ventura

Single card revelation 31 West Coast Chaos

Nursery Rhymes Volume 2


Foreword

As Dave pointed out in volume 1 of Nursery Rhymes, “Our style of magic is veryflashy and visual, it happens in your face.” Continuing with the theme of ourillustrated style of magic, we bring you Volume 2-more approaches on“antiquated moss-covered ruses”. Since the release of volume 1 many peoplehave asked “why Nursery Rhymes?” I think now is a good time to clear this up.Nursery Rhymes are what Erdnase called “antiquated moss-covered ruses.” Inother words “old-school” techniques that are refurbished to reflect the changingtimes.

In this volume we bring you two new ace productions. P. @ T.C.T is an aceproduction done on the table, and looks as if all four aces appear at once. Theproduction also has a nice follow-up trick to go along with it. Both productions are“fast paced” and eye catching. I know you guys will enjoy this one, The ForteFlourish an extremely visual one-card production done on the table, really nice! Aone handed false cut, and “Dribble This!” a fast-pace flourish-style card controlwhich leaves you with many applications to go into. Next comes Split ChangeTranspo, the name pretty much gives it away, a stunning visual transpositioneffect with a new split-change idea and that’s just the beginning. This volume istwice as big as volume 1 so sit back and enjoy the ride.

Most of the material in this volume is practical and surprisingly not that hard. Ofcourse that’s what everyone says about their own material, anyway hope youenjoy our stuff. Until next time, enjoy practicing!

-Erdnase’s quote can be found in The Expert at the Card Table on page 13 underthe title of Professional Secrets, 12th line down.

Dan Buck17 April 2002


Molecule 2

As a four card production, 2nd methodThis is another variation of the Molecule 2 explained in volume 1. There are afew differences in the methods, however, if you already learned Molecule 2, thiswill come easy.Setup:

• Ace, face down• Ace, face up• Remaining cards, face down• Last two aces face down

To prepare for the production you will need to obtain a break above the bottomtwo aces. The best way is to pull down the aces with your left little finger. Withyour right hand, swing cut a third of the cards as you keep the two aces onbottom by holding them back with the little finger. This is a variation of HarryLorayne’s HaLo Cut. When completing the swing cut, hold a break between thetwo halves. You should now be holding a little finger break above the face up andface down aces with the other two on bottom of the deck.

You will need to hold the cards in a special grip. Your left middle finger goes onthe upper right corner of the deck and your left index finger is curled underneaththe cards, Figure 1.

Come over with your right hand and grip the top third of the deck in Biddle Grip.Lift the outer edge; the inner edge should still be in contact with the rest of thecards. This top packet should be at a 45° angle to the deck, Figure 2.

Your right thumb picks up at the break held by your left little finger while stillholding on to the top packet. Your left middle finger is used as a pivot point tolever this center packet up, Figure 3. You’re basically doing Z Grip used in Sybilcuts, only with your middle finger as a pivot-point and not your index finger.

Make sure you have a firm grip on the top two packets before you continue. Withyour left index finger underneath the deck, tilt the bottom packet up as you would


for the Charlier Pass, Figure 4. However, it is important that you keep your leftlittle finger extended and not at the rear of the bottom packet. If you need extrasupport on the bottom packet you could grip it between the index finger andthumb of the left hand.

Once in a position similar to figure 4 (above), curl your left middle finger inwardas you lower both right hand packets and rotate the top packet to the right just alittle, Figure 5.

Continue to curl your middle finger inwards until the center packet is in-joggedabout 1 inch beneath the vertical packet held up with the left index finger.Simultaneously lower the vertical packet on top of this packet, Figure 6.

As you’re lowering the vertical packet your right hand is going to revolve itspacket 180° over into a face up position. To do this your right index and middlefingers should be resting on top of the packet; your thumb is at the bottom edgeand your ring and little fingers are at the top edge, Figure 7. The left hand hasbeen taken out of the picture for more clarity.

Revolve your thumb around the backside of the deck until it contacts the bottomcard. Simultaneously rotate your wrist forward, towards the viewers. Continuerevolving your thumb around until it reaches the center of the packet and rotateyour wrist around until the packet is face up, Figures 8 and 9.


Flip this face-up packet over, like you would for a double lift, on top of the deck.Flip it over so that the center packet will be out-jogged, Figure 10.

