52 Memories by Jack Parker

CONTENTS qexgp \, u /a\ '. es that are explained in context are indented below the routine in which they are explaine

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CONTENTS qexgp \, u /a\



that are explained in context are indented below the routine in which they are explained.



- Small Packet Miracles

TumbleGem Switch (lack Parker) Rhod Show variant (Daniel Rhod) Combo Count (Daryl Martinez) Olram Subtlety (Edward Marlo) Swivel Switch (Brother |ohn Hamman)


Rhythm Count (Larry |ennings) Rising Crime Display (Daryl Martinez) Strip-out Addition (Dai Vernon) Gemini Count (Brother ]ohn Hamman)

Mechanical Switch / Elmsley Count variant (Karl Fulves) "For Marlo" switch (David Regal) Stanyon Count (Ellis Stanyon) The Display Load (Christian Chelman) All For One Switch (Jack Parker)


Chapter 3 - Tricks with a Full 52 Open Display (Arturo de Ascanio) The Discrepant Fat Block Switch (John Bannon)

Convincing Control variant (Edward Marlo) Book Break Glimpse (Tenkai Ishida, Arthur Buckley & Edward Marlo) Mexican Turnover

No Fuss Switch (Jack Parker) Strip-out Addition (Dai Vernon)

Push-In Change (Frederick Braue handling)

Backwards Prophecy (Steve Beam)

Interlock (Dai Vernon) A Radical Change (Richard Kaufman) Breakless Curry Change (Edward Marlo) Force-Eps (Ken Krenzel) Ascanio Spread variant (Paul Harris / Ricardo Wecksler)

Whiskers Split ()ack Parker) Head Over Heels (Simon Aronson) Covered deck reversal

Chapter 4 - Magic from the Lamp Biddle Steal (Elmer Biddle and Tony Kardyro)

No Fuss Switch (|ack Parker) Rhumba Count (|ean-Pierre Vallarino) Hamman Count (Brother |ohn Hamman) Wiggle Display (Bob Stencil)

Diminishing Lift sequence (Edward Marlo) Veeser Concept (Bob Veeser)

Cross Cut

/ Criss-Cross Force (Max Holden)

Olram Subtlety (Edward Marlo) Underbelly Sequence (|ack Parker) - hapter 5 - That

Little Something Extra

Emergency Change (Al Smith lDarylMartinez / Father Clprian) "Hi Ho Silver" move (Paul Harris) Spider Vanish (Edward Marlo / Walter Gibson)

\-ersatile Outjog Control variant (Frank Simon)


Elmsley Count Backwards Christ / Annemann Alignment Move . uble-Back Trilogy (Persistent Offenders, More Effort Less Magic, The Heist) ....... Sloppy Zaruow Addition (Herb Zarro:w and |ack Parker) Three-Card Ascanio Spread (Arturo de Ascanio)


................... 1,;-i

'-hapter 6 - Assemblage TumbleGem Switch (lack Parker) Pirouette Double (|ack Parker) Injogged Flip-over (|ack Parker) Tivo-Card Catch (Johann Hofzinser) Optical Rhythm Count (Allan Ackerman) Block Mexican Turnover

: tl.\-


End Grip Steal (fack Parker) Misdirection Spread (fack Parker)

Chapter 7 -The Old Itch Again

Chapter 8 - You Plus One

Olram's |inx Switch (Edward Marlo)

Chapter 8 - Essay by fack Parker Inspiration, Perspiration and Astonishment



FOREWORD Gonr:olq{ Bnucr

q8x9p \, u /a\

-..:rough it is said that one cannot teach an old dog new tricks, this (middle-aged) dog has recentlr'learnt slrii , .--ellent new tricks. These are the creation of my very good friend |ack Parker.

:en I first met |ack I had no idea what to expect, though Peter Dulfie and Kevin Fox had told me I shouic ,:tch out for |ack Parker." We first met in Glasgow and ]ack made an instant impression. He is a real -:1ileman with a repertoire of outstanding card magic, performing quietly and without ostentation. Iack Io,- ., -- : tr\-€r and over again, with immaculately constructed routines; some of the most refreshing and oriqina-..:erial I've seen in the last twenty years. '.

-:-< sent me some of his material and I was more than impressed. Each effect was carefully put together an; - ','l)'s with a clear, direct effect. It would be tempting to draw analogies with |ack's training as an architect,


.:d tbundations, clear lines and so on, however

I suspect he is a good architect

because he is a great


: " -\pparently he also changed the other three Fours to lacks, What a show-ofl" Put the deck aside for a moment and pick up the small packet, flipping it face up. Execute an Elmsley Count to shorv three face-up |acks and a face-down card. Upjog the face-down card as you come to it, then strip it out anc drop it face up on top of the packet. This is |ohn Bannon's "Discrepancy City Display" - a favourite sequence oi Tack's.

Smile at the audience and raise your eyebrows again, then pick up the phone as you say something like,

"Sltox,boaterl" Pretend that your friend has told you something else, then put the phone back down and flip the packet you hold face down. Deal the top card of the packet onto the table as you tell your participant, "He wants vott to take one of the lacks and put your hand on top of it."

