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A KNIGHT

OF
MAGIC
Devin Knight’s 2009-2010 Lecture Tour Notes
DISSOLVING ACES
SANDA-PANDA BOX
DEAL OR NO DEAL
HOLLOW LIGHT BULB EFFECTS
PAINT CAN SURPRISE
STREAMLINED KORAN PAPER TEAR
POKER TELLS
RETRO-SIGHT WORD LIST

$15.00

Copyright 2009 By Devin Knight


Dissolving Aces
Effect: Four aces visibly vanish from your hands one at a time. Nothing is used but the four aces; the rest
of the deck is set aside. No gimmicks or sticky stuff is needed. You can do it with a borrowed deck.

I have used this effect for over 30 years. In 1985, I showed it to Gerald Kosky; and he was so
impressed with the techniques that he asked me to show it to Dai Vernon. Vernon also was impressed with
the propelling technique used for the last card. This technique had been applied to coins; but’ to best of my
knowledge, it had never been applied to cards.

One of the main sleights in this effect is a biddle count. If you do not know the biddle count then
refer to any magic book on basic card sleights. The only downside to this effect is that you must be seated.
There are only certain places you can do it. I have had great success with this in hospitality rooms and
while having dinner with friends. It makes a great after-dinner trick or when having coffee with friends at a
Starbucks. If you watch your angles, you can even do it with people sitting at the sides of the table. It is not
necessary to have the spectators directly across from you. The effect is very amazing to lay people. To them
it looks like real magic.

The Handling: To do this you need to be seated at a table. If working a hospitality room or magic
gathering, you will need a drape on the table so the audience cannot see your lap. Start out by removing the
four aces from the deck. Set the rest of the deck aside. Spread the aces face-up between your hands
allowing the spectators to see them. Square the cards in your left hand and obtain a pinky break above the
bottom ace. Refer to Photos 1 & 2.

Photo 1 Photo 2

Your right hand goes over the cards, and the right thumb picks up the break. Move the packet of
cards back and forth as you are apparently squaring them. When the cards are at the rear of your left
palm, your right thumb moves the top three cards forward leaving the bottom ace at the rear of the hand.
Your left hand is tilted slightly upwards concealing the extended card from view. Your hands should be
near the edge of the table. Your left hand releases its grip on the bottom card and allows the card to fall into
your lap. From the front, the lapping of the card is totally covered. Refer to Photo 3 & 4.

After the card is lapped, your right hand turns the remaining three aces face down and retains them
in a biddle grip. You are now going to count the three cards as four. During the routine, you will be
working one-ahead. A card is secretly stolen away, but you still apparently have the correct number in your
hands. When the vanish apparently happens, the card is already gone!

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.
Photo 3 Photo 4

Your left thumb pulls the top card of the right hand packet face down onto your left palm. Your left
thumb pulls the second card onto the first card. As you do this, get a left pinky break above the bottom
card. Photo 5 shows an exaggerated break for clarity. Count one…two. Your right hand comes over the
packet and steals the card above the break (standard biddle steal) as your left thumb pulls off the top card in
your right hand onto the packet; count three…your right hand drops the remaining card (the one you just
secretly stole) on top of the packet …counting four. It appears you still have four cards in your hands. Refer
to P

Photo 5 Photo 6

Cover the packet with your right hand and give it a squeeze. Deal the cards face up on the table
showing only three cards. The first ace has vanished. Scoop up the cards and hold them face-up in a right-
hand biddle position. A second ace will AUTOMATICALLY be lapped while showing the three aces. Both
of your hands should be near the edge of the table.

Your left thumb pulls off the top ace of the right hand packet onto your left palm. Say the name of
the ace as it falls into your palm. Tilt your left hand downward so the audience can see the face. Your left
thumb returns to the right hand packet and thumbs off the second ace so it is flush with the first one. Once
again, tilt your left hand downward so the audience can see the face. As before, call out the name of the ace
as you show it. See Photo 7.

Your left thumb will not draw off the last ace. Instead, the right hand will place its card on top of the
left hand packet. In doing so one of the aces will be lapped. Bring the last ace over so it is in front of the
packet as shown in Photo 8. Your right thumb touches the top ace in your left hand and exerts a slight
pressure on the card. As your right hand moves the last ace backward so it is flush with the one in your left
hand, your right thumb secretly pushes the top ace backward allowing it to fall into your lap. See Photo 8 &
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9 for clarification. Photo 10 shows the card completely gone. From the front, this is totally invisible. Square
the cards and turn them face down in a right-hand biddle position.

Photo 7 Photo 8

Photo 9 Photo 10

Your right hand is holding two aces face down, but you will apparently show them as three aces
using a biddle count. Your left thumb pulls off the first ace into your left hand counting…one. Your right
goes over the top of the card in your left hand as the left thumb pulls the card into your left hand. At the
same time your right hand does a biddle steal of the card in your left hand as you count…two. Toss
the card in your right hand on top of the card in your left hand as you count…three. This is done in a quick
but smooth manner. It appears you are actually counting THREE cards face down into your left hand.

Place your right hand over the packet and squeeze. Deal the two cards face-up on the table showing
another ace has vanished.

The next vanish of an ace is based on move first shown in Ed Marlo’s Miracle Card Changes. Pick
up the two aces and hold them in your right hand as shown in Photo 11. Square the cards and retain them in
your right hand as shown in Photo 12. This shows the performer’s view. The performer turns the two cards
so they are horizontal to the table and moves to place the cards in the open left palm.

As soon as the cards are horizontal the right fingers slide the bottom card into a Tenkai Palm
(another palm most cardicians know). The back of your right hand conceals this movement. Practice this in

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front of mirror to get the proper angles. Once you properly master this, you can do the steal even with
people sitting at the sides of the table.

Photo 11 Photo 12

Photos 13 & 14 show the steal in action, ending with the bottom card in a Tenkai Palm. Photo 15
shows the audiences view. Be sure to keep the front edge of the card in your left hand tilted downward
so the audience cannot see there is only one card.
.

Photo 13 Photo 14
Lean slightly forward as you move your left hand forward to show the two cards. As you lean
forward it is only natural for your right hand to move backward. Once your right-hand is at the edge of the
table, lap the palmed card. This is shown in Photos 16 & 17.

Photo 15
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Photo 16 Photo 17

Pause for a few seconds and then move your right hand forward covering the card (apparently two)
and squeeze. Snap the last ace with your fingers, proving it is just a single card and that no other cards are
stuck to it.

The Vanish Of The Last Card Using The Propelling Technique

The vanish of the last card is very amazing. If you are working for just one person across from you,
then you can vanish the card well away from the edge of the table. If you have people sitting at the sides of
table, then your hands will have to be closer to the edge to cover the angles.

The Technique

Start with a card in your left palm as shown in Photo 18. You will use your left thumb to shoot or
propel the card. Quickly press against the card as shown in Photo 19. You will find the card will shoot
away from the palm and fall into your lap. There is a knack to doing this. You have to move your thumb
quickly backwards with some degree of force.

Now try this about a foot away from the back edge of the table. You will find your thumb can
shoot the card a good foot or more! The card will go sliding across the table and fall into your lap, even
though your hand is a foot away from the back edge of the table. This long range shooting technique is
what impressed Vernon. Do not worry, I will show you how to cover this completely, so it is invisible to
the spectator. For now, focus on learning the propelling technique.

Photo 18 Photo 19

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Your right hand goes over to cover the card and conceals the movement of your left thumb. Your
right hand moves over above your left hand. Your right palm is slightly above your left thumb. Your right
fingers fold down concealing your left thumb. At this exact moment, under cover of your right hand,
your left thumb shoots the card into your lap. Your extended right arm helps conceal the movement
of the card as it slides along the table under your arm and falls into your lap.

Photo 20 shows the card being propelled into your lap. This photo shows your hands closer to the
table edge. This is how it looks if people are close and sitting at the sides of the table. If people are sitting
close to you at the sides of the table, you need to move your hands closer to the edge of the table. If you are
doing this for just one person across from you, you can move your hands farther away from the edge. Photo
21 shows an exposed view of the card gone.

Photo 20 Photo 21

Once the card has been propelled into your lap, move your hands forward, away from the table
edge, still keeping them clasped as if the card is still there. Squeeze your palms and then let your fingers
open wide. This creates the illusion of the card visibly vanishing. See Photo 22. Move both of your hands
apart showing them to be completely empty. See Photo 23.

Photo 22 Photo 23

The Long Distance Propel

This vanish is done with your hands a foot away from the edge of the table! You can only do
this for one person directly in front of you. You will need some misdirection, and that will be explained. In
this case, you will vanish the ace while it is face down. Place the last ace face down on your left palm and
move your left hand about a foot away from the edge of the table. Put your right hand over the card, as

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previously described, but do not propel the card yet. Do not look at your hands; rather, look the spectator
right in the eyes as you say, “Do you remember which ace this is?” The moment he is looking at you in the
eyes, SHOOT THE CARD INTO YOUR LAP. The card will quickly slide across the table and fall into
your lap. Your extended right arm helps cover the sliding card and prevents the spectator from seeing
it with his peripheral vision. Once the card is gone, squeeze your hands and show the card gone. This
vanish is VERY baffling when done under these conditions.

You can end the routine here, but I like to clean-up the cards in my lap. Here is a nice way to clean-
up by reproducing the cards. Your left hand drops into your lap and secretly gathers up the four aces. Do
this casually so it does not appear you are doing something. Talk to the spectator and DO NOT LOOK at
your hands! Get the cards in your left hand in the position shown in Photo 24. Your right hand picks up the
deck of cards and slides it off the table. In the same motion, your left loads the four aces on the bottom of
the deck. See Photo 25. This is the standard bottom-palm load known by most cardicians. You will find this
move is invisible from the audience’s front view.

Photo 24 Photo 25

Give the deck a cut and spread it on the center of the table, revealing the four aces face-up in the
middle. See Photo 26.

Photo 26

NOTE: The propelling technique makes a nice quick stand-alone trick. I often pay my restaurant tab with a
credit card. When the server gives me the credit card back, I visibly cause it to vanish, to the amazement of
my friends at the table. You can also use this to visibly vanish a signed card that later appears inside your
wallet.

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HOW TO FOLD THE PAPER FOR SANDA-PANDA EFFECTS: In all the prediction effects, the
prediction is an 8”x 5” folded sheet of paper. The prediction has been pre-written except for the needed
number or word. The paper is folded in such a way that you have space in the middle of the paper to
secretly write in the needed number or word. When your participant unfolds a large piece of paper, rather
than a small billet, it greatly enhances the overall effect. Regardless of your prediction, here is how the
paper is folded. The paper shown in this example is the prediction used for the Impossible Card Prediction
effect. Here is how to fold the paper. Start with an 8”x 5” piece of paper. Although the written prediction is
seen on the paper in the photos, the actual prediction IS NOT WRITTEN until you have folded the paper to
locate the center section. In other words, you fold the paper and then unfold it and write the prediction.
What to write and where to write it will be explained for each effect.

PHOTO 1 PHOTO 2

The paper is folded into thirds; the left and right sides of the paper are folded backwards as shown
in Photos 1 and 2. This strip is again folded into thirds. First, fold the bottom third up BEHIND the paper.
This is shown in Photo 3. Finally, the upper third of the paper is folded back and downwards as shown in
Photo 4. Notice the blank space on the right side of the paper in Photo 4. This is where you write in a
number with your nail-writer. The folded paper is unfolded and your prediction written in such a way that a
blank space will be left, as shown in Photo 4, when the paper is refolded. Once this is done you are ready to
load the paper into the Sanda-Panda Box.