The center packet contains two facedown aces on bottom and a face up and facedown ace on top. Strip this center out-jogged packet out by bringing the rightindex finger in contact with the left edge of the center packet. With this finger,rotate it around, clockwise, using your left ring finger as a pivot point. Once thispacket is perpendicular to the rest of the cards, pinch the packet with your thumband index. Continue to revolve the packet around until it clears the deck. Once ithas cleared the deck and is parallel to the other cards, bring it to an uprightposition by repositioning your grip so that your right middle finger is holding thelong edge in the center, opposite the thumb, and the index finger curled at thecenter, Figure 11.

Let go of this packet with your thumb, this will revolve the packet around to a faceup position. The packet is now held or clipped between your index finger and


thumb of the right hand. Lever this packet up as you slide off the top and bottomaces using your index and middle fingers, Figure 12.

Once these cards clear the packet, use your left thumb to revolve the bottom acearound the packet and on top of the deck to a face up, out jogged position.Figures 13 shows the revolving action taking place.

Simultaneously to the left hands actions spread the right hand aces and displaythe final production, Figure 14.


The Forte Flourish

The idea for this method of producing a card came while reading Ernest Earick’sbook By Forces Unseen. “Cross Purposes”, one of the effects in the book, lies onthe concept of a Ben Harris idea in which a card rises crosswise from the deck.In the following version, rather then the card rising from the deck, all the cards fallfrom a vertical position to a horizontal position with the exception of the chosencard. If you read Ernest Earick’s version of this effect you will see that it doesn’trelate to this version. Believe it or not the idea came while looking at “figure 178”of that. This shows a card protruding face up in a vertical position from aninterlaced (half shuffled) face down deck of cards lying horizontally on the table.Taking the figure into consideration and applying a Steve Forte idea, we came upwith the following method. The Steve Forte sleight enables one to balance atabled spread in an upright vertical position.

Figure 1 shows the position of the cards in their vertical position.

In order for the cards to stand upright you must first reverse spread them on thetable. That’s going from right to left rather than a normal table spread which goesleft to right. Figure 2 shows the reverse spread on the table in the perspective ofthe viewers.

NOTE: Ignore the perpendicular card in the reversed spread. This card comesinto play later.


Notice that the left side of the spread still contains about half the cards. Regularspread the cards back over the reversed spread cards. In the end it should looklike you have just spread the cards once, Figure 3.

With this done, you will be able to lift the cards to an upright position. This isaccomplished by placing your right thumb on the top card of the right side of thespread, and fingers below or underneath the spread. It’s best if you have a close-up mat, as it will make it easier for you to slide your fingers under the spread.Lever the packet up, towards yourself, until it’s in the position shown in figure 1.We believe this belongs to Steve Forte.

In figure 1 you will notice the left index finger positioned at the upper right cornerof the vertical spread, above the right fingers. You’re going to move this finger tothe left of the spread, knocking the upright spread cards down (in a waterfallfashion) to a horizontal position on the table. Figure 4 shows the index fingermoving to the left.

It’s important not to move your right fingers and thumb. Keep a firm grip on thecards as the left index finger moves to the left, knocking the spread down. Whendone correctly it’s really stunning to watch. The cards seem to take on a waterfalleffect as they cascade down one by one. Figure 5 shows the finished flourish.Notice that the left index finger now rests on the left side of the horizontal spread.It is important to follow through with your index finger. This will cause the cards tobe evenly distributed throughout the spread.


As a production:Have a card selected by a spectator. Place it back in the pack and execute JuanTamariz “Perpendicular Control.” This can be found in his book Sonata,Bewitched Music vol. 1 p. 21. A quick explanation of the move can be given bylooking at Figure 6. The idea is to place a card in the deck and secretly move itto this position. The actions are very similar to the diagonal push through used inthe Erdnase Diagonal Palm Shift. Instead of palming out the card just straightenit out with the left little finger to a position show in figure 6. Obviously the righthand covers these actions. Ernest Earick’s “Longitudinal Steal” (By ForcesUnseen p. 63) may also be used, as the final positions are similar.

End position of Tamariz perpendicular Control (TPC).