Continue talking on the phone, "OK Page 72

- |ack Parkert 52 Memories


we've had one of the lacks taken out of the packet. No, we don't know

thich one it is - you said not to look!" Address your participant again and talk as if you're repeating Tomas' astructions;"He says turn up the other three and work out which one is under your hand. Err - we have the lack iHearts, Clubs and Spades so it's a Diamond under there." Act excited and put the phone down, as you say,"He *;s he just changed that lack for one of the Fours that vanished earlier. Did you feel anything? Well, take a look." hhen he turns over the card under his hand, the participant will see that it has indeed changed to a Four. Hck up the phone again and continue your conversation, "Thanks Tomas. I think we have a believer here now. l-ou what? Yeah, actually I am kind of curious where you put the other Fours. Where are they?" Look at the anrdience and say, "He asked if I wondered where the other Fours disappeared to. You won't believe this. He says lure's one in the middle of the pack over there, the wrong way up. Can you have a look?" Let the participant ryread through the deck to find the card, then continue," Ap\arently there's one under the card case ... " Pick up


card case to show a face-down card underneath it, then ask the participant to pick up the card and check that

r's a Four. Finally, pretend to listen on the phone for a moment and finish with,"And thefinal one is inside the case. No rnTf'Ask the participant to look inside the case and take out the card. They will find the final Four which you :hen drop face up with the others. You end the trick clean but with a large pan-dimensional phone bill.



fack's preferred method of setting the two cards up before the trick is to have a red and black Four on top of the cased deck. He removes the deck at the start of his performance, leaving the top card behind in the case. and then holds the case above the deck for a moment and steals away the top card as he closes the flap on the case. He then tends to



few other tricks before moving on to "Long Dimension Phone Call."


With just a small tweak, you can change the |ack of Diamonds (or Hearts) under the participant's hands to the Four of the matching suit (instead of just a random suit). You do this by removing the red Jack of the opposite suit of the red Four which you remove second at the start of the trick.


If performing the routine impromptu (without the opportunity to load a card in the box), you may like to look into )ohn Bodine's, "Call Me, No Wait, I'11 Call You" from Cheetah's Handbook by )amie Badman and myself (2005). Not only does it fit well into this context, but sets you up perfectly to perform this routine.


[f there's an appropriate moment or distraction during the performance, you can pick up the card box and casually place it aside, turning over the box as you do so. This allows you to have one of the Fours appear face up on top of the box, instead of below it.


You can of course use any name for your pan-dimensional friend, but Iack uses Tomas as a dedication to his session-buddy Tomas Blomberg with whom he has worked on hundreds of tricks.


. .

|ohn Bannon's "Discrepancy City Display" can be found in his booklmpossibilia (1990). The basic mechanics of the Push-In Change first saw print in August Roterberg's New Era Card Tricks (1897). The handling most used today is actually Frederick Braue's and was first published under the name Fritz Braue

in the fuly, 1938 issue of Genii magazine (Volume 2, Number 7).


This trick - along with the presentation


was first published in Sef to



Page 73 - |ack

Parkert 52 Memories

ATONE TN THE DARK qex9p \, u /a\

Are you sitting comfortably? |ack often likes to experiment with tricks that make use of stories and charming presentations. This is one of his favourites because the presentation attempts to give what is generally a very dry effect (an impossible location), a little more emotional impact. It's specifically suited to when you are performing a trick for just one person in a quiet setting. Even if you don't want to use |ack's presentation, the incredibly clever method can be applied to other tricks.

MEMORY mind on a journey into a classroom and asks her to imagine writing a number between one and fifty-two on a blackboard (let's say she imagines writing the number eight). |ack then asks that she count down to that location in the deck and remember the eighth card. The participant then gets to fairly lose the card into the deck by mixing up the cards as much as she likes. After a fantastic presentational build-up, |ack then makes a magical pass over the deck and explains that he's reverted everything back to horr it was moments ago. The participant is asked to count down to the eighth card in the deck and turn it over. Unbelievably, it's the card that she selectedl Jack takes the participant's

STTIGHTS USED None. This one's for the no-sleight crowd.

METHOD Before you begin, you need to know the top and bottom cards of the deck. |ack simply places a red Ace on top and another red Ace on the bottom so that he doesn't have to rely on memory.

in front of your participant and say, "I'd like you to imagine that you are a teacher in a classroom full of children. It's bright and noisy. On the desk in front of you is a deck of cards. I'd like you to pick up the deck and pull a block of cards out from the centre. Take a decent-sized portion." While there are no constraints on the number of cards the participant can take, it is recommended that you try to coax her into removing around fifteen to twenty-five cards. Place the deck on the table

Say,"By taking the cards from the centre we all know that they are completely random. Now, count your cards - be sure to count out loud so the rest of the class can hear!" Wait for her to count the packet (let's assume that she counted twenty cards), and then continue, "Twenty cards? Fine. Imagine writing'twenty' on the blackboard behind you in big white numbers so everyone can see. Then shuffle the twenty cards and think for a moment what the children and I know. "The only thing that we can know is you have twenty cards. We don't know what cards or what order they are in

Page74 - lack Parker's 52 Memories

picked them at random andhave shuffled them. I want you to now delete the only piece of information t have. So, can you please cut a small packet from the cards you hold back onto the deck. Now nobody, not even :u, knows how many cards you put back or how many you have left in your hands. Turn around and erase the ':g number you wrote on the board before. We now know nothing; not the quantity, nor the cards, nor the order. ;othing. :uce you


\ext, I want you to imagine qll the children leaving the classroom. Then + all the lights except your small desk lamp. Class is over for the day.

close the blinds, shut the door and


In a moment you will remember one card from that packet. But I tnt you to think of a card that only you can know. Nobody else in the classroom, or indeed the world will know \at that card is. What you will do is deal the cards you hold slowly down onto the table one at a time, turning .ich one face up as you go and counting them in your head; one, two, three and so on. When you get to a point '::at only you know, remember the card and what number it is at. However, do not stop dealing. Continue going ':ght through the packet until you have dealt them all into a face-up pile. By doing this nobody on Earth can . ';ow which card you chose to remember or what position it was at. I will look away and leave you alone in the :..tssroom before you start dealing." Shufrle the packet of cards you hold again.

