OFFICIAL I.C.O.M PAST LESSON ARCHIVE
Advanced Lab 4/98-6/98
I.C.O.M Is thrilled to present a NEW principle in card magic. This is a reputation maker for any who wish to develop it. The real wonder of this trick in not just in the title, but in the fact that in all the years of magical history, no one has ever thought of this before. Mega Kudos’s to Ron for providing this first-class educational effect exclusively to I.C.O.M members. Just goes to show you the brilliant mental workings of the man we call Ron. We are all lucky and grateful to have him on our team….BJG
(The Card Trick With a Twist…Half Twist That Is!)
THE ONE WAY WONDER DECK
Ronald J. Dayton
One of the first self-working card tricks I can remember learning involved a row
of several face up cards on a table. While your back was turned, someone was to turn
one of the cards around, end-for-end. When you again faced them, you were able to
name the card they turned.
The method was very, very simple. Certain cards within the deck are one-way cards. That is, the way in which they are printed will have the majority of pips at one end of the card, or pointing in one direction. Take a five of clubs for example. Three of the clubs on the card are pointing toward one end, two toward the other. If you were to have say, seven one way cards lying in a row upon your table, and someone secretly turned one of them a half turn end for end, you would be able to tell at a glance which card had been moved.
Years later, I now found myself wondering if this principle might not be done with a full deck. Don’t ask me why. It’s just one of those questions I find myself asking myself!
The first thing I had to do was to take a careful look and see how many cards in a deck were actually one way cards. I was surprised to find that if I included the jokers, there were twenty-four cards. But how does a person go about interspersing the cards in a deck of fifty-four cards (jokers included remember) when one portion consists of twenty-four cards and the remainder equals thirty? This was a problem which turned my initial question into a real challenge.
First of all, let’s take a look at the one-way cards in a deck. They are: AH, AS, AC, 3H, 35, 3C, 5H, 55, SC, 6H, 6S, 6C, 7H, 7s, 7C, 7D, 8H, 8S, 8C, 9H, 9s, 9C, joker, joker.
Study these cards and become very familiar with what makes them a one way card, and in which direction they must all face so they will all read as one way cards at a glance, and any reversal of any card can be instantly detected. Then, with all the one way cards stacked in a packet, all facing in the proper direction, you may begin assembling your deck.
I will put the one way cards you will be reading in ( ) in the lay out chart I am about to offer. An explanation of WHY only certain ones are being used will follow later. The order is as follows:
(AH), 2C, 6H, (6C), 3H, 4C, (AS), 5D, QC, (7S), lOD, 4D, (5C), 2S, KD, (6S), 3D, 4S, (7D), 9D, QD, (7C), JS, JH, (8C), QH, 1OH, (3C), KS, 2H, (3S), KC, KH, (9S), 6D, AD, (AC), lOS, 4H, ( joker ), 2D, JC, (5S) 8D, 10C, (8S), QS, JD, (9C), 5H, 7H, ( joker ), 8H, 9H
As you can see, in order to make the alternating order of the deck follow the sequence of one way card followed by two ordinary cards, I chose to eliminate all hearts EXCEPT the AH, as a one way card. You must train yourself to look at all of the hearts except the AH, and see them as an ordinary card, and not a one way!!
The title, The One Way Wonder Deck, is of course said in a tongue-in-cheek manner. Today, just as in decades past, many effects were built up for better sales by using grandiose titles. Naturally, you would want to purchase the secret to a miracle rather than an everyday, run-of-the-mill effect. But even though the set-up for this particular deck may not be a wonder*…it IS an effective exercise in learning how to think your way through the creation of an effect.
We have taken an older principle and tried to expand upon it. We’ve looked at the variables, and the things which needed to be modified to make it work. Now we will look at what the actual handling will be.
With the deck set-up in the order given in the previous chart, AH being the top card of the deck, the 9H at the front of the deck… you are ready to put the deck through its paces.
Since the deck runs in an endless chain, you may feel free to cut and complete the cut as often as you like. It will not disturb the order of the cards.