Split Change Transpo

Effect:Have a spectator name any even card in the deck (lets say the 8♣). Spreadthrough the deck and remove the eight placing it on top. Turn it over and hold itas if you were going to rip it in half. You apparently rip the card right in front oftheir eyes, however you are holding the two black fours, in other words the eightsplits into the two fours. Place the fours on the table as you tell them you will do itone more time. This time remove the 8♠ and again split it into the two blackfours. After placing the fours on the table you turn over the other two tabled cardsand show there’re now the two black eights. Not only do you get an extremelyvisual splitting effect, you also get a very visual transposition.

It is important that you have a copy of By Forces Unseen by Stephen Minch inyour library, as this effect employs Ernest Earick’s handling of Horace Goldin’ssnap change. It’s also important that you’re familiar with Chris Kenner’s for4forswitch found in Totally Out of Control by Chris Kenner p. 46, and the No BreakMarlo-Curry Change by Edward Marlo in Marlo Magazine volume 1 p. 7-11.

Have someone name any even card in the deck. Let’s say they name the 8♣.Turn the deck face up. As you’re spreading through the cards, looking for the 8♣,cull the two black fours underneath the spread. When you arrive at the 8♣ pushthe spread over, to the right, (separating your hands) so that the eight getslodged above the two fours. Situation check: Spread of cards in your right hand,the 8♣ is to the far left of the spread above the two black fours, which are hidingunderneath due to the prior cull. Place the right hand packet underneath the lefthand packet. The eight will be third from the top with the two black fours on top.As you turn the cards face down, obtain a little finger break below the top threecards. This is easy as the eight will naturally be side jogged.

NOTE: If you arrive at the 8♣ before you have culled the two black fours, justpass it up as if you missed it. When you have culled both fours go back to theeight.

Execute the Vernon push-off (Ultimate Secrets of Card Magic, p. 54) and lift allthree cards as one. Lift them off the deck by gripping them at the bottom

right corner with your thumb on top and second and third fingers on bottom. Youare now in position to do Ernest Earick’s finesse on Horace Goldin’s SnapChange found in By Forces Unseen by Stephen Minch, pages 21-26. However,instead of using it to change a card you will use it to apparently split a card intwo. The technique is basically the same with the exception that you will also useyour left hand. When in position to make the change hold the top left corner ofthe card(s) with your right thumb and index finger, Figure 1.


Peel the top card off by moving your left hand slightly forward. Simultaneouslymove your right hand back and execute the “Snap Change,” Figure 2. The eightwill now be behind the four in the right hand. Bring the cards back togetherholding both fours in the right hand. The cards should be spread apart so bothare visible. I load the eight on top of the deck (using Mr. Earick’s method) as Iturn my wrist towards myself so that the two cards land on top of the deck faceup.

With the two face-up fours on top of the deck, lift them up (about an inch) as youget a break under the top two cards with your left little finger. You are now goingto do Chris Kenner’s for4for switch with only two cards. Do this by inserting yourlittle finger deeper into the break and tilting the cards up just a little. The two face-up fours are used for cover as this is happening, Figure 3.


Turn the two face-up fours face down inserting them below the top two cards,Figure 4. Notice that this is an exposed view. Normally the hand would be tilteddown and to the right covering this.

Once the cards are squared on top of the deck immediately push the top twocards to the right and drop them on the table. Make sure that when you drop thecards on the table, the top card (the eight) is spread about one to two inches tothe right. Turn the deck over so that it is face up and spread through the cardsuntil you arrive at the 8♠. Separate the spread so that the eight is the last card inthe right hands spread. As you do this pull down the two fours with your left littlefinger and insert the right hand spread above them as you flip the deck facedown. Another alternative is to get a break under the two fours before you flip thedeck and spread. Right before flipping the deck over you step the cards to the leftand when the deck is face up the step will be to the right. This makes it easier toobtain the break. Either way the eight of spades should be third from the top withthe two black fours on top.

Repeat the splitting action explained earlier and load the eight of spades on topof the deck using Mr. Earick’s method. Your spectators will be surprised to seethe black fours again. Place them face up to the right of the face down tabledcards. You’re now going to turn both facedown cards face up doing the “NoBreak Curry Turnover” to the card on the left with your left hand as your righthand turns the card to the right over in the same manner.


For those of you who don’t work on the table, an “…in The Hands” methodfollows: The only disadvantage to this method is that it uses a duplicate card.This means that you will not be able to ask your spectator to name a card in thebeginning. However, it is my favorite method as it cancels out the Curry Turnoverand allows the spectator to turn over the facedown cards in the end.