Jefore the participant starts to follow your instructions, turn away and shield your eyes. It's important to do this :etbre she starts dealing so they know you can't peek any cards. This eliminates the method most people "in the .row" will think you are using, which involves looking at a card during the deal. With your back turned and :'.'es averted, continue, "When you have dealt all the cards, turn the pile face down. Now turn to the imaginary '.tckboard and write your card and the number it was at in small letters in the corner. The room is dark and no

\e can see, but make it small and hide it with your hand as you write. When you are done, turn around quickly ;nd put your back against the board so nobody can see what you wrote. Keep the number and the card in your .:ind.

\ow, cut about half of the cards off of the rest

of the deck that is on the table and drop them onto your pile. -ten drop the rest of the deck on top of all. Remember, you shffied the cards. In fact, you have now cut the cards ':peatedly. Nobody can know what card you're thinking of or what number. It could literally be any of those fifty-',,.'o cards. The knowledge is only in your head and on that blackboard behind you. Now imagine leaving the cards tt

your desk and


your eyes."

turn it face up, and spread through until you see your irst key card (in |ack's case, a red Ace). Say,"You're standing there in the silence and darkness, thinking of your :wd and number. You become aware of a sound; the sound of the cards mixing and moving around - just as you :rn hear the cards now." Count how many cards are between the key cards (don't include the key cards, the red ,\-hen the participant closes her eyes pick up the deck,

\ces). For explanation purposes, let's say there are seven cards between the key cards. Remember this value then )quare up the deck.

>ay,"Alone in the dark with only the soft sound of the cards moving all by themselves," then start counting again :rom the face. Begin your count with the first card (face card) and simply carry on counting from seven (or .rhatever number you arrived at earlier); with the face card being number eight, then continue counting until '.-ou reach the value that she named at the beginning of the trick (twenty in this description). Cut the deck at :his point so the card at position twenty ends up at the back of the deck, then place the deck face down onto the :able.

Page75 - fack Parkert 52 Memories

Speak slowly and quietly as you say,"And then they stop. Silence. You open your eyes. The decklooks the samesitting there on the desk just as it did before. But you know something has happened in the darkness. The cards have re-ordered themselves. You tentatively take the cards and slowly deal down from the top, counting in your head as you go, until you reach the number in your mind. A number only you can know. You take the card at tk: position. In your mind, the name of your selection becomes louder and louder as you slowly turn the card over; a card that can't possibly match the one that you are merely thinking of. The card matches ..."

If feeling in a particularly funny mood, Iack will then continlle, "... and the light bulb in your BANG|' He shouts the word "bangi' incredibly loudly and takes the participant offguard!

desk lamp goes

COI,tVtENTS that this trick's mechanics are very similar to "Sunken 2I" from page 185. Bormethods apply a "double key" to the Scalbert Sunken Key Principle, with "Alone in the Dark" taking it furthe: by using the principle to then locate the key point for the C. W. fones trick listed below.

. On close inspection, you'Il



|ack suggests that you should not try to learn the patter word-for-word unless you are a superb performer tha: can recite scripts without appearing to be trying to remember it. Instead, take the general feel of it and build up the atmosphere yourself.


|ack only ever performs this effect for small groups (or ideally just one person). He tells me that if you can ge: the lights turned down low to create the atmosphere, it can be great fun!



The mechanics of this location are based on C. W. )ones' "Three Pile Trick" from )ohn Northern Hilliard's Greater Magic (1938) and Geoffrey Scalbert's Sunken Key Principle from his book Scalbert's Selected Secrets (1e81).


This trick first saw print in Sef to Kill (2006).

Page 76 - Jack

Parkert 52 Memories

TUOI.JGHT PnOVOKER qQxgp \, u /a\

iave you ever wanted to try out Dai Vernon's "Five Card Mental Force," but been worried about the risk l'olved? Welcome to Mental Force Anonymous - you're not alonel )ack was the same, but after learning Tom ':ame's "Psyboards" (a variant of the Vernon original that seems to work better for today's audiences) |ack -ecided to work on a strong get-out should the force fail. I think you'll enjoy it.

\.IEMORY .ck asks a participant to deal out four Poker hands. To make things extremely fair though, the participant is -.iowed to deal out the hands however he likes, so long as the end result is that each hand contains five cards. . le participant is then asked to pick up any of the four hands and merely think of one of the cards in that hand.

into the deck. |ack now miraculously reaches into the -:ck and pulls out the card that the participant simply thought of. It truly is as direct as that. --li four hands are then collected back up and shuffled



. rlse shuffle

:,ackwards Prophecy (Steve Beam)

S .


:om the top down, have the face-down deck in the following order:

.even ofSpades


of Spades

-hree of Hearts -.ce of

Diamonds -:.ck of Hearts :ck of Spades lueen of Clubs ring of Spades :ight of Hearts - en of Diamonds :ight of Diamonds - en of Hearts Irvo of Spades \ce of Hearts

Page 77 - |ack Parker's 52


Ace of Spades Two of Hearts Ace of Clubs Two of Clubs Six of Clubs Ten of Clubs Rest of deck (thirty-two cards)


Give the deck a few false shuffles, then hand it to your participant and ask that he deal out four Poker hands in a straight line on the table. Once the participant has dealt a row of four cards, stop him and proclaim,"In fact, I want this to be really random - so long as you deal one card onto each pile, this time you can deal the cards out it any order." Allow the participant to deal the cards in a random order in this manner until each packet contains five cards. It's important to ensure that he deals one card onto each packet in the row before moving onto the next round of dealing, but this reaily doesn't affect how random the procedure looks. Take back the remainder of the deck and invite the participant to pick up any of the packets. Explain that he must keep the cards face down to ensure that you don't see their faces, then ask that he create a small fan with the cards. Say,"I'd like you to bring your fan of cards up so that you can see the faces of the cards, then immediately think of any of the cards. Don't concentrate on the cards - just go on your first instinct then put the fan straight back down." Once he has thought of a card, have him return the packet face down on the table. Because each packet represents a similar order of cards to those used in Dai Vernon and Tom Frame's clever psychological forces, there is a good possibility that the participant is thinking of a red Eight or Ten (one of those cards

will always be in the packet, due to the set-up).