PHOTO 3 PHOTO 4

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SANDA-PANDA IMPOSSIBLE CARD PREDICTION
IMPOSSIBLE CARD PREDICTION: Two participants verbally form a playing card to ensure the choice
is random. One person chooses the suit and the other person the value. There are no restrictions. You take
the lid off the box. Inside is a deck of cards and a folded 8” x 5” piece of paper. One of the participants
unfolds the paper. Written on it is, THE CARD JUST NAMED IS IN POSITION 14 FROM THE TOP.
The participant removes the deck and counts down to the 14th card from the top. It is the same card just
formed at random. No switches or sleights are used. The participant removes the paper and deck from the
box. The performer does not put his hand inside the box, nor does he touch the paper or deck.

THE SPECIAL BOX: Note Telescopic boxes are often used to put gifts in. These can be found in
many gift stores. Although ungimmicked, the box is especially designed for these effects. The box has a
telescopic lid with two thumbholes on the sides. It takes two hands to open it, which is part of the secret.
The thumbholes also are there for a reason. The thumbholes are what make the effects possible. For ease in
removing the lid, you need something in the box to give the bottom section some weight. In these effects,
that could be a book or deck of cards. The lid can go all the way to the bottom or it can go part of the way
down, giving it the appearance of a box with a lid that goes ¾ of the way down. Your audience has seen
boxes with both types of lids. No matter how the lid is placed on the box, it will appear normal to your
spectators.

For the first three prediction effects, the lid will not be placed on all the way to the bottom. Your
prediction paper is wedged at the back of the box. This is shown in Photo 5. Be sure to wedge the
prediction on a side with a thumbhole. Otherwise, the trick will not work. The audience’s view is shown in
Photo 6. Notice the blank space at the right side of the paper shown in Photo 5. This is where the needed
number for the card prediction is written using a nail-writer.

PHOTO 5 PHOTO 6

Normally, the folded paper, due to its thickness, should easily keep the lid firmly in position. If the
lid becomes loose, here are a few tips to ensure the lid stays in place. You can try putting the lid on at a
slight angle so the front of the lid is wedged slightly downwards at the front of the box. The rear of the lid
will be about ¼ higher in the back than the front. This slight wedge will ensure the lid stays in position if
the paper is not enough to hold it securely in place.

An excellent tip discovered by Mel Strouse is to tighten the corners of the lid. This is done by
pinching each corner of the lid between your thumb and forefinger. Give each corner a slight squeeze. You
will find by doing this you can make the lid fit as tightly as you wish. Do not squeeze enough to damage the
box. A light squeeze on each corner is all it takes. ONLY DO THIS TO THE CORNERS OF THE LID.

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COMPLETING THE PREDICTION: The box is on a table in full view of the audience as shown in
Photo 6. The technique for completing the prediction and secretly loading it into the box is the same for the
first three prediction effects.

After your participant has made his choice, be it a card, name, or page number, you call attention to
the box on the table. You either already have the nail-writer on your right thumb or secretly add it to your
thumbnail (if you have the swami gimmick on the table behind the box) as you pick up the box from the
table. As you pick up the box, call attention to the fact it has been in full view since the start of the effect.
Invite the participant to come forward. You are holding the box as show in Photo 7. The fingers of both
hands are at the sides of the box. Your left hand thumb holds the paper firmly in place while the nail-writer
on your right thumb writes the needed information in the blank space.

If you watch yourself in a mirror as you practice, you will notice that NO MOVEMENT of the
thumb can be seen. Due to the box being 4” high, it gives you plenty of cover. No one should suspect you
are writing anything. Hold the box out a bit from your body so you can see what you are writing without
having to look down. In these photos, I am using a china marker boon-writer, hence the dark writing. Once
you have written the pertinent information, your right thumb bends away from the paper so you do not
accidently mark the box. Refer to Photo 7. Your left thumb pushes the paper up via the thumbhole so it is
out of sight above the thumbhole. Refer to Photo 8 and Photo 9. Your fingers hold the box firmly so the
lid cannot move while your left thumb pushes up the paper.

PHOTO 7 PHOTO 8 PHOTO 9

Once you have secretly written the information and pushed it out of sight, replace the box on the
table. The lid will stay in place due to the paper wedged inside. It should appear that you only picked up
the box, showed it, and replaced it on the table. This is all done very quickly. While the participant is
coming forward, you need to ditch the nail-writer into one of your pockets.

LOADING THE PREDICTION INTO THE BOX: This is done while taking off the lid. The move is so
clean that anyone can BURN your hands and nothing will be seen. This is 100% sure-fire with no chance of
the paper falling out. Give the box a quarter turn so the thumbholes are on the left and right sides of the
box. Place your hands on both sides of the box. Your thumbs are on top of the box and your middle fingers
go into the thumbholes. Refer to Photo 10 and Photo 11. Be sure that you show both hands completely
empty before removing the lid. This is when magicians think you will try to put something secretly
into the box. Throw them off track by cleanly showing your hands empty before you remove the lid.
Lift the box off the table a few inches and gently shake it so the bottom falls off onto the table. Due to the
deck of cards or book inside, the bottom falls off easily. Amazingly, you will find that your written
prediction is now inside the box. It works automatically. The prediction falls inside the box just a split
second before the lid comes completely off. Photo 12 shows the deck of cards and slip inside the box. No
matter how closely the spectators watch the box, they cannot see the slip fall inside. It is that clean! They
cannot hear it fall inside either! That is because the bottom of the box hitting the table conceals any
noise made by the paper falling inside. That is why you hold the box above the table and shake the

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bottom off. It conceals any noise. If you just lifted the lid off, the audience might hear the slip fall
inside.

PHOTO 10 PHOTO 11
Notice how clean this looks. You are opening the box with just your thumbs and middle fingers. It
is obvious that nothing is concealed in your hands. You will find that the paper rides up and stays above the
thumbhole the entire time the lid is being removed. If you are worried that an edge of the paper will drop
down and show, you can use all your fingers as shown in Photo 13. After you try this a few times, you will
find you only need the middle fingers to safely lift and remove the lid without exposing the paper.

PHOTO 12 PHOTO 13

Casually show the inside of the lid to be empty and allow your participant to remove the paper and
unfold it. It is important that you never touch the paper after it is removed. In fact, you should stress the fact
that the paper is folded and you never touch it at anytime.

YOU KNOW THE THE LOCATION OF THE CARD IN THE DECK BY USING THIS EASY
STACK AND FORMULA.

THE EASY STACK: Since the cards are dealt face down, you can use a stack that allows you calculate in
your mind the position of the named card. Since the participant does not see the faces as he deals, he will

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not notice the order of the cards. No cue list is used. We will use the CHaSeD sequence but you have to
assign a value to each suit.

A Club has a value of 3

A Heart has a value of 2

A Spade has a value of 1

A Diamond has a value of 0

Here is a simple mnemonic to help you remember this. A club looks like 3 circles with a stem. For
hearts think of the saying, “Two hearts that beat as one.” For spades, picture the Ace of Spades (a value of
one) in your mind. Finally for diamonds, let the D remind you: DO NOTHING.

This stack is similar to the NEW CARD ORDER used by some European card companies. It has all four
suits together for each value. To stack the deck, deal on the table, in a face up pile, the four kings in
CHaSeD order, KC, KH, KS, KD. Next, place the queens on top in chased order, followed by the jacks.
Continue until you wind up with the AD on the face of the pack. Finally, cut the four kings from the top of
the deck to the bottom of the deck. The top card of the deck will be the QC and the bottom card will be the
KD.

Checkpoint: The four cards of each value, in CHaSeD order, will run from top to bottom in the following
order: Q, J, 10, 9, 8, 7, 6, 5, 4, 3, 2, A, K

The Formula: Have the first participant name a value of a card. Subtract that from 13 (unless he names a
King, in which case you do not subtract). A Queen has a value of 12, a Jack has a value of 11, an Ace has a
value of 1. Assume he says, “9.” Subtract that from 13 (13-9 = 4). Multiply this by 4 (4 x 4 =16); 16
becomes the base number. Another example, he names 7 (13-7 = 6). Multiply this by 4 (4 x 6 =24); 24
becomes your base number. One final example, he names a King, which has a value of 13; with Kings you
do not subtract, leaving you with 13. Multiply this by 4 (13 x 4 =52); 52 is your base number.

Once you get the hang of this, it is very simple. Almost as soon as the first person names a value,
you will have the BASE NUMBER.

Have the second participant name a suit. Based on the suit you will subtract either 3, 2, 1, or nothing
from the base number. This will give you the location of the card. Use the mnemonic aid to know the suit
value. Club is 3, Heart is 2, Spade is 1, and Diamond is 0. If the person names hearts, you would subtract 2
from the BASE NUMBER; and that is the location of the card.

Here are full examples for various cards:

QH: Subtract 12 from 13 (13-12 =1) and multiply by 4 (1 x 4 = 4); 4 is the base number. Since it is a heart,
subtract 2 from the base number 4 (4-2 =2). The QH is in position 2 from the top of the deck.

4C: Subtract 4 from 13 (13-4 =9) and multiply by 4 (4 x 9 =36); 36 is the base number. Since it is a club,
subtract 3 from the base number 36 (36-3 = 33). The 4C is in position 33 from the top.

7D: Subtract 7 from 13 (13-7 =6) and multiply by 4 (6 x 4 =24); 24 is the base number. For diamonds, you
do nothing, so you are still left with 24. The 7D is in position 24 from the top.

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AS: Subtract 1 from 13 (13-1 =12) and multiply by 4 (4 x 12 =48); 48 is the base number. For spades, you
subtract 1 from the base number (48-1 = 47). The AS is in position 47 from the top.

KH: With a King (a value of 13), you subtract nothing, leaving 13. Multiply by 4 (13 x 4 = 52); 52 is the
base number. For hearts, you subtract 2 (52-2 =50). The KH is in position 50 from the top.

This system can easily be mastered in a matter of minutes. There is no difficult math involved and
everything can be done in your head. By having two people choose part of the card, the math is broken into
two easy steps. You almost instantly know the position. Try this a few times and you will see how easy it is
to learn and master.

PERFORMANCE: Invite two participants to stand. The first person names a value of a card. The second
one names a suit. Using the method previous described, determine the location of the card from the top of
the deck. Pick up the box as you call attention to the fact is has been in view the whole time. While holding
the box, write the position number on the paper using your nail-writer. Replace the box on the table.

Invite one of the participants to come forward. In the meantime, ditch the nail-writer while he is
coming forward. Show both of your hands empty and lift the box off the table as previously described.
Gently shake the box so the bottom falls to the table. Show the lid to be empty and set it aside. Allow your
participant to look inside the box and remove the piece of paper. Have him unfold it and read it aloud. Next,
have him remove the deck and deal the cards face down to that number. He shows the card at that number
to be the same card that was randomly formed.

_____________________________________________________________________________________

DEAL OR NO DEAL- Another effect using a telescopic box.

