Cards in Magic & Conjuring: page 101

Twenty-one original and impressive card effects plus eleven new, practical, useful, simple sleights by these two masters of the art of card magic.

Paul Fleming wrote:

An Ambitious Card routine which cleverly uses the Card Box to heighten the effect.

1st edition, 2004.

The performer takes a deck of cards, lets the spectator pick a card and gives it back. The performer then takes the card, rips it into 4 pieces and slowly, one by one, the cards morph back into place as they started out even before they were ripped. At the end of the routine, the dents are visually ironed out and, in the spectators hands, is their card - perfectly normal!

1st edition 2004; 24 pages.

This is a wonderful presentational idea for the "Invisible Deck". (If you do not know what the "Invisible Deck" is ask around or visit a dealer. It is a very common prepared deck of cards.)

This routine will require some creativity on your part, but more so on the spectator’s part ... but this is part of the fun. It can really go anywhere and it’s usually just as interesting to the performer as it is for the participant.

1st edition 2008; 3 pages.

Raphael's routine is a great effect and it should immediately score a big hit! - Aldo Colombini

Paul Curry invented this effect when he was just 25 years old. It is one of the most well known and probably most often performed card effects today. A classic through and through. An incredibly strong effect paired with a most simple method. You can't find much better card tricks.

The effect as Curry describes it:

Allan Ackerman discusses five types of palms: magician's palm, gambler's flat palm, Tenkai palm, clip steal, gambler's cop. He addresses bad habits, mistakes, and use philosophy.

runtime: 6min 6s

To do the tabled faro perfectly - a 26/26 weave - is very hard to achieve consistently. However, often you only need to faro a portion of the deck and not the entire deck. A partial tabled faro is relatively easy to learn.

runtime: 4min 54s

The ATFUS or Any Time Face-Up Switch was one of Marlo's favorite moves. Literally, hundreds of routines have been created that use the ATFUS. It allows you to switch out one or several cards during a fair face-up display action.

runtime: 6min 33s

This is a very versatile switch allowing you to switch out one, two, three or four cards from a block of four. Allan got his inspiration from a 3 for 3 switch by Al Leech. One of the interesting parts of this video is that Allan shows the various transitions of his development going from Al Leech's move to Allan's final version.

runtime: 7min 36s

A card is chosen and signed and lost in the deck. The card travels repeatedly to the performers pocket in ever cleaner and more unbelievable fashion.

runtime: 4min 12s

This is the classic travelers plot from Dai Vernon, based on a handling by Jon Racherbaumer with some changes by Allan Ackerman. The four aces are lost in the deck at four different locations. You then pull out one ace from your right jacket pocket, another ace from your breast pocket, the third one from your left jacket pocket and the fourth one is left in your hand while the rest of the packet has magically traveled to your jacket pocket.

runtime: 2min 40s...

This is a routine Allan Ackerman developed in the early 1970s where he tried to achieve the cards across effect with as little motion as possible. He also added a visual card vanish. Later Paul Harris took this routine and turned it into his famous Sleeper routine.

A spectator picks a card. A second spectator cuts off a small portion of the deck, counts the cards, and puts the counted cards in a safe place. The performer then attempts to magically add as many cards to the second spectator's pack as the value of the card the first spectator chose.

The performer hands 6 cards to a spectator who arranges the cards in red-black alternating order. The performer openly counts those six cards to the table. Once the cards are ribbon spread on the table the colors have, like oil and water, separated.

This is a very clean sequence that can be added to most oil & water routines or performed stand-alone. The oil & water effect is an Ed Marlo creation. This version uses the Benzais cop to achieve the effect.

runtime: 1min 28s...

Spectator chooses a card, remembers it, and the card is lost in the deck. Then the performer places cards one by one on the table until the spectator says: "Stop!". Magically the spectator has stopped exactly at his chosen card.

This version of the Stop trick uses the Benzais Cop to achieve the effect.

runtime: 1min 49s

Spectator cuts the deck into four piles of approximately the same size. Performer puts one ace on each pile, assembles the piles and without any funny business the aces end up at the very top of the assembled pile.

This is an application of the Benzais cop.

runtime: 59s

The 'card under drink' plot was made famous by Heba Haba Al (Al Andrucci) in the 1960s. Ever since it has been a favorite of bar magicians all over the world. Here Allan teaches a version that uses a misdirective idea by John Bannon. The effect is clear and devastating. A chosen card unexpectedly ends up under a drink (glass, can, etc.).

runtime: 2min 11s

The 'card to wallet' effect is one of those all-time classic magic effects. It is probably the best application for palming. A spectator freely selects a card, signs it, shuffles the pack, and magically the chosen and signed card ends up in a zippered compartment in your wallet.

runtime: 2min 49s

This is a beautiful Larry Jenning routine where hand progressively gets better and better starting from a simple pair all the way to a straight flush.

runtime: 9min 32s

This is a patter line used by Paul LePaul. It can be used in combination with a glide, second deal or double lift. Allan uses here a mechanical second.

runtime: 47s

This is an idea by Steve Mayhew. He turns the classic Triumph effect into something entirely different. A face-up half of a deck is shuffled into the other face-down half. The performer then demonstrates center dealing only the face-up cards. The last face-up cards coming out of the deck are the four aces leaving the performer with only face-down cards.

runtime: 4min 53s

This was a favorite effect of Ed Marlo. The performer looks through the cards and selects four random cards which he puts face-down in front of the spectator. However, once the spectator turns those cards over they are now all aces.

runtime: 2min 15s

The roles are reversed. The performer selects a card and the spectator finds the card by selecting a number, dealing to the number and indeed finding the selected card there.

You will need to know the Pip Bottom Deal to perform this effect.

runtime: 3min 28s

Spectator selects and remembers a card that is lost back into the deck. Another spectator deals cards into the performer's hand and stops anytime they want. The card stopped at is the first spectator's chosen card.

This version uses the Havana Bottom Deal. This video does not include a detailed explanation of the Havana bottom deal.

runtime: 3min 1s