You will now pick up the tabled packets, ensuring that the selected packet is the third packet from the top. ThL< is simply a matter ofhaphazardly dropping two packets on top of the selected one, then dropping the combinc. pile on top of the remaining packet. Place this combined pile on top of the deck and then give the cards a false shuffle. Given that you only need to keep the top fifteen cards in order, a |og Shuft1e is well suited here. Spread the deck with the faces towards you and begin looking for red Eights and Tens from the back of the pack. Each hand contains only one of these two cards and since the hand your participant selected has two othe: hands above it (as you look at the deck) it's an easy matter to go past the first and second red Eights or Tens tha: you come to, then remove the third one and place it face down on the table. Say, "I am going to remove this carc in order to make a prediction " Note that |ack doesn't say that the prediction represents this card, because there'= a

possibility that it doesn't!

into the middle of the deck from the far end and leave it outjogged for half its length. Reiterate, "You're just thinking of a card. You didn't remove it from the deck. You just thought of a card at random and nobody other than you could possibly know it: identity." Place the deck on the table and insert the face-down prediction card somewhere

Continue, "This is the card I removed from the spread. . . " Pick up the deck in left-hand dealing grip and turn the prediction card face up by carrying out Steve Beam's handling of Bill Simon's Business Card Prophecy Move as follows. Spread through the deck until you reach the outjogged card, then take all of the cards above the outjogged card into your right hand with the thumb on top and fingers below, roughly squaring the cards as yoi-

Page 78 - Jack Parker's 52


rld onto them. Turn the right hand palm down and pinch the outjogged card at its outer right corner between e right thumb and the underside of the right packet (fig. 1). Rotate your right hand palm up and place the ..tire right-hand packet beneath the left-hand packet. These actions reposition the outjogged card between the :iginal top and bottom cards of the deck, under the pretence of turning it face up.

ri -t this point, you don't actually know the card that the participant is thinking of but your next actions will termine if it is the red Eight or Ten that you removed. If he is thinking of the card you removed, he will .efinitely be amazed and tell you that you got the card correct when you turn it face up. If he doesn't react



-rntinue by saying, " ... bltt the value of the prediction card is not importqnt. It's the location that's important. The position that I placed the card in the deck - that's what matters. It may have looked like I placed the card at ,andom position, but there wqs a method to my apparent madness!" Cut the cards above the face-up outjogged


:ard and place them onto the table.

prediction card aside and drop the remainder of the deck on top of the tabled half. Hand the :articipant the deck and say, "From the point that I put my card into the deck, I would like you to silently spell the '.tne of the card that you are thinking of. To do this, I want you to deal a card face down onto the table for each :tter in the name of your card. Now it's important that you do not say anything or in any way indicate the name )Lt are spelling. There's no need to spell'the' at the start, but you shouldn't forget the'of in the middle! So, for ,:tample, ,f you were thinking of the Seven of Hearts, you would mentally spell out 'Seven of Hearts' and deal down . card for each letter." Stand back and watch silently as the participant deals through the deck, then ask him to . rrn over the next card to reveal his merely thought-of card. .-lace the


. lack has a specific way of picking up the tabled packets after a selection

has been made. He has noticed that

most people tend to select one of the two centre packets so in this scenario, it is an easy matter of collecting up the packets from Ieft to right (or vice versa) depending on whether they select the second or third packet. However, if the participant selects one of the end packets, you can pick up the two end piles (one in each hand) and drop each one onto the next hand nearest the middle. Then, in the same continuous motion drop the two packets which don't contain the selected hand onto the other heap. |ack feels that these two ways of picking up the packets look incredibly fair.

Page 79 - fack Parker's 52



]ack's starting point for this routine was Tom Frame's "Psyboards" which he eventually published in the September 2005 issue of MAGIC magazine. Frame's idea was a well-considered set of five cards that seem to work better than those in the classic "Vernon Five Card Mental Force," which was originally published in Vernon's Twenty Dollar Manuscript (1932) by Faucett Ross.

After reading "Psyboards," |ack decided to add a series of similar stacks to his trick "Gut Feeling" which he published on The Second Dealwebsite in November 2002. "Thought Provoker" is the direct result of the combination of the two tricks.


|ack's inspiration for the self-spelling stack comes from Simon Aronson's "Worker Bees" from Try The Impossible (2001). However, the first use of banks of cards that spell progressively that I have been able to locate is "A Clever Spelling Bee Experiment" from Osirian magazine (Volume 1, Number 1, April 1925). The trick has the byline of "By |ordan," which could possibly be Charles |ordan as it uses the concept of "Trailing the Dovetail Shuffle to its Lair," which he publishe d in Thirty Card Mysteries (1919).

..SteveBeam'sBackwardsProphecypublishedinthefirstvolumeofhis Semi-AutomaticCardTricks(1993) series. It is a variant of Bill Simon's "Business Card Prophecy Move" which was published in his bookEffectiru Card Magic (1952).