EFFECT: The performer says that he took a picture earlier of what is inside the box. In the picture is a
hundred-dollar bill wrapped around a deck of cards and one folded playing card. The performer says he
folded the card so no one can see what it is. The performer offers to play a game of chance with the
participant. All the participant has to do to win the $100.00, is to select any card which is NOT the same
as the folded card inside the box. His odds are 51 out 52 of winning the money.

A deck of cards is spread face-up. The participant is given a free choice of any card. NO FORCE.
That card is left face-up on the table. After some byplay, the performer offers the participant a quarter to
give up his chance. Whether he accepts or declines, the participant (not the performer) opens the folded
card that was inside the box. It is identical to the one he freely selected. He does not win the $100.00. If
he looks through the deck in the box, he will find the folded card is missing from the deck! At no time does
the performer touch either the folded card or the deck inside the box! There are no switches of the folded
card.

Normally, this effect is done sitting down; however, with some practice it is possible to do it
standing up.

SETUP: You will need two complete decks of cards with the same color backs. Remove the jokers from
both decks. Shuffle one deck to ensure it is in random order. Remove the Ace of Spades from the deck and
place it face-up on the table. Deal 25 more cards face-up on top of the Ace from the shuffled deck Spread
the face-up cards across the table and make sure two cards of the same value are not side-by-side. For
example, if you see two fours beside each other, remove one and insert it elsewhere in the spread. You want
what appears to be a random group of cards with no identical values beside each other. Make sure there is

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at least one red ace in this random group of cards. Finally, make sure an inconspicuous card, such as the
6C, is on the face of the packet.

Take the second deck and remove the same 26 cards you have on the table. Deal them face-up on
top of the tabled cards so they are in the same order. The first card you deal will be the Ace of Spades
followed by the rest of the cards.

Checkpoint: The 52 dealt cards are on the table face-up. The card 26th from the face will be the Ace of
Spades. The card on the bottom of the face-up deck will be the duplicate Ace of Spades. Every card has a
duplicate 26 cards away. There will be an inconspicuous card on the face of the deck. Square the cards and
replace them in the case. This will be referred to as Deck 1.

The remaining cards will be used to make up Deck 2. Look through the 26 cards left over from the
first deck. Make sure two cards of the same value are not beside each other. Deal the remaining 26 cards
left over from the second deck face-up on top of these cards, making sure they are in the same order. Once
you have done this, every card will have a duplicate 26 cards away. Finally, discard the face card of the
deck leaving 51 cards. Return this deck to its case, and the wrap a bill of a large denomination around the
card case. Keep the bill in place with a rubber band. I like to use a hundred-dollar bill, but a fifty or twenty
will work just as well.

Place the card case (Deck 2) with the bill wrapped around it inside the Sanda-Panda Box. Take one
of the left over Jokers and fold it into quarters. Drop it into the box beside the card case. You need to take a
picture of the box’s contents. You can use a digital camera and make a print from this. Another option is to
use a cell phone that has a camera. Snap a picture of the contents and leave it in your cell phone’s memory.
During the performance, you say you took a picture with your cell phone and show the participant the
picture on your cell phone.

Remove and discard the folded card from the box, leaving just the card case with the bill wrapped
around it inside. Replace the lid on the box so it goes all the way down. Place the box so a side with a
thumbhole overlaps the rear of the table slightly. Place Deck 1 on the table beside the box and you are set
to perform.

PERFORMANCE SCRIPT

“I would like to play a game with you similar to Deal or No Deal. I will give you a chance to win
$100.00. The game involves this box and its contents. I took a picture of the contents earlier.”

Show your participant either an actual photo of the contents or the picture on your cell phone.

“You will notice in the picture there is a deck of cards with a hundred-dollar bill wrapped around
it. I removed a card from that deck and folded it into quarters so you cannot see which one it is. To win the
$100.00, you will remove a card face-up from the deck on the table. If the card you remove is NOT the
same as the one folded in the box, you will win the $100.00! If the card you remove IS THE SAME as the
one in the box, then you lose. You have 51 chances out of 52 of removing a card that is not the same one.
The odds are stacked in your favor. Are you ready to play?”

The showing of the photo has several purposes. First, it apparently lets the participant see the
contents of the box. He realizes there is a hundred-dollar bill inside. It also implies there is a folded
card inside the box, although such is not the case. The photo also helps JUSTIFY why the card is
folded so the person cannot see what it is. The use of the photo drives home several psychological

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points that help to make the effect stronger. It is important that you use the bit of business with the
photo for best results.

Remove Deck 1 from its case and hold the deck face up in your right hand. Spread the cards face up
into your left hand. As the cards go into your left hand, square them. This prevents any possibility of your
participant seeing two of the same cards at the same time. Since each duplicate card is 26 cards away, it is
highly unlikely your participant will notice any duplicate cards. Ask your participant to point to any one of
the face-up cards as you spread them from your right hand into your left hand. The Ace of Spades is in the
middle because a lot people will consciously look for this card. The duplicate Ace of Spades is on the
bottom of the cards in your right hand. Do not spread the cards in your right hand all the way to the bottom.
This would allow your participant to see the duplicate Ace of Spades on the bottom. Be sure to keep it
hidden, as the Ace of Spades is one card your participant WILL NOTICE seeing twice. Normally, your
participant will choose a card long before you get to the end of the spread.

NOTE: The duplicate of the face card of the deck will be in the middle of the deck. As the spread
approaches the middle of the deck, bunch the cards together and slide them as a small block into the
left hand. This prevents the participant from seeing the duplicate of the card on the face.

When your participant touches a face-up card, cut the deck at that point so the chosen card is on the
face of the deck. This will put a duplicate of the card exactly 26 from the face of the deck. Deal the chosen
card face-up on the table in front of your participant. Assume he chose the 4C.

“You could have chosen any card in the deck, but you chose the four of clubs. Now the game begins.
If the four of clubs is NOT the same card that is folded inside the box, then you win $100.00. The odds are
in your favor; however, if the folded card in the box is the four of clubs…YOU LOSE. You go home empty-
handed.”

While saying this, tilt the deck towards you, casually spread the cards face-up between your hands
and get a break under the duplicate card in the middle. Square the cards, retaining the break. Cut
the cards face-up at the break. This will put the duplicate on the bottom of the face-up cards. Execute
a Mercury Card Fold, leaving the duplicate card folded in quarters on the bottom of the deck. Finger
palm the folded card in your right hand, while your left hand replaces the deck on the table. All this
is done quickly, while making the previous comments.

Your right hand with the folded card drops into your lap.

“You can gamble and go for the card in the box, or I will make you a cash offer right now to call off
the bet.”

As you say this, your right hand comes up and loads the card into the side of the box. Both hands
then slide the box toward your participant.

“I will give you a QUARTER right now to call off the bet! This way you are SURE of going home at
least a quarter richer. Deal or NO DEAL?”

Most likely, your participant will NOT accept your offer. He thinks his odds of winning the hundred
dollars are excellent. If he does takes your offer, give him a quarter and continue with the effect.

Regardless of his decision, show both hands empty and remove the lid, secretly loading the
duplicate card into the box.

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“Look inside the box. Do you see the deck with the bill and the folded card? Good, I am not going
to touch anything. Remove the deck, take off the hundred-dollar bill, and leave the bill on the table. Leave
the folded card in the box for now. Just for fun and a bit of suspense, remove the cards from the case,
quickly look through them, and see if the four of clubs is in the deck.

This is an important part of the effect. It lets your participant see the four of clubs is not in the deck.
This helps prevent the idea that you may have loaded in a duplicate card. Do not worry; the person is
looking for one specific card. He will NOT notice the duplicates, since they are 26 cards apart. He is
occupied looking for one specific card, and it is not there. Hurry him along so he does not have too
much time to dwell on the cards. If he counts the cards, he will find 51 cards in the deck. These
actions seem to prove that the four of clubs was removed from the deck and folded into quarters.

“The four of clubs is not in the deck. It does not look good for you. Remove the folded card from the
box and unfold it…sorry…you lose.”

After he unfolds the card, take it from him and shrug your shoulders.

“I’m sorry you didn’t win. I would hate to see you go home empty-handed, so as a consolation prize
I will still give you a quarter.”

Tear the four of clubs into four pieces (quarters) and hand him one of the pieces. This will usually
get a laugh.

“On second thought, you were such a good sport; I want you to have ALL the quarters!”

Give your participant the other three pieces of the card.

NOTES: Buy a third deck of cards. Use it to replace the card you destroyed from Deck 1.

With practice it possible to do this effect standing up. This way you can do it for platform shows. For
stand up presentations, the lid is not on all the way to the bottom. Instead, you wedge the front down
(explained in tightening the box earlier). This is the same way the box is set up for secretly writing
predictions with a nail-writer. This leaves the lid raised an inch at the rear.

After the Mercury Card Fold, thumb-palm the folded card in your right hand. Your left hand places
the deck on the table. Both hands then pick up the box. Your right hand then moves to the rear and
extends its fingers. Let the box rest on your extended right fingers, with your left hand helping to
steady the box. You will find with some practice, due to the raised lid, that your right thumb can
push the folded card into the side of the box and out of sight. Once the card is loaded, return the box
to the table. Admittedly, this takes some practice; but it is possible. Practice in front of a mirror and
watch your angles.

HOLLOW LIGHT BULB EFFECTS


Hollow bulbs are available from most magic dealers; however, you can make your own hollow bulbs if you
are so inclined. To do so visit the website: http://www.youtube.com. Do a search for HOLLOW BULB, there you
will find several videos that teach you in detail the techniques for hollowing out a light bulb. The rubber stoppers I
used can be purchased at any Lowe’s Home Improvement Center.

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You are not limited to just using milk. You can also vanish salt or a white silk and have it appear inside the
hollow bulb. At Christmas time, you could use eggnog. These directions contain other ideas you can use with these
replacement bulbs, including a poor man’s milk in light bulb.

REMOVING THE STOPPER SECRETLY: The effect will be more baffling if the spectators do not know about
the rubber stopper. When you remove the bulb from the lamp, keep the stopper concealed by your fingers. Rotate the
bulb behind your hand so your thumb can clip the stopper and secretly remove it. Cover this motion by apparently
rubbing the bottom of the bulb to cause an opening to appear. Keep the back of your hand to the audience so they
cannot see the thumb-palmed stopper. You can secretly ditch the stopper as your hand reaches for a glass in which to
pour the milk. The next photos should help clarify this.

Borrowed Bill Or Playing Card In Light Bulb: Almost all of the methods for causing a borrowed bill to appear
inside a lemon can be applied to the bulb. The simplest method would be to miscall the serial number on the
borrowed bill for the one you have in the bulb. Use tweezers to remove the bill.

You can also force a playing card that is a duplicate of one inside the bulb. Use any of the torn-corner ruses.
Cause the card to vanish and later appear inside the bulb. The switched torn corner proves it is the same card.

USING A PAPER BAG (The Poor Man’s Milk In Light Bulb)

This allows you to do the milk or salt in light bulb effect without having to use a trick lamp. All you need are
the hollow bulb, a paper bag and some duct tape. Find a small paper bag that is large enough to hold two light bulbs.
Take a 5” strip of duct tape and form it into a loop with the sticky side out. Flattened the tape loop and stick it to the
inside bottom of the bag so it is on the left side.