Cut the deck several times, completing the cut each time. Explain to the spectator that while you turn your back, he is to cut the deck at any point he chooses, then look at the card on the front of the packet he lifts away. He is then to turn the packet he holds clock-wise, a half turn end-for end, then replace it on top of the lower half. The full deck is squared up so no clue is given to where his chosen card is.**
Now, when you turn again to face the audience, you are able to pick up the deck, run through it from hand-to-hand, and eventually, name their chosen card.
You already know the answer. As you are looking through the cards, you are looking for the first one way card in reverse order (facing the wrong way) within the deck. When you come to it, you know one of three things. IT may be the cut to card the spectator glimpsed, or one of the two cards immediately before it. In other words, you have three cards to consider…only one of which is the chosen card. Play the revelation of the card in a humorous manner. Pull one of the three from the deck, and ask if it is there card. If they say no…slip it back into the pack at a different point in mock disgust. Do it again with a second choice. If you fail, it will only get funnier to your audience. Eventually, you will be down to one and only one card of the three. You will succeed…and they will applaud your determination.
With the proper handling, this can be turned into a funny and commercial effect. But the real thrust of my offering this to you was to emphasize the thought process involved in attempting to devise a new effect. Take a look at it for yourself. Perhaps there is something more which I may have missed. Explore the possibilities and see what it will do.
* I beg to differ. This can be a killer principle in the right hands….Ron may a bit too modest here! BJG
**An alternate handling would be for the magician to have the deck in his possession the entire time. When the card is selected, the magician secretly reverses the deck and then has the card returned. This is similar to the handling of a card when selected from, and returned to a stripper deck. BJG
We are very pleased to introduce an advanced handling of Ron’s deck that was graciously contributed by Paul Hallas. An I.C.O.M member from the United Kingdom. This is worth serious study.
Thoughts On The “One Way Wonder Deck”
Looked at Ron’s One Way Deck idea. Here’s an idea for that. Cut the middle card
of the three possibilities to the bottom of the deck. Show it as their card, if they
say “No” feign surprise, “No, what card did you look at?” Turn
the deck down, if the card they name is the one below the card shown, do a glide
and apparently remove it to the table commenting “One down only 51 to go!”
Dribble the cards from hand to hand, ask the name of the card again then click your
fingers over the tabled card and have them turn it over.
If the card they name is now the top card of the deck, say, “Not only have I found your card I’ve magically changed it to the (name the bottom card just shown). Do a color change to “change” it back and prove you weren’t kidding. Or take the bottom card and drop it face up on top and do Al Smith’s P.C. Change.
Another idea for a selection procedure, with the deck tabled, have the spectator cut the deck and complete the cut. Pick up the deck and hold it in dealing position, instruct the spectator, “This time I want you to cut off a portion of cards and remember the face card like this” cut some cards and look at the face card yourself for a few seconds to illustrate then replace them. As the spectator cuts off some cards you table those in your hand in the following manner; the thumb goes underneath the left edge of the remaining cards and starts to lever them upwards, the fingertips grip them against the thumbtip and the hand revolves palm down placing the cards on the table. This is like the Carslyle paddle move usually done with business cards to show both sides the same but here you’re not drawing attention to that just tabling the cards. Don’t even look at your hand as you do it, just ask the spectator if he has his card in mind. This simple movement, over in a second has reversed the orientation of these cards.
Instruct the spectator to replace his cards and straighten up the deck. Have him give the deck another straight cut and complete it for good measure. The cards start and finish on the table, your handling of them seems unimportant, seemingly just to demonstrate what they were to do so is
Pass these thoughts onto your members if you wish or bin them*, whatever. Hope you had a good Easter,
*Many thanks Paul! By the way…we could never “bin” brilliant ideas like yours!…BJG
I.C.O.M is pleased to introduce a series of excellent moves by Remon van Scheijen of Holland. Remon produced all of the following photos himself. This took a lot of work and we would like to extend our congratulations on such a wonderful job!!!…BJG
The Swing Cut To Bottom Palm
Remon van Scheijen.