Alls that is needed is a duplicate even numbered card, such as the 4♦. Place thiscard on top before the start of the trick. Spread through as before culling the twored twos as you look for the 4♥. Use the same procedure as before so that thefour of hearts will be between the spread and the two red twos. However, beforecutting the right hand spread to the top you will need to buckle the duplicate fourof diamonds now on the bottom of the left hand packet. When you cut the righthand spread to the top, the buckled four of diamonds in the left hand needs to gobetween the four of hearts and the spread in the right hand. Close everything upand turn the deck facedown. This will leave the two red twos on top followed bythe four of hearts and the four of diamonds fourth from top. Repeat everything asbefore except this time after you do the for4for switch the 4♦ and the 4♥ will beon the table allowing the spectator to turn them over. In the end you will be leftwith another four of diamonds on top. You could either cut the cards getting rid ofthe evidence or you could palm it off as you set the deck on the table and go toyour pocket for the box.

In the beginning I like to take out a box of cards from my pocket. I remove thecards from the box and hand them to a spectator to shuffle. As I put the box backin my pocket I palm out the duplicate card and load it on top as the deck isreturned. I hope you enjoy this effect and play around with the Split Change,which I believe is my own variation on the Snap Change.


Dribble This

“Dribble This!” is a fast-paced stylish card control. It fits well in the flourish style ofmagic. The control leaves you with many options to go into. They will beexplained or mentioned at the end of this explanation.

With the deck held in your left hand, come over with your right hand and dribblethe cards. Ask your spectator to say stop as you dribble the cards, when he saysstop, thumb over the top card of the left packet, Figure 1.

Place your right second finger on top of the thumbed over card, and your firstfinger below, look at figure 1. Pinch the card between the two fingers. Swap yourtwo fingers around so that your first finger is on top and second finger is onbottom of the card. This will cause the card to rotate 180° around turning face up,figure 2.

Revolve your right wrist forward as you execute the above “spin move” to displaythe card to your spectator. Figure 3 show you what your spectator will see at thispoint.

Hold the position in figure 3 to let them register what their card is; this will be theonly time in the sleight that you will pause. As said above, this is for the flourishstyle of magic. The control should be in movement the entire time.


As you make gestures (body and hand movements) with your hands place thetop card of the left hand packet into right hand “Clip Palm”. Do this by thumbingover the top card in-between the third and fourth fingers of the right hand. This iseasily covered as stated above by making simple gestures. Figure 4 show thecard in “Clip Palm.”

Figure 5 is what your spectator will see. Card is hidden in Clip Palm.

Come over with your left hand and re-grip the card by pinching it with your rightthumb and index finger, Figure 6 shows the spectators view.

Figure 7 shows your view of the clipped card and the re-gripping actions takingplace with the selected card.

Separate the two hands. The selected card should now be clipped or pinchedbetween your thumb and index finger of your left hand. The next move isbasically a “top change” done with a different grip of the cards. The actions aboutto follow should be done in one smooth action as you come forward with the rightpacket. Figure 8 shows the two packets coming together and getting in positionfor the switch.


Figure 9 shows the two cards just about to be switched. When doing this, makesure the left hand stays in the same position. The switching takes place as theright hand moves forward.

Figure 10 shows you that the selection has been switched. Again notice thehand positions, it’s very important to do the switch in a forward action, keepingthe left hand still. In figure 8 the right hand is behind the left hand packet and infigure 10 it’s in front, which shows you how, the switch should be made, in aforward motion.

Once the switch has been made continue moving your right hand forward, andplace the packet on the table. Now without re-gripping the packet, spread thecards on the table, squaring the bottom clipped card with the spread as you doso. With your, now empty, right hand grab the X card (what they think is theircard) and drop it onto the spread, leaving it out-jogged half its length. Grab theremaining packet with your right hand and continue the tabled spread, losingtheir “selection” in the spread. Cleanly square everything. The selection is nowon bottom, from here you can go into whatever you want that requires a card tobe on bottom. Preferably something stylish to fit this moves fashion.

Controlling a card to the BOTTOM: method two

The following method is much simpler, and quicker to do then the previous. It’salso done in the hands rather than on the table. With the “selection” out-joggedon top in your left hand and the “real” selection underneath the packet in yourright hand, figure 12, your ready to move on. Place the right packet onto the leftpacket; you will see that the clipped card automatically goes to the bottom, figure11.