When you place a MATCHING regular light bulb inside the bag and press the side of the bulb against the
tape, it will remain stuck when the bag is turned upside-down. This is the secret behind the switch. Load the hollow
light bulb with something white (milk, salt, or a white silk). When the hollow bulb is removed from the bag it will
appear to be the same bulb. You do not want the audience to realize the bulb has been switched. Therefore, playing
cards, colored silks and dollar bills are unsuitable.

To setup the effect have the opened paper bag on a table with a flattened duct tape loop stuck to the inside
bottom on the left side. Inside of the bag on the right side have the loaded hollow bulb.

To perform, remove a real light bulb from a lamp that has just been turned off. This allows the audience to
see it is a real working bulb. Place the real bulb inside the bag and press it against the duct tape. Cause some milk to
vanish. Reach into the bag and bring out the hollow bulb loaded with milk. Make sure your fingers hide the stopper.
With your other hand lightly grasp the outside of the bag near the bottom. Casually turn the bag upside-down (be
careful not to flash the inside) implying it is empty. Replace the bag on the table and reveal the contents of the loaded
bulb.

Long Salt Pour Idea: To setup, fill the hollow bulb with salt and place it inside the bag. To perform, remove a real
bulb from a lamp that has just been turned off. Place that bulb into the bag prior to the salt pour and press it against
the duct tape. Use the bag to catch the salt as it flows from your hand. Let as much salt as possible stick to the duct
tape. When the pour is over reach into the bag and remove the loaded bulb concealing the stopper. Casually turn the
18
bag upside-down. Any salt not stuck to the tape falls to the floor. The real bulb remains hidden inside. This is very
convincing and the falling salt makes it appear the bag is otherwise empty. Wave your hand over the loaded bulb
secretly stealing the stopper. Continue the long pour with salt flowing from the bulb back into the bag.

Milk Appears Inside A Clear Bulb: A paper bag is unfolded and shown empty. A clear hollow bulb with a stopper
is placed inside the bag. Milk is vanished, and when the bulb is removed from the bag it is full of milk. Both the bag
and bulb can then be examined.

To do this effect you will need some OOM (Oil of Milk) available from many magic dealers. A few drops of
OOM mixed with water will appear to be milk. Invert the hollow bulb. Fill it with clear water so the water level stops
right at the edge of the metal screw-in base. Take the rubber stopper and coat the bottom and lower sides of the
stopper with OOM. Do not put too much OOM on the stopper, otherwise it will drip off. Just apply a light coating of
OOM using a small paintbrush. Once you have done this, carefully insert the stopper into the inverted bulb. Make
sure the stopper does not touch the water. Place the bulb into a drinking glass so it remains inverted.

To perform, unfold a small lunch bag and show it to be empty. Pick up the hollow bulb, keeping it inverted
so the water in the bulb does not touch the stopper. The bulb will appear empty. Place the bulb into the bag. Once the
bulb is out of sight, turn it sideways. This will allow the water to mix with the OOM. Close the top of the bag by
twisting it. Cause some milk to vanish. Pick up the bag and grasp the bulb gripping it from the outside of the bag.
Shake the bag while holding onto the bulb and say, “It sounds like liquid inside!” This shaking movement will cause
the OOM to further mix with the water. Untwist the top of the bag. Reach inside and remove the bulb. Show the bag
to be empty and toss it aside. Shake the bulb so the audience can see there is milk inside (doing this further ensures
the mixture is well mixed). Remove the stopper and pour the milk into the glass that originally held the bulb.
_______________________________________________________________________________

Devin Knight’s Streamlined KORAN PAPER Tear

In this version you use a double sheet of newspaper. You are able to force any one of the four
corners! The newspaper is given four tears so you end up with 16 pieces of paper. Your “force corner” will
always wind up at the number chosen by your participant. You start the tear by holding the double sheet of
newspaper fully opened. Your left hand holds the upper left corner, and your right hand holds the upper
right corner.

IMPORTANT: Before you start tearing, the corner you wish to force must be in the UPPER RIGHT-
HAND CORNER position and be held by the right hand. That means you may have to reverse the
newspaper or turn it upside down. Just make sure that your “force corner” is being held by your right hand.
Personally, I like to force the lower left- hand corner of the newspaper. When you force the lower left
corner, it means you have to start tearing with the newspaper UPSIDE-DOWN. This helps create a more
random look. Tearing the newspaper while it’s upside-down also makes it more difficult for anyone
watching to read the printing. This helps ensure anyone watching will not be able to keep track of the
pieces during the tear.

PHOTO 1

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The previous photo shows the “force corner” in your right hand. The “force corner” has been
outlined with black lines for clarification. In actual performance, the newspaper does not have the
black outlines on it.

Breaking It Down
As with previous methods, you are going to tear the newspaper into 16 pieces. You will do this by
making just four EASY tears. Your “force corner” will wind up at any number you wish from 1-16.

First, we’ll look at the basic system so you can fully grasp it. Then I will show you how to
streamline the system into nothing more than a quick glance.

We are going to be working with a simple tearing-key involving I and O. These symbols make for
two easy to remember abbreviations.

IMPORTANT NOTE: All of the tearing directions in these instructions refer to the performer’s
view, not the audience’s view. “In front” refers to your front view of the pieces in your hand.
“Behind” refers to BEHIND the pieces in your hand. These pieces will be closest to the audience. So
remember everything is described from YOUR POINT OF VIEW.

I: (IN) When you see this symbol it means the torn piece(s) in your right hand will go closest to your body.
In other words, you put the torn piece(s) IN TOWARD YOUR BODY.

O: (OUT) When you see this symbol it means the torn piece(s) in your right hand go OUT AWAY FROM
YOUR BODY. These pieces will be closest to your audience.

It makes NO difference whether you are right-handed or left-handed. Once you tear the newspaper straight
down from top to bottom you will have piece(s) in both hands. ONLY YOUR RIGHT HAND MOVES
WITH ITS PIECE(S). Your left hand always remains stationary. Your right hand either places its piece(s)
in front of your left hand piece(s) or behind your left hand piece(s) depending on the symbol in the tearing-
key.

THE TEARING-KEY

Do not panic, you do not have to memorize this key or refer to it during your performance. It is just
the basic key so you can understand how the system works. The “position number” refers to the position the
force piece will end up from the top in the packet of torn pieces.

1st Tear 2nd Tear 3rd Tear 4th Tear

POSITION 1 I I I I

POSITION 2 O I I I

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POSITION 3 I O I I

POSITION 4 O O I I

POSITION 5 I I O I

POSITION 6 O I O I

POSITION 7 I O O I

POSITION 8 O O O I
This basic tearing-key covers all numbers from 1-8 inclusive. I suggest you get a double sheet of
newspaper and experiment with all eight numbers. Remember, when the key shows “I” place the piece(s)
in your right hand IN FRONT OF YOUR LEFT HAND PIECE(S). These pieces will be closest to your
body. When you see “O” place them BEHIND THE PIECE(S) IN YOUR LEFT HAND. These pieces will
be closest to your audience. Make sure your “force corner” starts in the upper right hand corner position!

Making The Tears For Numbers 1-8

Follow along with a newspaper in hand. Do not worry you will not have to memorize the tearing-
key. This is just to teach you how the basic system works. Later, I will teach you a way to do this without
having to refer to the complete tearing-key.

In this example, we will assume the chosen number is “four” and you want to tear the newspaper so
the force corner is placed fourth from the top of the packet.

Hold the newspaper fully open, as you would normally read it. The upper left-hand corner of the
paper is held by your left hand. The upper right-hand corner (your force corner) is held by your right hand.
Refer to Photo One for the correct starting position. The first tear will rip the double sheet in half along the
crease. You are tearing downward with the grain so the tear will be smooth and easy.

PHOTO 2

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PHOTO TWO: Tear the paper, pulling downward with your right hand. Once the tear is complete
you will have a piece of paper in both hands.

Refer to the tearing-key for Position 4. The first tear shows “O” so that means the piece in your
right hand goes behind the piece in your left hand. This will put the piece facing the audience. Remember
the left-hand piece(s) always remain stationary. It is the piece(s) in your right hand that either goes in front
or behind the left hand piece(s) depending on the tearing-key.

For the second tear, both hands come together at the middle of the top edge of the newspaper. The
right hand then tears the newspaper straight downward. Since you are tearing with the grain you will find
the paper will tear easily leaving you with two pieces in each hand. The next photo should help clarify this.

PHOTO 3

Refer to the tearing-key for the second tear. It shows “O” so that means the two pieces in your right
hand go BEHIND THE TWO PIECES IN YOUR LEFT HAND closest to the audience. Make sure that the
top straight edge you started with still remains at the top. So far you’ve made two tears, both with the grain,
leaving you with four long vertical pieces.

For the moment, continue to hold the four long strips of newspaper with the left hand at the upper
left corner and the right hand at the upper right corner. The short straight edges of the pieces are still at the
top.

Follow closely. With your right hand still retaining its grip, your left hand moves down the left edge
of the strips and stops slightly below middle. Your right hand then tilts the four strips downward to the
right. This will leave the long strips running horizontally to the floor. It is important to remember that the
long strips are always turned toward the right. This will place the “force corner” on the right side.

NOTE: It is important to note the “force corner” will always be in the right-hand pieces. The “force
corner” will never be in the left-hand pieces during the four tears of the newspaper. If the “force
corner” turns up in your left-hand pieces then you need to carefully go over these directions again.

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PHOTO FOUR: This photo shows how the four pieces are held after the strips have been turned to
the right. Notice that the “force corner” is still in the right hand.

Your right hand now goes near the middle of the horizontal strip and tears it downward in half. At
this point, you are tearing AGAINST the grain, but since the tear is only about six inches or so it tears with
no problem. In addition, since newspapers are normally folded in this position there will be a
PERMANENT crease in the paper at that point. This crease ensures a smooth and clean tear even
though against the grain. The next photo should help clarify this.

PHOTO FIVE
Refer to the tearing key for the third tear. It shows “I” so that means the four pieces in your right
hand go IN FRONT of the pieces in your left hand (closest to your body.) Make sure you do not reverse
or flip the pieces in your right hand. Just move them toward the left and place them in front of your
left hand pieces.

You now have eight pieces in your left-hand. Again, make sure that you have not reversed the
top edge. Finally, with your right hand tear the pieces downward in half again. You are tearing against the
paper’s grain, but the packet is so small that it should be easy to manage a straight tear downwards. Refer to
the tearing-key for the fourth tear. It shows “I” so the last eight pieces in your right hand go in front of the
pieces in your left hand (closest to your body.)

This will leave you with a packet of papers consisting of 16 pieces. See next photo for clarification.

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PHOTO SIX

THE COUNT-DOWN

Place the packet of torn pieces on a table so the piece that was facing your body is on top. The
“force corner” will now be fourth from the top of the torn packet. Count down removing one piece at a time
until you come to the fourth piece. This will be your “force corner.”

Making The Tears For Numbers 9-16

The tearing-key is the same for numbers 9-16; but you need to first convert the larger number to a
smaller number from one to eight. To do this you subtract the chosen number from seventeen. For
example if the person calls out eleven, you subtract that number from seventeen leaving you with six. Six
becomes the number you work with. Refer to the tearing-key for the number six and tear the newspaper the
way you would for that number. Here is the complete breakdown.