This trick originally saw print in Set to Kill (2006).

Page 80 - )ack Parker's 52



qQxgp U4\U

pair that could easily rival any creator in magic history. Combine |ack's ingenuity with Tomas' background in mathematics and creative talent with a deck of cards and the end result is stunning, as showcased in this effect. Jack Parker and Tomas Blomberg are a creative

Mruonv Jack takes a shuffled deck and uses it to demonstrate how he would deal himself the four Aces if he were to cheat 'at a game of Poker. After dealing himself the Aces during a six-handed game of Poker twice in a row he goes on

to teach an even more advanced cheating technique


setting other players up for the bait.

Even though he shuffles the deck several times during the effect, |ack deals out another six-handed game and shows that all five of his opponents receive great hands (including the four Aces, pairs and full houses). He

finally goes on to show that since he gave everyone else such great hands, he had to pull something special out of the bag for himself - a straight flush!

STIIGHTS IJSED False shuffle

Srrup Start by removing all of the Spades as well as all of the Twos, |acks, Queens, Kings and Aces, then arrange them in the following order from top of the face-down deck: fack of Spades Any |ack Three indifferent cards AnyAce Ten ofSpades Any Queen Three indifferent cards Any Ace Nine of Spades Any Queen Three indifferent cards AnyAce Eight ofSpades


Page 81

- Jack Parkeri 52 Memories

Anv Two Tn'o indifferent cards .{nv Ace Seven ofSpades King of Spades Anr-lack Three indifferent cards SLx of Spades Five of Spades Four ofSpades Three ofSpades Trr-o of Spades Queen of Spades

Anr Queen Anv King Anv King Anr |ack .{nr Tlvo Anv Trvo Rest ofdeck (ten cards)

MrrnoD Start by executing a series of faise cuts and shuffles so that everyone can see that the deck is thoroughly mixed. Proceed to deal six Poker hands around the table; the sixth hand going to yourself. Due to the setup, you will

automaticallydealyourselfthefourAcesandanindifferentcard. Say,"If youareamagicianandyouplayPokr people always think that you are cheating. And they're normally correct! I dealt myself the four Aces. I can see rou're intrigued, so for once let me show you exactly how that warks." Shorv everyone your hand, then organise your five cards so that the four Aces are on the face of the packet. Grip

the undealt cards from the deck in right-hand end grip and place the face-down packet (your hand) onto the face of the right-hand group of cards. Place this assembled packet onto the table in front of you in riffle shuffle position and say, "The Aces start on the bottom of the deck. That way, it's a simple matter for me to use some trickery to get them into my hand." Pick up the hand in first position (the leftmost packet) and drop it on top of the packet to its right (the second packet). Drop this combined packet onto the next pile to the right, and continue clockwise until all of the packets have been picked up. Sav,"When I shuffle the deck I just let the four Aces drop offfirst, one, two, three, four, then fairly shffie the rest the deck on top of them. So you can see, although the main part of the deck is interweaved and shffied, the Ace. sfill sif underneath at the bottom." Match your actions to words and fairly riflle shuffle the two packets together, letting the four Aces riffle offthe bottom of the first packet before all of the other cards. o_f

Deal out six more hands, openly Bottom Dealing on each of the five cards that you deal into your hand as you erplain, "When I get to my hand I do a Bottom Deal. I am showing you this time so you can see it, but when I do i: properly it's invisible. You didn't see it the first time around did you?" Show your cards, then turn your hand face down with the Aces on the face of the packet and place the five cards beneath the undealt cards as before. Collea Page 82 - Jack Parker's 52


ae other five packets in the same way as in the first phase, then place them on top of the undealt packet. Do not -huffle the deck this time.

'tr1',"Tha real secret with this, though, is not just dealing yourself a good hand. You need someone to bet against )u, so you do what is called a'double duke.'This means you deal a great hand to an opponent, but not as good :.s your own, so that they bet against you, increasing the total amount in the pof." Ask someone to name any f the other five positions on the table and proceed to deal the cards out, openly caruying out the mechanics f a primitive Bottom Deal when dealing cards to the nominated position. Continue, "So this time I'll deal the

'ottoms to that hand so they get the four Aces. Again I'll do it openly like this so you can see it each time."


over the packet at the nominated position to show that you dealt your opponent the four Aces, but then :ontinue to show the other cards. Due to |ack and Tomas' clever set-up of the deck, all five other players will eceive a good hand such as three-of-a-kind, two pairs, full house, flush and even straight flush.

turn over your cards to show that even though everyone else has fantastic hands (and will likely bet righly), you have managed to deal yourself a straight flush. . inally,



This is, of course, a variant of the "Gardner-Marlo Poker Deal," which Marlo first explain ed in Let's See the Deck (1942). The underlying concept of the routine comes from "An Effective Poker Deal" published in )ean Hugard's Card Manipulations, Number 4 (1936).

, In MAGIC magazineMay 2006, Tomas Biomberg

published another effect that takes advantage of the Gilbreath Principle to stack cards on top of the deck. The trick, "Take it or Sleeve it," was a collaboration with Iason England.

. The mechanics of this routine use the famous Gilbreath Principle, which was discovered by Norman

Gilbreath around 1955. It was first published in The Linking Ring (Volume 38, Number 5, iuly 1958) under the title "Magnetic Colors."


This effect was originally published in Sef to Kill (2006), but with a different setup. The newly described setup is Tomas Blomberg's latest version which generates better Poker hands than the original.