In order to get the card to go to the bottom you must move your left fingers out ofthe way. You can accomplish this by simply straightening your left fingers as youhold the deck between your index finger and thumb, figure 11. Push the out-jogged card into the deck; the selection is on the bottom.

Controlling a card to the TOP: method one

Perform the above control up until figure 10. Place the left hand packet on thetable. The indifferent card will be out-jogged resting on top. Call attention to theirsupposed card (the out-jogged tabled card), this will give you enoughmisdirection for the next move. Your right hand contains half the deck and theirselection below the deck in “Clip palm,” figure 12. This figure also shows the lefthand in position to take the packet, which is what you’re going to do.

Take hold of the packet with your left fingers and thumb or in other words: justput the packet in your left hand, really simple. Right hand should still be holdingselected card in “Clip palm.” In a squaring action place the card on top of thepacket and return the packet back to the right hand. The above movementssimulate that of a “side-steal” and when done correctly, will look as if the handnever separated.

The above actions will be covered by the misdirection you lead them into,however the movements of your hands should look as if you’re just toying withthe cards or giving them a simple riffle.

Move toward the tabled packet with your right hand and place the packet on topof the out-jogged “selection.” Spread the cards on the table to further emphasizethat their card is really in the center. Square the deck along with the out-joggedcard, or you could have them square up the deck and your finished…Oh Yeah!Their card is on top. Have them turn the top card over or proceed with apreferred trick.


Method two: done in the hands

With the “selection” out-jogged on top in your left hand and the “real” selectionunderneath the packet in your right hand, figure 12, your ready to move on.Dribble the right packet of cards into the left packet. However, keep hold of the“Clip Palmed” card as you dribble the cards. Release the clipped card the secondthe last dribbled card falls. It should look as if this card is part of the dribble.

Cleanly push the out-jogged card in and your set. Their card is of course on top.The above “Dribble Control” belongs to Ed Marlo and can be found in the SIDESTEAL, or Revolutionary Card Technique chapter four.

Credits:The clip palm, to my knowledge, is a variation by Ed Marlo on Arthur Buckley’s“Single Card Shift” found in Card Control by Arthur Buckley on page 25, Doveredition 1993. Marlo’s improvements can be found in the Side Steal under “ClipPalm” on page 22.

No palm card to cardcase:

The following version of “No palm card to cardcase” is very similar to PaulGertner’s method “Skinning the Card to Cardcase” which can be found in hisbook Steel and Silver on page 134.

With the “selection” out-jogged on top in your left hand and the “real” selectionunderneath the packet in your right hand, figure 12, your ready to move on. Thecardbox should be resting on the table with the opening of the box pointingtowards the eleven o’clock position, figure 13.

Approach the table with your left hand and thumb off the “selected” card, figure13. As your left hand is approaching the table your right hand is subtly making isway to the cardbox, figure 13. The second you thumb off the out-jogged cardonto the table your right hand places the lower-right corner of the clipped cardinto the cardbox, figure 14.


The insertion of the card in the cardbox will be much easier to accomplish if youbow the box prior to performance. An impromptu way of doing this is simple tosqueeze the sides of the box (which will form the box into a convex shape) asyou set it on the table.

Once you have tabled the “selected” card bring your left hand to the rear of thecardbox, figure 15.

The reason for placing your left hand behind the cardbox is to help support thebox, and prevent it from sliding back as you push the clipped card into the boxwith your right hand, figure 15.

Continue rotating the box inward while you push the card into the box. Stoprotating the box in when the box reaches a vertical position, the clipped cardshould, at this point, already be inside the box. Drop or set the right hand packetonto the left hand packet, this is accomplished by releasing pressure with yourthumb and second finger. Your third and fourth fingers will continue to hold thebox in its upright position, revolve these fingers inward until the box sitshorizontally on the deck, figure 16. This end position leaves you with manyoptions for which you can go into.

As previously said, the above actions are very similar to Paul Gertner’s method, ifyour not the flourish type I recommend you check out his version as it’s quiteintriguing.


Although I only explained a few after-methods for the above control I want you toknow that there are many more and believe I’ve given you enough to get started.All in all I hope you enjoy and use this tasteful method for controlling cards.