IF THE CHOSEN NUMBER IS

16 (17-16 = 1) Use the tearing-key for the number 1


15 (17-15 = 2) Use the tearing-key for the number 2
14 (17-14 = 3) Use the tearing-key for the number 3
13 (17-13 = 4) Use the tearing-key for the number 4
12 (17-12 = 5) Use the tearing-key for the number 5
11 (17-11 = 6) Use the tearing-key for the number 6
10 (17-10 = 7) Use the tearing-key for the number 7
9 (17 – 9 = 8) Use the tearing-key for the number 8

Let’s recap. If the chosen number is greater than eight, then subtract that number from seventeen.
Refer to the tearing-key for this smaller number and tear the newspaper accordingly.

HOW TO PUT THE TORN PIECES ON THE TABLE FOR LARGER NUMBERS

In these cases the packet is placed on the table differently. The packet of torn pieces is placed on the
table so the piece that was AWAY from your body (and facing the audience) winds up on top.

A QUICK REVIEW FOR ALL CHOSEN NUMBERS

IF THE CHOSEN NUMBER IS FROM 1-8: REFER TO THE TEARING-KEY FOR THAT NUMBER
AND TEAR ACCORDINGLY. Place the packet of torn pieces on the table so the piece that was facing
your body is on top.
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IF THE CHOSEN NUMBER IS FROM 9-16: FIRST SUBTRACT THE CHOSEN NUMBER FROM
SEVENTEEN GIVING YOU A SMALLER NUMBER FROM 1-8. REFER TO THE TEARING-KEY
FOR THAT NUMBER AND TEAR ACCORDINGLY. Put the packet of torn pieces on the table so the
piece that was AWAY from your body and facing the audience winds up on top.

THE IMPROVED STREAMLINED TEARING-KEY

When you first look at this key it may not make sense. Bear with me. In a few minutes it will make
perfect sense. You will find the tearing-key is easy to remember (or hide) and will allow most of you to do
the tear with only one quick glance.

THE KEY:

ODD/BODY ----END/IN
1, 2 - I I
3, 4 - O I
5, 6 - I O
7, 8 - O O

Making Sense Of The Streamlined Key

In an actual performance you will need to refer to the streamlined key and remember one thing. The
two symbols after one pair of numbers. There are only four choices: I I, OI, IO, and OO. These symbols
refer to the IN and OUT placement of the pieces as explained in the basic tearing-key. THESE SYMBOLS
REFER TO THE 2nd & 3rd tears of the paper. That is all you have to remember. You quickly glance
at the streamlined key and remember the two symbols for the chosen number.

The first two numbers with the comma, preceding the symbols, are potential chosen numbers. The
first row is for numbers “one and two.” If you refer back to the basic tearing-key, you will see that for
either “one or two” the 2nd and 3rd tear pieces always go IN toward the body. All you have to remember is: I
I.
The second row is for numbers “three and four.” If you refer back to the basic tearing-key, you
will see that for either “three or four” the 2nd tear pieces always go OUT away from the body. The 3rd tear
pieces always go IN toward the body. It’s the same for either number. All you have to remember is: O I.

The third row is for numbers “five and six.” If you refer back to the basic tearing-key, you will see
that for either “five or six” the 2nd tear pieces always go IN toward the body. (In front of your left-hand
pieces) The 3rd tear pieces always go out away from the body. It’s the same for either number. All you have
to remember is: I O.

The fourth row is for numbers “seven and eight.” If you refer back to the basic tearing-key, you
will see that for either “seven or eight” the 2nd and 3rd tear pieces always go OUT away from the body. All
you have to remember is: O O.

DEALING WITH THE FIRST AND FOURTH TEARS

The first and fourth tears are easy to remember. To help you I’ve devised a mnemonic aid to help
you remember. The mnemonic aid for the first tear is: ODD BODY. The placement of the first torn piece in
25
the right hand is based on whether the number is odd or even. After you make the first tear you will have
one large sheet of paper in each hand. If the number you are working with is ODD then the paper in your
right hand is placed in front of the piece in your left hand. That will put the piece that was in your right
hand closest to your BODY.

If the number is even then the piece in your right hand is placed behind your left hand piece, away
from you and closest to the audience.

When you hear the number think, is it odd or even? Then think of your mnemonic aid, ODD
BODY. If the number is odd you put the piece in front of your left hand piece so it will be closest to your
body. If the number is EVEN then it doesn’t go next to your body, but rather away from it. In this case the
piece is placed BEHIND your left hand piece. (All of the tearing directions in these instructions refer to
the performer’s view, not the audience’s.)

The number you will determine to be odd or even is the number you will use for the tearing-key.
This may or may not be the participant’s chosen number. For example let us say the number 12 is called out
(this is an even number). However, this number is not used for the first tear. Remember when you have a
number greater than eight; you subtract it from 17 first. (17-12 = 5) Five is the number you use for the
tearing-key. Five is an odd number so the piece from the first tear goes in front of the left hand piece.

Here is another example. Say the chosen number is fifteen, (this is an odd number). Subtract 15
from 17 first. (17-15=2) Two is the number you use with the tearing-key. Since “two” is an even number
the first torn piece goes behind the piece in your left hand.

This may seem a little confusing at first, but in reality it is very simple. Read it over a few times and
you will quickly grasp what you need to do. All you have to remember is ODD BODY and you will
immediately know if the first tear goes in front or behind the left hand piece.

THE FOURTH TEAR

The fourth tear is very easy to remember. Regardless of the number chosen, the pieces from the
fourth tear always go IN FRONT OF YOUR LEFT HAND PIECES. No exceptions. In our tearing-key we
use “I” to show that your right hand pieces go in front of your left pieces. Another way to think of this is
that the pieces go IN TOWARD the body. The mnemonic aid for this is: END/IN. The fourth tear ends the
tearing sequence. “End” sounds like “In.” So it helps remind you to put the last pieces in your right hand in
front of your left hand pieces.

MEMORIZING THE STREAMLINED TEARING-KEY IS EASY

You can have the tearing-key on a small card somewhere so you can secretly glance at it. However
you will find it is very easy to remember the tearing-key. Let’s look at it again.

1, 2 - I I
3, 4 - O I
5, 6 - I O
7, 8 - O O

There are four rows, the numbers run in order from one to eight. The first numbers running down
the rows are all odd. You can count by odd numbers in your mind, 1,3,5,7. There are only four rows. You
know that the second number in any row is the next number in sequence. For example five is followed by
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six. Spend a few minutes and you will find just how easy it is to remember the eight numbers. Since they
run in order, it makes it even easier.

The following should help make it easy to remember the Os and Is. Look at the streamlined tearing-
key again. The first row is I I and the last row is O O. If you spend a few moments looking at the tearing-
key the first and last rows will be quickly embedded into your memory. Most people have no problem
remembering the first and last rows. The problem for some people lies in trying to remember the second
and third rows. Here is an easy way to remember. Think of a penny and a dime. The penny is a smaller
value and comes first. The O I reminds you of .01, the sign for one cent (penny) in math. The I O reminds
you of .10, the sign for ten cents (dime) in math. So just remember in counting that one comes before ten.

Once you get a grasp on this, you will find that it is something you will normally always remember.
That means once this is in your mind, you can pick up a newspaper and do this effect almost anywhere.

If you do not wish to memorize the tearing-key, then place a cue-card with the key on it anywhere
you can secretly glimpse it.
_______________________________________________________________________________

PAINT CAN SURPRISE- A routine by Devin Knight & John Moyer


A ring, borrowed from a woman, winds up inside a paint can and is sprayed onto an index card as a
black circle. As the paint dries, the sprayed-on circle turns into the lady’s ring! Although a man’s
ring can be used, a woman’s ring is usually smaller and easier to use.

WHAT YOU NEED:


How To Make The Gimmicked Paint Can: Take a can of spray paint and spray all the paint out. With a
small cutting wheel, cut a V in the bottom of the can. Fold up the V so you can insert a small metal bolt
inside the paint can. This creates the loud clanking sound. After you insert the bolt, push the V cut back
flush with the bottom so the bolt does not fall out. This bolt can be stopped from rattling by the use of a
small magnet. Normally, paint cans have a glass marble inside and a magnet will NOT stop it. Cover the
bottom of the can with adhesive black felt padding. This can be bought in craft stores. This padding will
cushion the sound of the magnet when it sticks to the bottom.

Inside the cap of the paint can you will find a circular pit. This is there to protect the nozzle, and
most paint cans have these in the cap. Place a penny inside this pit and glue a circular piece of cardboard
slightly over the penny. This will allow the penny to slide back and forth and make a softer tingling sound
when shaken sideways.

Stack of Index Cards: This stack of cards is gimmicked like the old OUT TO LUNCH trick. There is a
half card with a black circle on it. The rubber band conceals the fact it is only half a card. The participant
signs the card on the other side of the rubber band. This is actually the card behind the half card. When
removed (explained later in the routine) it will be a blank card with her signature.

Magnet: You need a small strong magnet to stop the metal bolt from moving when stuck to the bottom of
the spray can. I RECOMMEND TAKING A BLACK MARKER AND COLORING THE MAGNET
BLACK, SO IT WILL BLEND IN WITH THE BOTTOM OF THE CAN. You can do the trick without
doing this, but it gives you more freedom in showing the can if you color the magnet black.

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A Marble: You need a marble that is metallic in color. This is apparently the ball that was inside the spray
paint can. These are made of glass, although they appear to be metallic. This way the marble will not stick
to the magnet.

How the Paint Can Works: You are able to make two distinct rattles with this can or no rattle at all.
Have the magnet on your table. It is small and will not be noticed. Shake the paint can with an up and
down motion, just the way you would normally shake a spray paint can. The lid is on the can. You will hear
a loud clanking sound. This sound is identical to the sound you hear when shaking a real can full of spray
paint. The audience will easily recognize this sound. When you shake the can, let the audience see the
BOTTOM and all sides of the can. You want them to realize this is a solid can with no opening. Normally,
they would not expect a hole in the can, as the paint would leak out.

You can even hand the can to the participant and ask her to shake it. This is very subtle and
indirectly allows your participant to hold and examine the can. Do not say examine the can, just tell
her to shake it well so the paint is mixed.

Place the can down OVER THE MAGNET, and it will stick to the bottom of the can. The felt
bottom will help cushion any sound. Also just placing the can down on the table will make a sound that
covers the sound of the magnet. Combined, no sound will be heard when the magnet attaches itself to the
bottom of the can. The bottom of the can is recessed allowing the magnet to remain out of sight. This also
allows the can to sit flatly on the table, even though a magnet is stuck to the bottom.

Pick up the can with the magnet now attached. Give the can a few sideway shakes. The audience
will still hear the metal bolt for a few moments. THIS LETS THE MAGNET ENGAGE THE BOLT.
Remember, shake the can sideways, not up and down. Once the magnet engages the metal bolt, you will
hear a different rattle sound. You will hear the rattle in the cap. The sound is different and distinct. Pause
and say something does not sound right. Shake the can again sideways, close to your participant’s ear,
telling her that it sounds like a ring inside.

Once the magnet has engaged the bolt, you can shake the can up and down as you did before. NO
LOUD CLANKING sound will be heard, just the softer rattle sound. This is VERY PUZZLING TO THE
AUDIENCE. If you have taken my earlier advice and painted the magnet black with a marker, you can
flash the bottom of the can, as the magnet will be invisible. If you did not paint the magnet black, then
shake the can keeping the bottom of the can turned away from the audience.