This is my second contribution to card magic on the Internet. Unlike my first
contribution (a triple false cut). This one comes with a trick. This Cut to
palm is designed for one special trick I’ve put in my repertoire. Because
I’m a lousy side stealer, I was looking for a easy palm. While I have no difficulty
performing it, to write the explanation was a hard task, but read on. If you have
any questions on this trick or palm, just e-mail me with your question(s). I hope
to answer satisfactory. The making of the pictures was the hardest task because everything
goes in one smooth move. Well Let’s go on to the explanation.
Goal: While pattering chit-chat you perform a simple swing-cut. In the act of cutting the deck you palm the bottom card into the right hand and establish a left pinky break to keep the top card under control.
If you look at picture 1 through 4 you’ll see some stages in which a swing cut is made.
Picture 1: The deck is cut in half with the index finger of the right hand and swiveled to the left (a standard swing cut).
Picture 2: The bottom half of the deck goes on top of the left hand packet.
Picture 3: The cut is completed and the deck is squared.
Picture 4: Conclusion: The deck is back in the right hand in Biddle position and a card is palmed in the same hand. And you’ve established a thumb break at the position of the top card.
Now see how it looks at the underside. In picture 5 you see the beginning of the swing cut it self. The right hand swivels the top half to the left. The left hand is not in the picture for clarification purposes. The right hand receives the packet as in picture 1.
In picture 6 the left hand receives the right hand bottom packet. This is the
moment that you almost palm the entire card. The middle finger of the left hand pushes
the bottom card back to the right hand. The pinky of the right hand is used as a
pivot point. This is to control the card automatically to the standard palm position.
At the same moment the left hand pinky enters between the two packets to prepare
for a coming pinky break. This is the hardest part of the trick so practice, practice,
practice, and when you’ve got the feeling just practice one more time. Remember
the bottom card should be sliding in position. It’s not the force that you use but
the smoothness that does the trick.
Now in picture 7 you can see why I prefer this palm above a side steal. in the side steal I do 1 in 10 times there is a click when the card comes loose from the center. If you know Daryll’s video tape of the side steal he explains that sometimes you can hear the magician side stealing across the room. Well this move prevents me for clicking it because when the right hand packet enters the left hand the two packets are still separated, this way the card slides more easily to the right hand palm position. It’s very difficult to explain for me because I’m dutch, and don’t know the right words to choose here. Anyway, most important is that the card is palmed just a moment AFTER you finish the cut so before placing the packets together. The thumb of the left hand and the index finger of the right hand holds the top packet (formally the bottom packet) steady. This way you prevent the cards from shattering through the room. The thumb of the right hand is also holding the the top packet.
Now finish the cut by squaring the packets together. The pinky break to control
the top card is established easily because the pinky was already where it should
be. Because the right thumb was holding the the top packet only you can transfer
the pinky break directly to a thumb break. Cool ah. This leaves the left hand
free. And the finish should like figure 8. My patter through this sequence is :”
What would you like to see? you’re card fly through the air invisible or would you
like to see it fly visible”. Well anyway the trick and explanation are coming
up so the sentence will make sense in a moment.
Figure 9 The recap. Look at the freeze action. 1. Right pinky is used as pivot point 2. Left pinky enters between the packet before they are closed. 3. Left middle finger is sliding the bottom card. In the Picture, I hold the deck at an angle. Something you must NOT, I repeat, NOT do. But it’s a nice try. Hope you can follow the explanation. “If not then don’t do the trick”.
Remon van Scheijen
Two cards are selected by two spectators. When the crowd is asked if they would like to see a card fly visible or invisible the magicians compromises and shows both ways. First invisible and finally visible. Both ways are very impressive and if you do it with the right attitude they’ll be talking about you for a long time. I’m interested in a English patter line so make one up and email me. Well bla bla bla here is the explanation.