Page 83 - Jack Parker's 52


I.J.D.S.I q8x9p e/ \, /a\

Luke Dancy is known for intertwining just one or two gimmicked cards with an ungaffed deck in order to crear. incredibly visual and imaginative magic. It was Luke's "Dancy Sandwich Intro" that inspired Iack to set about devising a handling that could be performed from an ordinary deck with no gimmicks. The title is an acronym for "Ungaffed Dancy Sandwich Intro."

Mrmonv |ack places two red Kings face-to-face and puts them on the table. He then takes a face-up black Ace and magically splits it into the two red Kings. Finally, he shows that the black Ace has appeared on the table where the Kings originally were to complete this very visual and direct transposition.

STTIGHTS I.JSED Double and Triple Turnover Interlock (Dai Vernon) A Radical Change (Richard Kaufman) Breakless Curry Change (Edward Mario)

Srrup Set the face-down deck

in the following order, from the top down:

Any indifferent card Red King Red King Black Ace Rest of deck

This stack can be openly set up during your performance, as


describe later.

Also, |ack recommends that you perform this effect using a soft surface such as a close-up pad as this will facilitate one of the integral moves.

MrrHoD Start by executing a Double Turnover to show a red King, then take the double card into the right hand, still face up, and use it to flip the top card of the deck (the other red King) face up, too. Use your left thumb to push this second King forward so that it projects offthe front end of the deck for about half its length. Flip the double card

Page 84 - ]ack Parker's 52


:iice down on top of the deck so that it falls square with the deck; the outjogged red King is nou, '.'-hich sets you up to perform the following Interlock switch:

third trorr :, :.

Bring your right hand over the deck with the thumb at the back and the fingers reaching forward to touch r:e :ront end of the top card. Use your right thumb to lift the back end of this single card up for about a qua:ie: :' .rn inch then slowly slide this card forward. As your fingers start to cover the outjogged face-up card. use '..i,..: ,eft index finger to push the face-up King flush with the deck, allowing you to take away the single thce-d.''.'.: --ard in what is essentially a deep end grip. Because the face-up King is now covered by the face-doirn Kiis ihat is on top of the deck it appears as though you have taken offthe face-to-face Kings. Reallr', both Kings ::= secretly left face-to-face on top of the deck. Place the apparent face-to-face cards (really just a single, face-down indifferent card) on the tabie



vour left and immediately focus attention back on the deck so that nobody notices the fact that r-ou have ,':-.-'. tabled one card. Execute a Triple Turnover, showing a black Ace and catch a little finger break beneath tr€ ir. r= cards as they faIl face up onto the deck. Take off the top card - the black Ace - in a casual gesture as vou s.r.'.'. '' Along with the two red Kings, I'll also use this Ace." Given that a back shows on top of the deck, eventh,:-.. - ' copasetic. Place the Ace face up onto the deck. Take hold of all three cards above the break by inserting the hneers .::. the break at the centre point of their right long side with the thumb directly on top. Mor.e the three carJs ..-.: right until the left long edge of the cards meet the right long edge of the deck (fig. 1). Keeping vour nnge:: -:. :. exact same position, start to turn the triple card back face down, book-wise, onto the deck. ]ust as the .": '::



about to coalesce use the right fingers and thumb to execute a block push-off of the top tl,o cards rrf the ::-:.. card and let them fall square onto the deck. You should still be holding the top card, whlch r-ou quicii',' :'. ' : back to the original position. Take the King on top of the deck below the King in your right hand. It aFL.r.:: .. though you've split the Ace into the two red Kings (frg.2). This is Richard Kaufman's A Radical Chan*r :r., ,: similar to the K.M. Move, but with the deck face down.


+ {til



aci IS



Holding both Kings in your right hand, immediately reach for the tabled face-down card and turn it face up using Edward Marlo's Breakless Curry Change to switch in the black Ace, which is now on top of the deck. To execute the switch, hold the deck in Straddle Grip with the left little finger at the lower right corner. You can then push the top card to the right with the Ieft thumb; this will cause the card to pivot on the little finger and become anglejogged (fig. 3).

Turn the hand palm down and move it towards the tabled card, as if to turn it over. Place the left thumb on the right long side of the tabled card and push down slightly, causing the left long edge of the card to tilt slightly upwards. This allows the right side of the left forefinger, reaching around the deck, to lift up on the tabled card and draw it onto the deck. The original left long edge of the card should

be pulled up to the right long edge of the deck, flipping it over, which orients it in the same direction as the other cards. As this happens, the left middle and ring fingers contact the surface

of the anglejogged card and push it out onto the table. The pulling of the tabled card and the pushing of the anglejogged card should occur at the same time, giving the appearance of the card being turned over. The transposition is complete and the deck is clean.



There are two ways to perform this trick from a shuffled deck. The first is to simply run through the cards with the faces towards you and openly remove the required cards and place them in order on the top of the deck as you explain , "1 need a couple of specific cards for this trick. I'll show them to you in a few seconds."

I (Andi Gladwin) use to perform the trick from a shuffled deck is a little more complex, but flow lot better. does a Start by running through the deck and upjogging the first red King. Leaving the card upjogged, continue spreading through the deck until you reach the second red King. This time, don't just upjog the King, but also upjog the card that is directly below it, keeping both cards in perfect alignment so that the audience isn't aware that the card is a double card (red King with an indifferent card below it). If you're aware of Edward Marlo's Unit Upjog Addition, this is the perfect time to use it.

The method that

Strip out all three cards with your right hand, letting the upper King coalesce with the lower double card and use them to flip the deck over. Re-grip the three cards in end grip and peel the uppermost King onto the deck in the outjogged manner described above, and then turn the double card face down and square onto the deck. Continue as described previously, until you need the black Ace. At that point, turn the deck face up and spread the cards, removing the first black Ace that you come to. Place the Ace face down on the bottom of the face-up

Page 86 - |ack Parker's 52


deck, flip the entire deck over and proceed as already described.