TO CREATE NO SOUND: Just stop shaking the can. Take the cap off the top. Lift it straight off and set
on the table. BE CAREFUL NOT TO RATTLE THE CAP WHEN YOU REMOVE IT. You will find it
very easy to remove the cap without causing it to rattle. Just remove the cap and place it on the table. Do
not really pay attention to the cap. Set it down and point to the nozzle, saying there is a hole there. You do
not shake the can yet; you will AFTER YOU HAVE APPARENTLY SPRAYED PAINT OUT.

The can will make no sound whatsoever. This is VERY BAFFLING to any audience at this point. If
you have painted the magnet black, you can hand the can to the participant and tell her to shake it. She will
shake it and no sound will be heard. You must be in control of the participant. Do not give her a chance
to look at the bottom of the can. She may see the magnet. Just have her give it a quick shake. Then
take the can back and set it aside. If you do not think you can trust your participant, then do not hand her
the can. Just shake it, even holding it near her ear as you shake it, so she can tell NO SOUND of any type
comes from the can.

Skilled performers, once they understand the workings of the can will most likely devise their
own handlings of the ring vanish and switch. For completeness, I am giving you the handling I use. It
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is easy to do, but requires you to wear a jacket. Other handlings are possible using your pants
pockets instead of a jacket.

Follow along with my handling, then either use it or revise it to suit your style. Several patter
themes are possible. I like using the theme of converting the diamond back to coal. Some comedy
magicians may prefer to say they are going to mark the ring using the black paint.

MY SETUP: I am wearing a jacket. In my left coat pocket is the stack of index cards. In my right coat
pocket, is a regular PEN; do not use a sharpie. I also place the small glass marble in my right pocket.

On my table, I have the can of spray paint. A few inches directly behind it, I have the magnet. Do
not place the can TOO close to the magnet as the magnet may jump to the side of the can.

SLEIGHTS USED: Simple finger palm and thumb clip of the borrowed ring.

THE ROUTINE:

Say you would like to borrow a woman’s DIAMOND RING. Look around the audience and, as you
do so, both hands go into your side coat pockets as if looking for something. Do not call any attention to
this just put your hands into your side pockets. The left hand pulls out the stack of index cards. BE SURE
TO KEEP THE SIDE WITH THE BLACK CIRCLE away from the audience. Place the stack of cards
directly in FRONT OF THE CAN OF PAINT. This way, when the paint can is lifted, the stack of cards will
keep the audience from seeing the magnet on the table. The right hand finger palms the glass ball and holds
it in the bottom two fingers. See Photo 1.

PHOTO 1

Using your right hand, curl the bottom three fingers concealing the marble and point to the person
you would like to have participate. This is very natural. When you point to someone, your fingers will be in
this position. As the woman comes forward, let your right hand drop casually by your side, keeping the
fingers slightly curled retaining the marble.

Extend your left hand and ask her to give you her ring. Ask her, “Do you know what diamonds are
made from?” She should say, “COAL.” If not, you tell her they are made from coal.

“A lot of people remember that famous scene from Superman, where he takes a chunk of coal and
exerts great pressure on it, and turns it into a diamond. Well, tonight I’m going to try to do that in reverse,
by taking this diamond and changing it back to COAL.”

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Keeping a straight face, you say, “I will do so with the aid of this black paint.” Now, reach over
with your right hand and take the paint can. Your right hand grabs the can NEAR THE MIDDLE with the
thumb and first and second fingers. The third and little finger are still bent in, hiding the ball. SEE PHOTO
2 FOR CLARIFICATION:

PHOTO 2

Shake the can as if mixing the paint. The ball is concealed behind the can, and everything looks
normal. If you are so inclined, you can hand the can to the woman to shake. Just keep the bottom two
fingers curled so you do not drop the ball. Believe me, if you do this with a straight face the audience will
howl with laughter.

The left hand, in the meantime, holds the ring. I prefer to hold the ring with the thumb pressing it
against the four fingers. Here are front and rear views. There is a reason for this, as you will see later. See
Photos 3 and 4.

PHOTO 3 PHOTO 4

After you stop shaking the can (or take it back from her), set it on the table RIGHT ON TOP OF THE
MAGNET. The ball is retained in the same position curled with the bottom two fingers of the right hand.
Bring both hands together, holding the ring with fingers of both hands on BOTH SIDES OF THE RING.
Bring the ring close to your face, as if examining it. Look at your participant and say, “Is this ring
valuable?”

Look STRAIGHT AT THE LADY, NOT AT YOUR HANDS as you await her answer. During this
moment, you execute a switch of the ring for the ball. Here is how.
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Your right hand THUMB CLIPS the ring as it apparently dumps it back into left hand. Actually, it releases
the ball into the left hand. The left hand comes up, and the fingers go back into the same position as before
with the thumb pressing against them. From the front, it appears you are holding the ring, although they
cannot see the top of it. The ball is at the base of the fingers.

Left Hand Appears to Hold Ring Thumb Clips Ring Dropping Ball in Left Hand

Regardless of what the woman says, you comment, “I will be glad to write you an I.O.U in case something
goes wrong.” As you say this (while still looking at the lady) your right hand goes to your right coat
pocket, leaves the borrowed ring, and brings out the pen, tossing it on the table beside the index
cards.

All the while the left hand has been in an upright position, as if holding the ring. The ring is now OUT OF
PLAY. You will find this switch of the ring is very clean, especially if you do it while asking if the ring is
valuable.

Look at your left hand, as if actually looking at the ring and say, “This next part is very difficult and takes
years of practice. I am going to spray only the diamond black, the rest of the ring will have NO PAINT ON
IT. I think you will be really impressed. As you say this, point to the fingers of the left hand with your
right forefinger, as if actually pointing to the diamond. This really helps create the illusion that the
ring is in your left hand.

Your right hand then goes for the paint can and picks it up. Start shaking the can. Remember the
magnet is now on the bottom. After a few shakes the magnet will engage the metal bolt inside and the
SOUND WILL INSTANTLY CHANGE FROM A LOUD CLANKING TO A SOFTER TINGLE.

PAUSE AND DO NOT SHAKE THE CAN. Have a puzzled look on your face and say, “That
doesn’t sound right!” During this time, the left hand remains motionless, as though still holding the ring.
LOOK AT THE PAINT CAN and give it a few shakes again saying, “That doesn’t sound like the ball does
it?”

At this point look at your left hand and slowly lower it so she can see the palm. Let her see the ball
and that nothing else is in the hand. “What! That is the ball from inside the paint can,” you say.

Drop the ball into your participant’s hand, letting it be seen that your hands are empty and the ring
is nowhere to be seen. Your right hand is still holding the paint can; just hold it in such a way that the

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participant can see nothing is concealed in your right hand. Remember, if you did not paint the magnet
black, be careful not to flash the bottom of the can.

“Wait a second, that sounds like a RING INSIDE THE CAN.” As you say this, shake the can again
allowing her to hear what appears to be a ring inside.

“Don’t worry, I can get it out. You see there is a HOLE IN THE CAN,” as you say this remove the
cap from the can and place it on the table. TAKE CARE NOT TO RATTLE THE CAP WHILE
REMOVING IT.

Point to the nozzle and say, “See there is a little hole there and I can get the ring out through there.
(Pause for laugh, as this line always gets a good laugh from the audience.) All I have to do is cause the
RING TO DISSOLVE AND SPRAY IT OUT WITH THE PAINT.”

CREATING THE ILLUSION THAT YOU SPRAY OUT A BLACK CIRCLE

The right hand is holding the spray can. Move the right forefinger and place it on the nozzle as if
you were getting ready to spray the paint. The packet of index cards is lying on the table with the black
circle against the table. Reach over with the left hand palm down and pick up the packet of index cards as
shown in the Photos 6 and 7. Turn the packet toward you so you see the black circle. BE CAREFUL NOT
TO FLASH THE CIRCLE TO THE AUDIENCE. As you turn the index cards toward you; your right hand
goes over to spray a black circle.

PHOTO 6 PHOTO 7

HERE IS THE SUBTLE SECRET: You are looking downward at the bundle of index cards. As
the circle comes into view, you move the paint can in a small circle mimicking the spraying of a small
circle. AT SAME TIME WITH YOUR MOUTH GO…Ssshhhhh. DO THIS ONLY FOR ABOUT
ONE SECOND. THIS SSSHHHH SOUND, SOUNDS JUST LIKE THE PAINT COMING OUT.
Remember, your head is looking downward as you spray the circle. This is the way it would be in real life.
The audience hears a quick spraying noise, sees the can moving in a circular motion, and then sees the
black circle. The illusion is perfect and fools them every time.

WHY THIS BLUFF WORKS: Remember, the audience thinks this is a real can of paint. You have said you
will spray some paint out. You pick up the index cards and apparently do just that. They have no reason to
think you made the sound with your mouth.
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TIMING: This is the hardest part. You need to time this so that as your left hand picks up the bundle and is
turning it over you start spraying the paint. The left hand continues turning the bundle over, showing the
black circle. You will find with a bit of practice you will create the illusion that they saw a blank card
(since they saw the blank back of the bundle) and that they visibly saw you spray the circle. The sound
bluff, plus the fact they see the circle completes the illusion.

TIPS ON MAKING THE PACKET WITH THE BLACK CIRCLE: The black circle on the half index
card is not really paint. It is made with a black magic marker. I like to put two bands on the packet. This not
only helps to conceal the seam but also is an added precaution in case one of the bands were to break during
the presentation. You can create a warp in the card with the black circle by leaving it in your bathroom near
the shower for a day or so. It will create the warped look you would get if the card were actually spray-
painted.

THE ROUTINE CONTINUES:

Remember, you said you would spray the ring out of the nozzle. The audience YET DOES NOT
KNOW what you will spray. As soon as you have sprayed the circle, turn it toward your participant and
say, “There is your ring.” Keep a straight face while you deliver this line. This line normally gets a laugh
from the audience.

Say, “Before I give you the ring, you will need to sign for it. Here, sign your name right here. Hand
the pen to her. Still holding the packet of cards, have her sign the blank section on the other side of the
rubber band, opposite the black circle. The index cards are being held in your left hand. Once she does this,
your right hand grasps the card by the signed edge and starts to pull it out. As you do this the left hand turns
toward you so your particiapant sees the BACK OF THE INDEX BUNDLE. Do this until the signed card is
completely removed. The left hand then places the bundle face down on the table concealing the black
circle. The right hand must be careful NOT TO PREMATURELY FLASH the face of the signed card
exposing the fact that the black circle is now gone. As most of you will realize this is the OUT TO LUNCH
move. See the Photo 8 for clarification on how the card is removed from the bundle.

PHOTO 8
INDEX BUNDLE IS TURNED AWAY FROM AUDIENCE VIEW

After you have placed the index cards on the table, the right hand transfers the signed card to the
LEFT HAND. The left hand moves the card back and forth as if drying the paint. Be careful NOT TO
FLASH THE FACE OF THE CARD.

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BRINGING THE RING BACK INTO PLAY: Remember the ring is in your right coat pocket. As your
left hand is waving the card to dry the paint, the RIGHT HAND PICKS UP THE PEN AND RETURNS IT
TO THE POCKET. Do not make a comment about this, just do it.