Kryptonite

We explained this cut in Artifice Ruse and Subterfuge in The Hands, however, itwas written incorrectly. We have also been enlightened the basic mechanics ofthe cut belong to Harry Levine. He explained a cut in Trapdoor that is very similaralthough not false. He described his cut as a method of cutting to a brief in thecenter of the deck.

Start the cut holding the deck in the left hand mechanics grip as if you were goingto do the Charlier Cut, Figure 1.

With your thumb lift up two thirds of the cards using your fingers as a pivot point.Separate half of this packet with your index finger maintaining a firm hold on thecards, Figure 2.

Your thumb and index finger should be the only ones supporting the bottom twopackets. The top packet rests on the middle packet; your second and thirdfingers keep it from falling. The little finger is at the rear of this packet for support,also keeping it from falling. Extend your second, third and fourth fingers causingthe top packet to slide down until it falls onto the pads of these fingers, Figures 3and 4.

Bring your second and third fingers up clipping the “new” bottom packet betweenyour second and third fingers and the base of your index finger. Basically all you


do is curl these fingers inwards until this packet is secure. Use your thumb torotate the top packet almost 90° counterclockwise or until your third finger comesin contact with the lower left corner (your perspective), Figure 5.

YOUR POINT OF VIEW

Grip this packet with your index and third finger and let go with your thumb.Continue revolving this packet another 90° by moving your index finger inwardstowards yourself, Figure 6.

Once the top packet has been revolved around 180° your going to let it slideback on top of the center packet using mainly your third finger to push it. Thepacket should be pushed over the index finger. To make this easier lower yourindex finger as you push the packet on top of the center packet. Figure 7 showsthe index finger beneath the top packet and the third finger pushing it over theindex and onto the center packet to a position shown it Figure 8.


From figure 8 you need to rotate the bottom packet on top. Do this by lifting yourindex finger up to a vertical position (carrying the top packet with it). Pull down onthe bottom packet at the edge with your second and third fingers causing it topivot up. Once the bottom packet has been tilted slightly, your index finger lowersas it slides down the left edge of the bottom packet, Figure 9.

Continue lowering your index finger until the bottom packet clears the top one.Use your second and third fingers as before to push this packet flush on top,Figure 10 and 11.


Pandemonium at the Card Table

This is another variation of a production in our book, Artifice Ruse andSubterfuge in The Hands, called Pandemonium at the Card Table. Start with thefour aces on the bottom of the deck. You’re going to do Jim Steranko’s “ActionReverse” found in Steranko on Cards page 10. This will reverse the bottom aceas you shuffle. Cut the cards in half as you would for a standard table riffleshuffle. Make sure that when you shuffle the four aces stay together on bottom.When the riffle is completed do not square them together. Tilt the shuffled cards,forward and up to a vertical position leaving the bottom ace on the table, Figure1.

As soon as the cards are in the position shown in figure 1, slide the ace on thetable up the deck using your right thumb, Figure 2.

When this ace is squared with the cards, finish the shuffle by executing thebridge flourish or just push them flush as you bring them back down flat on thetable. Double undercut the four aces to the top. This leaves three face down acesfollowed by one face up ace.

Slip cut the top two aces to the right. Simultaneously, your right index fingerpushes the top ace diagonally forward clipping it between your index and middlefingers. Once clipped revolve your middle finger around your index finger flippingthe ace into a face up position, Figures 3 and 4.


Look at figure 4 and notice the position of the right and left hands. They are inperfect position to pick up the top cards of each packet with your index finger andthumb and turn them to a face up position. This is accomplished by gripping thetop card, of each packet, with your index finger and thumbs; now turn the acesover, Figures 5 and 6.

Place the right hands ace below the right packet and left hands ace above theleft packet. These last actions should happen simultaneously.

I like to use this production as an effect. I start with four of a kind on bottom andclassic force one of these cards. I do the production above making sure the firstcard I turn over is NOT theirs. I pause asking them if this was their card. Theyobviously say “No”. I then respond, “Well, how about one of these”, as I finish theproduction not only producing their card but all of its mates.


Ace Ventura

This sandwich uses Brian Tudor’s Y.T.B.N cut found in his video Show Off II. Italso utilizes the same principle as Bill Simon’s “Business Card Prophesy” move,however this version doesn’t involve you turning the card over as you cut thedeck, as the original did. The actions of this move are covered by a one-handedcut.