First let two spectators pick two cards and let them sign if you want with a magic marker. Control both cards to the bottom of the deck in you’re favorite way. I use the overhand shuffle (I.C.O.M Sleight-Of-Hand Gallery) Fig.#24 or Hindu shuffle control Fig. #53. I like to control cards as simple as possible. So don’t use fancy stuff because that will be coming up next.
When the cards are on the bottom of the deck you ask the crowd if they’ll like to see a card fly visible through the air or invisible. At the same time you perform the Swing cut to palm. The patter line is the misdirection. So you control while spectator 2 is still signing his card. Take the magic marker back. Control the second card to the bottom in a easy quick way. For the second control I use a tilt to bottom but I don’t put it on the bottom but let it slip above the first selection, an easy task if you now tilt to bottom. Ask them, involve them, look at them and wait for response. If you do it right there will be too much misdirection which will be pleasant. You should notice that if you need the misdirection for this sleight you should not perform the trick but practice till you can read the newspaper, and perform the cut palm smooth at the same time.
No matter what the spectator’s response you say ” OK OK I’ll compromise” (sometimes this is funny because everybody for example said they wanted it to see a visible flight). Continue “I’ll show you both. First Invisible then visible”.
You’ve got the packet in the left hand with a pinky break above the top card. And the first selection palmed in right hand.
Now here is the use for the pinky break. You’re going to perform a stretch cut which is going to put the selected card that is not palmed in you’re hand back to the bottom. As soon as you perform the stretch cut the palmed card is bend away from the palm just as in the invisible color change. The right hand index finger snaps the card in to view while the left hand is completing the stretch cut. The back of the selection will show if done proper. Ask the spectator to tell the card he or she choose and show you found it.
The second selection is back again on the bottom of the deck. To let it fly visible I use the HOT-SHOT Cut from Daryll’s Encyclopedia of card magic video series. I’m not going to make the effort to explain it because I think you should make the effort to buy the tape (Look for the HOT-SHOT Cut). It’s one of the best investments in magic I’ve made so far. Daryll does a very good explanation of this sleight. At the end of the page you can see a freeze action of this sleight. It looks like the card comes from the middle of the deck and it fly’s through the air. The right hand catches the card. WOW!. Don’t think it’s hard to do. Once you’ve got the feeling it’s easy. Well enough praising the lord. When you perform it well the spectators will gasp for 30 minutes and they’ll think you take of like Copperfield. Hope you enjoy the trick.
Stretch cut from pinky break.
The stretch cut from a pinky break is not difficult at all if you can perform the stretch cut. The only difference is that you cant use you’re pinky and thumb at the same time. Picture 1 shows the first part, the left hand holds the deck with a pinky break between the selection and the top card. The right hand has the first selection palmed.
In reality the right hand hangs loose along you’re side. In picture 1 you see
both hands close together for explanation purpose only. The stretch cut you’re about
to make is the misdirection for the card palmed in the right hand.
Picture 2 shows that first the left thumb is going to begin the stretch cut. The break established by the pinky is been taken over by the thumb. Only short after this you can leave the pinky to begin the stretch cut as in picture 2.
Fig 3,4 and 5 shows the performance of the stretch cut. After this give the left hand a throwing action with a shake. At the same time the right hand reaches in the air where the card should be if it really flew through the air and produce the card as told before. Everything goes in a quick action. It’s like you’re picking a card from thin air.
Anyway this little change on the stretch cut will be quickly learned if you can
already perform the needed cut. If you concentrate on producing the selection and
you don’t have to worry about the stretch cut then it looks really cool. Please if
you got suggestions or a way to perform anything at all in a more simple way I would
like to receive you’re comment. Hope to read something from you in my email.*
*You may reach Remon by using the Virtual Lesson Link below or through the VM link page on the Inner Sanctum Main Page. Also, look for more of Remon in the June edition of the I.C.O.M Advanced Lab!