Once your right hand is in your pocket, FINGER PALM YOUR PARTICIPANT’S RING. Once
you have palmed the ring, remove your right hand from your pocket. The left then places the index card
on top of the finger-palmed ring in your right hand concealing it from view.

Although I have explained this in detail, the above is all done at the same time and only takes
about 2 seconds. After the card is removed, the left hand waves it to dry the paint, with your right
hand returning the pen and stealing the ring. The left hand covers the ring with the card and you are
ready to proceed.

Ring Concealed Under Lower Right Corner – Left Hand Folds Upper Half Down

Reproducing The Ring:

There are several ways to do this. The quickest and easiest is shown in the above photos. The card is
over the ring. The lower right corner and fingers conceal the ring. The left hand then bends the extended
end downward folding the card in half. The ring is now inside the folded card. Your fingers conceal the
bulk from the front. Look at the participant and say, “Of course when the paint dries it changes back into
your ring.”

Have her extend her hand and dump the ring into it. Hand her the index card to unfold and she will
see the circle has vanished.

An Advanced Way To Reproduce the Ring

This way is more difficult, but is very amazing. In this version, the card is folded in quarters and
shown to be completely flat. The card then swells and the ring falls out. Your participant unfolds the card
and finds the circle gone, but her signature remains. Here is how to do this version. You start as in the
above photos and fold the card in half. The card is then folded in quarters. YOU DO THIS BY FOLDING
THE LEFT SIDE OVER TO THE RIGHT. This will put the ring into the lowermost section of the index
card. The next bit is very clever and is based on the beveled illusion base. In the beveled illusion base the
front edge is narrow but the rear is wide because of a bevel. We apply this technique to the folded card.

Pinch the folded card so the fingers and thumb hold the upper three sections. The lower section
hangs downward and has the ring in it. You will find that if you tilt the index card just right, you will see
the TWO FLAT EDGES and this creates the illusion that the entire card is flat. Look at the next photos to
see how amazing this looks. You will have to experiment a bit in front of mirror to see how to hold the
card, but once you learn the angle the card looks totally flat even though it contains a ring.
34
THIS IS THE FRONT VIEW SHOWING HOW THE EDGES LOOK FLAT

REAR VIEW SHOWING THE GAP AT THE BOTTOM THAT HIDES RING

Just fold the index card into quarters with the ring in the lower section. Hold it so she and the
audience can see the illusion that the card is FLAT. Do not say the card is flat; just let them see it.
Obviously, it should be flat; so you do not have to tell them just to show them.

To create the illusion of the SWELLING, just turn the card slightly exposing the buckle and release
pressure on the edges so the card starts to open on it. Done properly it appears that the card is swelling.

Look at the woman and show her the flat card and say, “As soon as the paint dries it changes back
to your ring. Look it’s happening…” Turn the index card so the bevel appears and release the pressure
creating the illusion that the card is swelling with something inside. Have her hold out her hand and dump
the ring into her hand. Give her the card to unfold, and she finds the circle is gone.

POKER TELLS
Effect: The performer states that some card players seem to have psychic ability. These card players
can correctly sense the cards in an opponent’s hand. The performer says he would like to try an experiment
to see if a participant has this ability to detect playing cards sight unseen. He shows four opaque envelopes
and removes the four aces from a deck. The four aces are then placed inside the envelopes and mixed so the
participant has no idea which envelope contains which ace. The envelopes are placed in a row in front of
the participant. The participant is asked to guess which ace is in each envelope.

35
The participant points to one envelope and tells the performer which ace he thinks is inside. The
performer then writes the suit of that ace on the outside of the envelope. This is repeated until each
envelope has a suit written on the outside of it. The performer fans out the four envelopes, allowing the
participant to see the suits written on each envelope. The performer states that he only needs three
envelopes for the first phase of the test. He tells the participant to remove one envelope and place it aside as
his lucky card. Assume he placed aside the envelope with Hearts written on it.

The performer opens each of the three remaining envelopes and shows that the participant has
correctly guessed which ace was in each envelope. This is amazing in itself, but the real kicker is yet to
come. The performer says no one could have known which envelope the participant would place aside. The
participant then picks up the envelope that was placed aside and opens it. The performer does not touch
the envelope. Inside is the correct ace, but there is also a slip of paper with a handwritten note. The note
says: This card was placed aside as your lucky card. It is the Ace of Hearts. The participant can then
verify the other three envelopes are empty and devoid of predictions. He may fully examine both the
envelopes and four aces.

GIMMICKED MARKER: The main gimmick used in Poker Tells is a special black marker that does not
write. This marker has been left uncapped to dry up the ink. The tip has been coated with a CLEAR NAIL
POLISH. I suggest you rub the writing point back and forth over a sheet a paper prior to doing the trick.
The reason for this is that sometimes the marker, after sitting for a period of time, will leave a faint mark
when you write with it. A few quick rubs across a sheet of paper will ensure no ink will come out later
when you perform the effect. Over time you may find it necessary to re-coat the tip of the marker with clear
nail polish. I recommend the quick drying nail polish that dries in less than a minute. When storing the
marker always leave it uncapped. This will ensure that the marker continues to dry out. Only put the cap on
before you perform the effect and after you have tested the marker to be sure it leaves no mark.

PREPARING THE SIX ENVELOPES

You will need six small manila envelopes for this trick, along with a rubber band. The size I buy
from office supply stores is normally: 28-lb., Size #5 3-1/8 x 5-1/2 inches. These envelopes should last you
a long time, as you never actually mark them while performing the effect. Once the envelopes are prepared,
you can use them repeatedly. You will write the name of a different card suit on the fronts of four
envelopes. The other two envelopes will be left unmarked. These will be used to create the illusion that all
the envelopes are blank at the start.

The placement of the writing on the envelopes is of great importance. The writing must be in the
MIDDLE of the envelope and go from one narrow side to the other. Take four envelopes and write one of
the four suits (Club, Heart, Spade, and Diamond) on each of them. You will need the top area of the
envelope to be blank, so you can create the illusion that there are no marks on the fronts of the
envelopes during the routine. Photo 1 should make everything clear.

PHOTO 1

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THE FOUR ACES AND DECK SETUP: Any deck can be used, since it is ungimmicked. Remove the
KD, QD, JD, and 10D from the deck. These four cards will be hidden in the card case. Tear off the two end
flaps from the top of the card case. Place the four diamond cards inside the case, face down, as shown in
Photo 2. Next fold the flap of the card case over so it goes inside the case and on top of the four cards.
Refer to Photo 3 for clarification.

PHOTO 2 PHOTO 3

Remove the four aces from the deck. Also remove the cards: KS, QS, JS, and 10S. Reverse these
four spade cards in the middle of the deck. Place the four aces face down on top of the deck and return
the deck to the card case so the deck goes on top of the flap. Refer to Photo 4. When the deck is removed
from the card case, the folded in flap will prevent the four diamond cards from falling out. The card
case flap will spring up, concealing the diamond cards from view.

PHOTO 4

NOTE: When either the Ace of Spades or Ace of Diamonds is added to the matching suit of four
cards, you have the highest hand in poker, a royal flush.

Finally, take a piece of blank unlined paper. It can be any color. Cut out a slip about two inches
square. Write on it with a marker: This card was placed aside as your lucky card. It is the Ace of
Hearts! See Photo 5. Place this slip inside the envelope with Hearts written on the front. Do NOT fold
this slip. Doing so could cause the Ace of Hearts to jam when you insert it into the envelope.

PHOTO 5

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THE ENVELOPE STACK: The four envelopes with the names of the suits written on them are in the
standard CHaSeD stack. This is a well-known sequence used with many stacked decks, so most magicians
are already familiar with this. It is easy to remember the order of the envelopes by thinking of the word –
Chased. Here is how it works:

Clubs
Hearts
a
Spades
e
Diamonds

STACKING THE ENVELOPES

The packet of six envelopes should be placed in the following order. The smooth sides with the
writing are facing downward. The backs with the flaps are facing upwards. From the top down the packet
of envelopes is stacked as follows:

1-Envelope with Club written on the front


2-Envelope with Heart written on the front (this has the prediction slip inside)
3-Envelope with Spade written on the front
4-Envelope with Diamond written on the front
5-Blank Face Envelope
6-Blank Face Envelope

Put a rubber band around the packet of envelopes and you are set to perform.

PERFORMANCE SCRIPT
Tell your participant you would like to try an experiment to see if he has the ability to sense playing
cards sight unseen. Bring out the packet of rubber-banded envelopes and the deck of cards. Gently shake
the case so the deck slides forward. Remove the deck, leaving the four hidden diamond cards inside the
case concealed by the folded flap. The flap will spring up hiding the cards from view. Set the case aside
with the flap end away from your participant. It should just appear you are setting the case aside. Odds are
the diamond cards hidden in the case will not be used in the effect.

While doing this, casually allow both sides of the card case to be seen. This is so no one will later
think you had a prediction label hidden on the outside of the case. This is especially important if
doing this for another magician or a lay person who may own the popular Mental Choice trick.

Deal the four aces off the top of the deck face up in a row. This will allow your participant to see
both sides of the aces. This is important. Some lay people are familiar with Mental Choice as it is often
given away at trade shows as a free gift. It is also found in one form or another in almost all magic
sets. These people know that one of the three predictions is on the back of one card. If a participant
who knows Mental Choice later thinks back, he will realize there was NO prediction hidden on one
side of an ace. It will also puzzle the magicians who own Blindsight.

“We are going to be working with the four aces, as they are the easiest to visualize. Since there is
lots of white space around the pip, I have found that most people have the best luck receiving a mental
image with the aces.”
38
The envelopes are stacked from the top down in the CHaSeD order. You are going to show the
envelopes to be normal in a subtle manner. Remove the rubber band and turn the stack over revealing the
blank front side. Hold the stack in your left hand and push over the top envelope taking it in your right
hand. This leaves the other blank envelope on top of the stack. Hold the envelope in your right hand up
toward the light and show your participant that the envelope is opaque. AFTERWARDS, REPLACE
THIS ENVELOPE BACK ON THE PACKET IN ITS PRIOR POSITION. When the packet is turned
over, the blank envelope will be back on the bottom of the packet again.

“These envelopes are opaque. That means you cannot see through them, UNLESS you happen to
have X-ray vision.”

You are going to place each of the aces into the envelopes one at a time. Remember, you have to
pick up and insert each ace in the CHaSeD order so they match what is written on the face of the
envelope.

Turn the packet of envelopes so the flaps are facing up and the front side is facing down. Hold this
packet of envelopes in your left hand, with the flaps facing toward the participant. Open the flap of the first
envelope. Insert the Ace of Clubs face down into the envelope. This envelope has Club written on the front
of it. Slide the envelope forward about 2 inches and tilt the packet of envelopes upwards. The writing is
concealed as it is on the middle of the envelope. This allows the participant to see the other side again.

“Because the envelope is opaque, you cannot see which ace is inside the envelope.”

Photo 6 is what your participant sees. This helps creates a visual illusion that the participant is
seeing the entire front of the envelope.

PHOTO 6

Turn the envelope packet back over and continue to slide the envelope off and drop it on the table so
the flap side is up. Be careful NOT to flash the writing on the front of the envelope.