If you're not comfortable with the Breakless Curry Change, |ack offers an interesting alternative. After you've produced the red Kings, use them to sandwich the tabled card so that one face-up King is above the face-down card and the other is below it. The lower King is spread slightly to the right and the top one to the left. The face-down card should be outjogged for half its length. Display the sandwiched cards in the right hand and use the left hand to acquire a little finger break below the top card of the deck. Try to ensure that your frrst finger (at the front of the deck) and thumb (at the side of the deck) are slightly above the surface of the top card as this will help with the switch you are about to make. Move the right-hand cards towards the deck and allow the corner of the lowermost King to slide in beneath the top card of the deck - this is facilitated by the break and is completely covered by the top card of the spread. Move the three-card packet to the left, sliding the face-down card across the top of the deck away from you at a forty-five degree angle until that card hits the protruding first finger and thumb. This automatically squares the face-down card with the top of the deck in preparation for Ken Krenzel's Force-Eps utility move. Continue moving your right hand to the left, carryingaway both face-down cards, as one, sandwiched between the Kings. As the cards emerge offthe left side of the deck, turn your right hand palm down, showing the face of the Ace. The outjogged card between the Kings is now actually a double card. Release this double face up onto the top of the deck to display the Ace. Drop the Kings on the table to finish.



As previously mentioned, |ack's direct inspiration for this trick is Luke Dancy's "Dancy Sandwich Intro," which has not yet been published. However, Luke took his basic idea and created "Division," which he released through Elmwood Magic in2004.


Richard Kaufman's A Radical Change first saw print in his book Cardmagic (1979).


Edward Marlo's Breakless Curry Change was first published in Hierophant magazine (Issue 7, 1975).


Edward Marlo's Unit Upjog Addition can be found in his book, Marlo's Magazine, Volume I (1975), but I it on good authority that Marlo was shown the move by another magician before publishing it under his own name. have

. .

Ken Krenzel's Force-Eps was published in his book, The Card Classics of Ken Krenzel (1978) written by Harry Lorayne. Stephen Minch reports that Dai Vernon believed that he devised the Interlock concept in approximately with the Push-In Change as a starting point. Ralph W. Hull was among the first to publish it in "The Elusive Joker" (1930) and around the same time, Hahne and Berg describe an Interlock configurati on in Here's 1925,

Magic ( 1930). Karl Fulves, in his book Cards 3: Interlock ( 1980) credits Ken Beale for the name Interlock. The unloading sequence used in the Interlock concept is the Vernon Utility Move, which can be found in Bruce Ceryon's Card Secrets of Bruce Cervon (1976).


|ack originally published this trick in Sef to Stun (2005).

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1007" CONFIDENCE q8x9p \,4\U Mrmonv

|ack has three people each select a card. He also removes three cards for himself and explains that they will act as an indication of the cards that each participant selected. To prove his claim, the first selection is shown around it's the Ace of Spades. With absolute confidence, |ack explains that he knew the participant would select an Ace, so he shows that his indicator cards are the other three Aces - a direct hit! Next, the second selection is shown to be the )ack of Spades. |ack explains that he was also certain that the participant would select a |ack. He looks down at the packet of Aces, clicks his fingers and shows that he has turned the Aces into the three |acks to match the second selection. Finally, the third selection is shown to be the Ten of Clubs. Instead of turning the packet into the three Tens, ince then, it has come to light that the move first appearedin Malini and His Magic by Dai Vernon and Lewis lanson (1962) so the name Kaps / Malini Subtlety has somewhat erroneously stuck. . rank Simon's Versatile Outjog Control was publish ed

in Versatile Card Magic (1982).

Page 145 - fack Parker's 52 Memories

RING \Til\TTSH SUQIENCE qQxgp t,/a\u This finger-ring sequence has fooled some of the best minds in magic. That's because after the ring has vanished it doesn't stay stationary, but instead moves around the hand in a way that nobody can detect.

Mrmonv |ack turns a finger ring invisible and then shows that both hands are completely empty before amazingly making the ring re-appear.



A large finger ring that fits comfortably on your thumb, without sliding past the first phalanx (sorry for getting all Royal Road to Card Magic on you there - I assure you it won't happen again).

MrrHoD Due to one or two of the interesting, yet angle-sensitive, sleights used, this sequence should only be performed for two or three people, all of whom are watching from the front.

TURNINc THE zuNG INVISIBLE Take the ring and hang it on the tip of your outstretched right index finger approximately where the fingernail meets the skin. Also move the other three fingers down a little to help give everyone a clear view of the ring

(fig. t). While displaying the ring in this position also stretch out the right thumb behind the index finger (fi1.2 shows this position from above).



i t r

1 Page 146 - |ack Parkert 52 Memories

\\'hen everyone has seen the ring, move the left hand towards the right hand and pretend as if you are about to remove the ring from the index finger. The position of the hand is quite important: the left thumb should sit in the space between the outstretched right index finger and thumb so that it is farther into the right thumb crotch than the ring, which sits nearer to the tip of the finger. Place the other fingers over the right index finger so that the ring cannot be seen. -\s soon as the ring is covered, curl the tip of your right index finger inwards so that the tips of the right rndex finger and thumb touch. If you tilt the hand slightly towards your body as you do this, the ring will automatically move with the finger and slide down the index finger and onto the tip of the right thumb (fig. 3, from above with the left hand removed). As soon as the ring is comfortably on the tip of the thumb, stretch the index finger out again and slowly move the left hand away to the left acting as if you have just slid the ring offthe finger. As the left hand moves away, relax the right hand and move it down a little so that all focus is on the left hand, that apparently holds the ring. The thumb (and ring) should be naturally covered by the right fingers.