Those lucky enough to be I.C.O.M members at this time will be thrilled with the following effect. Rarely does a strong trick like this come out when the subject matter is so hot in the public eye. We thank Ron Dayton for sharing this fine performance piece with us. Due to the popularity of the movie, this effect may be the feature of your close-up show! Make the most of it!….BJG
“The Unsinkable Card Trick”
Ronald J. Dayton
People seem to enjoy magic with a look, feel, or theme they can relate to. Many
times, you may draw upon popular stories or events of the time to inspire just such
an effect. Recently, the movie, Titanic has been one of the largest grossing movies
of all time. It’s difficult to find a person who hasn’t seen it…and since it is
in the minds and on the lips of so many, I felt it might be a good premise for an
As you no doubt already know, there is a strong romantic theme built into the movie, designed to act as a sub-plot, and means to endear the viewer to the main characters. It is an important element in the card effect I am about to offer as well.
EFFECT: a deck of cards is lying face down upon your close-up mat. A single card, the Queen of Hearts is propped face up, at an angle, against the end of the pack nearest the audience. The card is picked up and turned over, revealing a brilliant blue, heart shaped gem stone affixed to the center back of the card.
After pattering for a while about the lovely lady adorned by the icy -blue jewel, the card is placed face down on the deck. A lady from the audience is asked to assist by pressing down upon the jeweled heart with her finger. In that instant, the magic happens!
When the card is removed from the deck and turned over, it is seen to be an entirely different card. The Queen has obviously been lost when the ship went down.
Picking the deck up, it is held face down at one end between the thumb and fingers of the left hand. The left thumb is on top, fingers below. Using the right hand thumb, the free end of the deck is given a quick riffle. Mysteriously, a card partially emerges from the deck. without removing or revealing it, the deck is turned end for end, and the opposite end is riffled in the same manner. Yet another card emerges.
Not one to be perplexed, you explain that it is known the mighty ship went down in Two pieces…and were found in different areas of the ocean floor. So it is with the missing card. One by one, the card s? are removed, and revealed to be torn portions of a single card. These pieces are placed face down upon your mat. When the matching pieces are turned over, they are found to be the vanished lady.
METHOD: The top card of the deck has a bit of magician’s wax or post-a-note glue on its back. A duplicate queen has been torn in half earlier and placed face down at opposite ends within the deck.
The vanish of the queen is automatic once it is placed on top of the adhesive top card. When you riffle the end of the deck…the half section will also automatically try to shoot from within it. In essence, other than for the romantic patter line you must devise for this, you have a highly visual, self-working effect. This gives you freedom to concentrate on presentation.
The gem-like heart shaped plastic stones are available at any large craft store. Simply use a bit of glue to mount it to the back of the Q-H. Enjoy!
Other thoughts and variations,
As a variation on the manner in which the queen of hearts is vanished, you might
want to consider this. The propped up queen is actually two cards displayed as one.
The queen is directly in front of the gem stone indifferent card. The card on the
top of the deck is still prepared as in the original version.
The difference in this instance is, after you place the doubles on top of the deck, and the lady from the audience presses down upon the jewel…she may then remove the top card herself to make the discovery that the lady is gone!! Much better, wouldn’t you agree.!?
The queen and the third card are now the attached doubles. With the female assistant holding the ungimmicked single , indifferent gem card….you are free to casually lift and reveal a few extra random cards from the top of the deck. This is a convincing show that indeed, the queen has vanished.
I must say that I REALLY like this routine. Even though it will take a small amount of preparation, I can see this being a real reputation maker. So without further adieu, I.C.O.M is proud to present…Remon….Round Two!…..BJG
Remon van Scheijen
Effect: The magician is at a party and a birthday man/woman is asked to
participate in a trick the magician made especially for him/her.
He takes out a deck of cards. 7 envelopes which are sealed with each a telephone number inside. A matchbox which contains some matches.
He asks the spectator to take a random card from the deck and put it in his right back pocket without looking at it. The magician proceeds asking the spectator to take a random number of matches from the box. The number of matches choose is used to count to the envelope of his/her choice. The magician asks him to keep the envelope and proceeds by showing what is in the envelopes he didn’t choose. When the spectator opens his envelope it shows a telephone number which he should dial. On the other side a answering machine is telling that he has the king of clubs in his pocket. When the spectator is looking in his pocket it shows to be the right card.