What you have done is to create the illusion that the front of the envelope is blank. Note this bit of
business has allowed your participant to see the front of the bottom envelope. You have slid off the
top envelope containing the ace for about two inches. You have said, “You cannot see the ace through
the envelope.” YOU HAVE NOT SAID THE ENVELOPE IS BLANK, only that he cannot see the ace
inside. Later, when he thinks back he will remember he apparently saw the blank face of the
envelope when it was placed on the table.
39
Take the Ace of Hearts and insert it face down into the next envelope with Heart written on it.
This envelope is the one that has the secret UNFOLDED prediction slip inside of it. There is no need to
show your participant that he cannot see through the envelope again. Just do it with the first envelope. Drop
it on top of the Club envelope on the table. Next, take the Ace of Spades and insert it face down into the
envelope with Spade written on it. Drop that envelope on top of the other two on the table. Finally, take the
Ace of Diamonds and insert it into the envelope with Diamond on it. Drop the envelope containing the Ace
of Diamonds on top of the other envelopes. This will give you a packet of four envelopes on the table.
Great care must be taken to ensure that you do not prematurely flash the writing on the front of the
envelopes.

You will be left with two regular envelopes in your left hand. Toss these aside so the front blank
sides are face down also. You may be tempted to turn them face up so the participants can see the blank
fronts. THIS IS NOT A GOOD IDEA. If these two are face up, your participant may wonder why the
others are not also. Leaving these two envelopes with the fronts down keeps things consistent.

Now pick up the packet of four envelopes and quickly mix them in your hands. Keep the front edges
tilted downward. You must not flash the writing on the fronts of them. Afterwards, deal them into a row
facing the participant, as shown in Photo 7.

PHOTO 7

THE ROUTINE AND HANDLING:

Reach into your pocket and bring out the MARKER THAT DOES NOT WRITE. Uncap the marker
and point it toward the row of envelopes on the table.

“Please point to an envelope and tell me which ace you think is inside.”

Pick up the envelope he points to in your left hand with your palm going over the top. Refer to
Photo 8. Turn it toward you so you can see the suit written on it. You must be careful NOT to allow
anyone to see the face of the envelope. You alone will see the suit written on it.

PHOTO 8: Left Hand Picks Up Envelope with Palm Downwards


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One of two things will have happened. The suit written on the envelope may match the one just
named. This is what you are hoping for. The other alternative is that the suit written on the front does not
match.

Either way, you do the same thing. Take the marker and WRITE ON THE ENVELOPE the suit he
just named. For example, if he named Heart and the envelope has Spade on it, just take the marker and
pretend to write the word Heart on the envelope. Actually spell the suit, allowing the point of the marker to
press against the front of the envelope.

NOTE: No ink will come out of the marker, but an astute participant watching you closely will see
and hear the motions of the marker writing. If he is pencil-reading, he will see that you are writing
the correct letters. This is what throws off many mentalists.

OOPS, THE MARKER IS REALLY MARKING!

This could happen because you forgot to check the gimmicked marker before the show or the nail
polish has worn off and needs to be replaced. Regardless, you start to write and suddenly you see a mark.
Do not panic. Just raise the marker slightly off the envelope and extend your forefinger so it touches the
envelope. Spell the word with the marker as your fingernail scratches the envelope, creating the sound of
writing. The marker never touches the envelope. After the show, test the marker by rubbing the marking
point back and forth against a sheet of paper. Do this until all the residual ink is gone and no marks come
out. If need be, coat the tip again with clear nail polish.

IF THE SUIT IS THE SAME AS YOUR PARTICIPANT NAMED

After pretending to write, casually flash the front of the envelope as you point to the row asking him
to pick another envelope. This must be done in a subtle way. Do not point out that you wrote what he said.
This should be a given. Just POINT to the row with your left hand. The palm of your left hand covers the
flap side of the envelope. Your participant will see the written suit is the same one he just named.

IF THE SUIT IS NOT THE SAME

Then you do not flash the front of the envelope. Instead, keep the front of the envelope hidden as
you ask him to point to another envelope. Your left hand, still holding the previous envelope, reaches over
and picks up the envelope so it goes on the bottom. Refer to photo 8 for the correct position of the left
hand. Turn the bottom of the packet toward you. Be careful NOT TO FLASH THE WRITING. Ask your
participant to guess which ace this is. WRITE THE SUIT HE JUST NAMED, so any pencil-readers can tell
you wrote the correct suit.

If he is correct, then you proceed to flash the front as you again point to the row. If not, repeat the
procedure just mentioned for when the ace does not match.

This procedure is repeated until you have written on all four envelopes. You will have a packet of
four envelopes in your left hand. The envelopes are being held by the sides PALM DOWN. Your left hand
slightly spreads the envelopes, flips them over, and tosses them casually on the table so they are spread out
showing the writing. This way nobody can keep track of which envelope was which. All your participant
sees is four envelopes with writing on them. Everything appears as it should be.

Your motivation for tossing the envelopes on the table is to free the left hand so it can recap the
marker and replace it in your pocket.

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Pick up the four envelopes and spread them in a fan in one of your hands so the writing is
uppermost. Ensure when you pick up the envelopes that Club is on the bottom and Diamond is at the top of
the fan. See Photo 9. The two middle envelopes MUST be the Spade and Heart envelopes. The order
does not matter. You just need to make sure Spade and Heart are in the middle; that way they are
MOST LIKELY TO BE CHOSEN.

PHOTO 9

Follow closely. You have three predictions; all the aces except for the CLUB are covered with
predictions. WE NEED TO TAKE THE CLUB OUT OF PLAY. You need to have one envelope set aside.
THIS ENVELOPE CANNOT BE THE ONE WITH CLUB ON IT! Here is how to ensure that.

“We only need three envelopes for the first phase. PLEASE TAKE ONE.”

PAUSE HERE FOR A BEAT DEPENDING ON WHAT YOUR PARTICIPANT DOES.

The odds are great that your participant will take one of the two middle envelopes. He will almost
never take the bottom envelope containing the Ace of Clubs. The Ace of Spades and the Ace of Hearts
are the two most popular aces. This fact helps increase the odds that he will take one of them.

IF HE TAKES EITHER THE AH, AS, OR AD


“Thank you. THAT WILL BE YOUR LUCKY CARD! Please place that envelope aside for now. We
will get to it later”

IF HE TAKES THE CLUB ENVELOPE FIRST

Immediately say, “Okay, that is one, now take a second one.”

Allow your participant to take a second envelope. He will now have the Club envelope and any other
suit. You are left with two envelopes.

“I have two left; choose the third one you want. The last one will be placed aside as your lucky
card.”

AS HE GOES FOR THE THIRD ENVELOPE AND TAKES IT, YOU SAY, “Are you sure? You can
still exchange it for the envelope left in my hand. Otherwise I will place this one aside as your LUCKY
CARD.”

If he wants to exchange, go ahead and let him exchange. The effect seems even more impossible if he
does exchange. You can point out later that he changed his mind! Set aside the envelope that he did
not choose.

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Either way you have placed an envelope aside and it will NOT BE THE CLUB ENVELOPE. This
technique for taking the Club envelope out of play was developed with the help of Mel Strouse. You are
now ready to make the revelations.

THE REVELATIONS

Remove the aces and show they match. You only have to be careful when removing the Ace of
Hearts, if this is one of the three envelopes you will open. This envelope has the small prediction slip
inside. When you remove the Ace of Hearts make sure you keep the envelope tipped upward so the
prediction does not fall out.

At this point you have revealed that your participant has correctly guessed all three aces. This is very
impressive in itself, and you give the participant ALL THE CREDIT. Now you take some credit by
saying:

“You got all three aces correct, so obviously the fourth envelope must be correct. I had you place
one aside to be your lucky card, because if you did get three correct, then the fourth one would be
anticlimactic.”

Revealing The Final Prediction


Your Participant Placed The Ace of Hearts Aside:
This ending allows the other three envelopes to be shown empty after you remove the aces. At this
point three aces will be on the table. Go back and point out that each envelope is empty. They really are.
Show them again if you wish to really stress the point. I sometimes do. Tell your participant you put a
prediction slip inside one of the envelopes.

“I was so sure you would place the Ace of Hearts aside, that I made a prediction. I put the
prediction inside one of the envelopes. Look, these other envelopes are empty. Would you pick up the
envelope that was placed aside? I do not wish to touch it. Remove the ace and the prediction inside. What
does it say?”

Have your participant pick up the envelope marked Heart. Point out that you will NOT touch the
envelope. Have him remove the ace and look inside the envelope. He will see the slip of paper. Have him
remove it and read it aloud.

Your Participant Placed The Ace of Spades Aside:


This is my personal favorite of the three possible endings. It is unusual and creates a real kicker
finish. Remember, the balance of the deck is still on the table uncased. No attention is called to the deck
UNLESS the set-aside card is the Ace of Spades.
“I was so sure you would place the Ace of Spades aside, that I made a prediction. I reversed four
cards in this deck beforehand. These four cards are a prediction; they form part of a poker hand. If I
predicted correctly, your lucky card will make this a winning poker hand. Please remove your lucky card
from its envelope and place it face up on the table. Let’s see what I predicted.”

Turn the deck face up and spread it across the table, revealing four face down cards. See Photo 10.
Be sure to FULLY spread the deck so your participant can see there are only four cards reversed. Remove
each face down card from the deck and place it still face down next to the Ace of Spades. Square the deck,
turn it over so it is face down and spread the deck again, pointing out that no other cards are
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reversed. This bit will fool magicians who think you are using double-face or double-back cards so you
can show two different predictions. Do not overlook showing the other side of the deck. This convinces
everyone there were only four cards reversed in the deck. Finally, turn over the four face down cards,
showing that they complete a royal flush in spades.

“That is the highest possible hand in poker. The Ace of Spades really was your lucky card!”

PHOTO 10

Your Participant Placed The Ace of Diamonds Aside:


This is the ace least likely to be placed aside due to its initial position; still, the revelation is very
strong.
“I was so sure you would place the Ace of Diamonds aside, that I made a prediction. I left four
cards inside the card case. These four cards are a prediction; they form part of a poker hand. If I predicted
correctly, your lucky card will make this a winning poker hand.”
“Please remove your lucky card from its envelope and place it face up on the table. Let’s see what I
predicted. Please pick up the card case, as I do not wish to touch it. Remove the four cards inside and add
your lucky card to the poker hand. You have formed the highest possible hand in poker. The Ace of
Diamonds really was your lucky card!”

RETRO-SIGHT LIST OF SYMMETRICAL WORDS

Print these worlds in bold capital letters using a marker. You can copy them on regular blank index
cards. Be sure and keep the words centered. When a word is turned upside down and reflected in a
mirror it will appear normal.

BIB BID BOX BED BODE BIKE BE


BOOK BEE BEECH CHICK CHOICE CHIDE CODE
COCK COOK CHOKE CHECK DICE DECK DIKE
DEED DID DOCK DECIDE DICKIE EKE DIE
DECODE ECHO HOE HE HOOK HEX HIE
HOOD HICK HICKIE HOOCH HIKE HID ICE
KID KICK ODE OX CEDE HEXED I
OHIO BOXED BEDDED BODED BOOKED CHIDED
CODED COCKED COOKED CHECKED DICED DEEDED
DOCKED DECIDED EKED DIED EKED DECODED
ECHOED HOED HOOKED HOODED ICED KIDDED

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