-If you learned the previously explained One Handed False Cut than the followingwill come easy, as our one handed false cut is very similar to Brian Tudor’s.

Explanation:To start, cull two desired cards, one to the top, and the other to the bottom. Forthe explanation we’ll assume your using the two red aces. Spread the cards inyour hands and have someone touch a card. It’s best if they touch one in thelower half of the deck, this will make the sleight much easier later on. Turn theselection over, leaving it protruding half its length from the deck. Square up thedeck. Place it in your left hand upper, or raised full grip, with the exception ofyour little finger that is placed at the inner-end of the deck. This is to help supportthe cards for the next move.

Your index finger breaks half the deck towards the outer corner of the right side,Figure 1.

Move the lower packet, with the out jogged selection to the left. This packet isheld by your thumb and index finger. Your index fingernail helps glide the lowerpacket to the left and prevents cards from sliding out of the upper packet. This isan example of overcoming friction with the nail by S.W. Erdnase. Figure 2 showsthe lower packet in motion as well as the upper packet being supported by yoursecond and third fingers at the right side of the deck and your fourth finger at theinner end, keeping the cards from falling.

Continue moving the lower packet to the left, when it clears the upper packetplace your index finger on the outer-end of the upper packet, now the lowerpacket. Figure 3.


Slid the “new” upper packet down, to the right, until it hits your second and thirdfingers. Maintain the break or large gap with your thumb. The position now looksas if you are about to do Brian Tudor’s Revolution Cut, which you are going todo. Figure 4 shows the staring position of the revolution cut.

Notice the finger positions. As you continue revolving the packet around your leftthumb and index finger are going to maintain their hold on the out-joggedselection, figure 5 & 6. Your thumb is also going to extend forward, to helprevolve the selection out of the packet. Notice the difference the thumb positiontakes in figure 5 followed by figure 6.

After completing the “Revolution cut” place the packet on top of the deck insteadof underneath the lower packet, as you would for the original “Revolution Cut.”Figure 7 shows the action of placing the packet back on top. All these actionshave caused their selection to be sandwiched between the two red aces.


A cleaner explanation of the “Revolution Cut” can be found in either of BrianTudor’s Show Off videos.

To construct the above sleight into a trick execute the following:

Set up: Place the two red aces on top and bottom, the two black aces go secondfrom top and second from bottom. Simply culling the aces to these positions cando this.

Have someone select a card, place it back in the deck, and control it to the top.Perform the “Molecule 2-one card production” found in Nursery Rhymes volume1. The selected card will now be face up in the center of the deck and your set-up will not be disturbed. Place the deck in your left hand, mechanics grip, andyour set for the next move. For the next move you have on of two options inwhich you can choose from.

Two methods for sandwiching selected card:

1. Place your right thumb on the top card (ace) of the deck and your rightfingers on the bottom ace of the deck. The palm of your right hand iscovering the front edge (and out-jogged selection) of the deck as you dothis. Pull the top and bottom aces forward, out-jogging them half theirlength. Situation check: Face down out-jogged ace on bottom, face up out-jogged selection in the center, and face down out-jogged ace on top.Pinch the three cards together and continue stripping them out. Once theyclear the front edge of the deck rotate your hand palm down to reveal thetwo face-up aces sandwiching their face down selection.

The actions described above simulate a Bill Goodwin idea in which he alsosandwiches a face up card in the same manner.

2. The second method for sandwiching their card is basically the same asthe first, except it’s done with only the left hand. Place your left thumb onthe top card (ace) of the deck and fingers on the bottom ace, thus pinchingthe deck between your thumb and fingers. Toss the deck, with a jerk, intoyour right hand; however keep hold of the top and bottom aces in your lefthand by applying light pressure. As the top and bottom aces are sliding offthe airborne deck pinch the selected card. This will be easier to do if youangle the out-jogged card to the left before going into the tossing action.The end result will be; deck in your right hand and sandwich in your lefthand.

Let them pull out their card and place the aces face up onto the table. The othertwo aces are still on top and bottom of the deck. Have them place their cardanywhere in the deck and perform the “One Handed Sandwich Cut” as describedabove. This will sandwich their card between the other two aces. The end effect


would be that you found two aces with their selection and they found the othertwo. You can now go into your favorite four-ace routine. I think this is asomewhat good effect; it’s simple and short, and rather then just producing thefour aces you can get a small effect out of it.