– A deck of 52 Different cards (normal deck)
– 7 Envelopes or folded papers which bears the following messages:
#1: Every telephone number. (In Holland 06-8008 is a telephone number you can
dial to get information about somebody’s telephone number you are searching, this
is why I wrote 06-8008 on the card. You should fill in the number of you’re local
#2: Disturbed number. On the paper are all kind of numbers criss-crossed written over the paper.
#3: #900 number. Write a 1-900-Astrology or (???) number on the page.
#4: Time. Write the telephone number on the paper that will say the time when you dial it. In Holland it is 06-8002.
#5: Alarm. write 911. in Holland it is 112.
#6: Secret number. Do not write a number in this case only write down the text. This will be a good gag in you’re patter line.
#7: ?(question mark). Here you write down you’re own home number.
It’s obvious that the spectator will end up with card number 7. This is the force envelope
An answering machine connected on you’re own telephone number which contains a message to the man/woman. Something like :”Hello Michael and for the card in you’re right back pocket it is the King of Clubs just like you are”. If it is a girl you could say something with a Queen of hearts. In any case you should make you’re own message. Poems, Songs etc etc everything can be on the message.
The Matchbox which should contain exactly 11 matches.
This is a trick I made up for an adult birthday party of a good friend of mine. When I performed the trick everybody went nuts and talked about it for hours. The biggest surprise for me was to hear everybody saw the trick like a mental one something I had not foretold myself. In any case I have performed the trick several times now and due to its simplicity it has a great impact on the audience.
Take out the deck of cards, matchbox, and the envelopes. Tell the spectator that you will perform a trick you invented especially for him. Ask the rest of the audience to create a circle around the spectator and listen carefully (try to be emotional so everybody will be quit and all can appreciate the effect most).
You must have your force card on top of the deck (King of clubs). Force the king of clubs to the spectator in you’re favorite way. But don’t use a quick force like the riffle force or something alike. I like to use the Cut-Deeper force for this particular trick. Tell him not to look at the card but put it in his back pocket immediately.
Now the matches are used to determine a number. To force the number card I used a trick from the book Scarne on Card tricks. The trick is called It’s a Natural. Place the envelopes as a group on the table the envelope which contains your phone number should be lying third from the top. After the spectator removed a number of matches you count them to yourself. That’s all there is to it. the rest of the trick is worked by using either the number remaining in the box or the number that the spectator took out the box, and by counting the envelopes face up or face down.
Counting the envelopes will always be done by putting a counted card to the bottom of the heap again. Here are examples which are covering the force.
A) If the spectator removes 0 Matches then use the matches in the box 11 will be the key number. Count the envelopes (force envelope third from top) and take the card after the counted 11 cards this will be the telephone card.
B)If the spectator takes all matches out say ok we use that number which will be 11 to determine the envelope. Do the same thing as in example A.
C) 1 match is taken out the box. Use the remaining 10 matches turn over the envelope heap and count down to the tenth card which will be the force envelope.
D) 10 matches are removed. Use the removed matches and proceed as in example C.
E) Nine or two matches. Count down two envelopes and take the third.
F) eight or three matches. Count down to the third card take the third.
G) Seven or four matches. Use the number four. Turn over the envelopes and count to four and take the fifth card.
H) Six or five. Use the number five. Turn over the envelopes and count to the fifth cards.
In any case the spectator winds up with the force envelope. Now open the envelopes he didn’t choose and show what he missed and make a gag about all the telephone numbers that you should dial if you had chosen that envelope. Than let him open his envelope and say the question mark means that you should dial the number to find out what it means.
There is no noise and everybody will be concentrating and straining there ears to hear what there is on the other side of the phone. Perform the trick to see what kind of reaction you will get.
If you have any comment or suggestions to this trick email me.
Remon van Scheijen.
The Daily Hot Shot.