West Coast Chaos

West Coast Chaos is a multi-packet cut first publishes in our book, Artifice Ruseand Subterfuge in The Hands, second edition, page 53. The following is anexplanation of the single-handed cut used in West Coast Chaos. I also explainthe most laboriously “appearing” revelation of a single card as the conclusion.Enjoy practicing. This one isn’t easy!

As a single handed cut:1. When doing this cut I like to hold the deck in my right hand. This is because of

the way in which you must hold the cards. This cut should be done with thecards held in a vertical position, Figure 1.

2. The thumb is at the upper rear edge. The little finger is at the lower rear edge.The ring finger rests at bottom center. The index and middle fingers aretowards the outer top edge. The little and middle fingers hold or straddle thecards. If all other fingers were removed, these two fingers should still be ableto hold the cards in place.

3. With your thumb and index finger lift off the bottom half. The top half will nowonly be supported by the straddle position of the little and middle fingers. Itmay be easier by first lifting with your thumb, pivoting the packet on yourindex finger, and then lifting it up with the thumb and index finger.

The object is to move the bottom packet up as you move the top packet downuntil they clear each other. You then will close the packets to complete the cut. Itactually isn’t as difficult as it sounds since you do it at an angle. In the secondfigure you will see the thumb is to the right (your perspective). If you move yourthumb to the left, or forward in actuality, the bottom packet will almostautomatically clear the top packet, Figure 3.


The only other move really necessary for the two packets to clear each othereasily is to move the top packet down a little by extending the second, third andfourth fingers. Make sure to maintain a firm-hold on both packets. Really you’reextending all your fingers as far as you can, including your thumb.

4. Move your thumb back down until both packets are aligned. Squaring bothpackets as you move your third and fourth fingers back around to the front ofthe deck, Figure 4.

The cut can now be repeated or the cards can be placed back in the left hand.You could also revolve the cards around into the left hand by doing a moveexplained in the Molecule 2 cut found in Nursery Rhymes vol. 2, figures 7-10.

As a production:5. It’s very important that you have surpassed mastery levels of this cut before

proceeding. The card to be revelationized starts on bottom. Therefore the cutmust start horizontally rather than vertically as explained above. Once the twopackets clear each other rotate your wrist so the card to be produced (Ace ofspades) is visible, Figure 5.


6. This figure looks very similar to figure 3 but if you look closely you will noticethe differences. You will see that the bottom packet is not straddled butclipped between the second and third fingers. The little fingers support thispacket from levering up. The middle finger also is in contact with the Ace ofSpades, Figure 6.

7. Use your middle finger to revolve the Ace of Spades around the top packet.This is accomplished by pulling down and towards yourself on the Ace withyour middle finger. At this point the bottom packet rests on your third finger asyour little finger supports is from falling.

Continue to revolve the Ace around the top by moving your middle fingerunderneath the top packet, Figure 7.


8. The action of revolving the Ace around the top packet is very similar if notidentical to Aaron Fishers One-Handed Popover first published in THESLIEGHT ALBUM-The Magic of Aaron Fisher, 1995. The move wasexplained in an effect titled “You Say Goodbye, I Say Hello”, p. 16. It can alsobe found on his video Control Freak, 1997.

Now lower the top packet in the same way described earlier or as seen below inFigure 8.

9. The squaring action or closing action is different from that explained earlier.Once the cards are fairly squared let go with your thumb and position it alongthe left edge of the cards, Figure 9. To make the closing action faster thebottom packet can be brought up by moving the third and fourth fingersinwards as your thumb levers the top packet back down.


10. Notice the little finger is no longer at the rear of the deck. The middle finger isnow behind the cards.

The entire deck is now going to revolve 270° around concluding the finalproduction of the Ace of Spades. With your middle finger behind the deck moveyour thumb back as you let go with your fingers and pinch the cards between thethumb and middle finger, Figure 10.

11. Now lower the cards so that they rest on the fingers. Move your thumb out ofthe way as you curl your fingers inward flipping the deck over revealing theface up Ace of Spades on top of the face down deck, Figure 11.

Another alternative: From figure 9, put pressure on the cards with the middlefinger. Let go with your third finger and the deck will flip around and land in yourwaiting left hand.

Nursery Rhymes

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