To display that the ring has vanished, simply twist the left wrist outward until the audience can see that the ring isn't between the left index finger and thumb, where it apparently was just a.moment ago (fig. a).

T. ruNc THE INVISIBLE RING BACK INTO THE RIGHT HAND This phase allows you to show both hands empty as you apparently pass the, now invisible, ring back to the right hand. Notice how the previous stage ended with your left hand pointing toward the audience with the left

thumb curled slightly downward and the fingers pointing slightly upwards (fi1.4, again). You will now take advantage of this situation to conceal the ring in the left hand.

Page 147 - Iack Parker's 52 Memories

l ; ; ;


I I I I I 1

I I 1


l I

With the ring still secretly hanging on the right thumb, move the right hand over the left hand from the front and gently push the right thumb into the left thumb crotch (fig. 5,from above) from above. Immediately apply a little downward pressure with the left thumb to keep the ring in place and then pull the right thumb inward,leaving the ring in the left thumb crotch. Because of the left hand's position, the ring cannot be seen from the

front angle.



l I I



j i i



As everyone is looking at the invisible ring in the right hand, you must move the real ring into left Thumb Palm. |ack does this as he moves the left hand back to a rest position with the palm facing his body, squeezing the left thumb onto the ring, causing it to slowly slide to a vertical position and into Thumb Palm (fig. 6, from behind).

TUTN, BACK To THE LEFT HAND Display the invisible ring between the right thumb and fingers as if you were about to execute a French Drop. Now, bring the palm-down left hand towards the right and pretend to take the ring by pinching it between the left index finger and thumb. These actions are simply a cover for you dropping the ring from left Thumb Palm into the right fingers to achieve exactly the same end result as a French Drop. And just like that move, the ring will not be seen from the front if the right fingertips point slightly upwards (flg.2). Move the left hand away, pretending to display the ring between the thumb and fingers.



While your left hand is displaying the invisible ring, subtly insert your right thumb tip into the ring (fig. 8, opposite page, shows an exposed view). To hide the ring, twist the right hand so that the back of the hand faces toward the audience. The thumb cannot be seen because it is hidden behind the fingers.


Page 148 - )ack Parker's 52


Twist your Ieft wrist forwards so that the sides of your thumb and index finger face the audience,leaving a gap between them about the height of the ring. To make the ring re-appear, simply pass the right hand

in front of the left to cover the left index finger and thumb. The right thumb hides secretly behind the right fingers and moves into the space between the left finger and thumb so that you can take hold of the ring between them. Slowly move the right hand away, sliding the ring offthe thumb as you do so, using the right fingers to gently pivot the ring around so that the finger hole faces the audience.

Page 149 - lack Parker's 52 Memories

VISUALACUTTY q8x9p ,e u /a\

Mrmonv |ack picks a participant to play against him in a game of "Find the Lady." This is no ordinary version of the game though, as this one is designed to be completely in the participant's favour. It's played with three red-backed |okers which have the word "Joker" written on their backs and a blue-backed Queen with "Queen" written on it. This way, it's obvious which cards are fokers and which one is a Queen from both the front and back of each card.

To start the game, |ack takes one of the red-backed fokers and places it face down on the table. He then places the blue-backed Queen face down on top of the other two fokers and asks the participant to find the Queen. Given that the word "Queen" is staring her right in the face on top of the packet, she says that it's on top. Of course, this is no game; it's a con, and things quickly take a turn for the worse! When |acks spreads his packet, the audience see that all three of his |okers are now blue-backed and have "Queen" written on them. Given that he now holds blue.backed |okers, )ack asks the participant what she thinks is on the face of the redbacked card with "foker" written on it. After some thought, she will normally say a Queen, but remember - this is a con, not a game! fack finishes by saying, "If that's what you think, you really need your eyes tested!" He turns the card over to show a chart that opticians use to test people's eyesight!

STTIGHTS USED Elmsley Count (AIex Elmlsey) Backwards Christ / Annemann Alignment Move

RIQIIREMENTS first explain the cards that you need to perform "Visual Acuity." It is important to write on a diagonal along the backs of the cards (see the illustrations throughout the trick) so that it's easy to see what each card has written on it, regardless of whether the card is held horizontally or vertically. You'll need: I'11

. Two blue-backed fokers with "Queen" written on their




. A blue-backed Queen with "Queen" written on the back. . A red-backed |oker with "|oker" written on the back. . A red-backed blank-faced card with "|oker" written on the back. Page 150 - |ack Parker's 52









I"ru-ll also need some double-sided sticky tape.


lrar or print an optician's eye chart on the face of the blank faced card (see fig. 1, opposite page, for an -"mple) and stack the cards in the following order from the face to the back (order refers to the cards on the iue and not the writing on the back): 3ir--backed Ioker lin--backed Queen

lir--backed |oker tcd-backed |oker with a small piece of double-sided tape affixed to the middle of the card's back 1 red-backed eye chart card

l:sh down on the packet in order to affix the eye chart card to the back of the red-backed |oker.

\TETHOD iread the cards out to show three face-up |okers

and the Queen of Hearts and explain,"Yol.lve probably seen 'Find the Lady' game in the past. I've tried to create a similar game, but have put all of the odds in your -famous ir-lour. My aim is to make things as simple for you to follow as possible in the hope that you'll win the game." The -e-chart card will not show in the spread because it is stuck to the back of the lowermost |oker of the packet. a*.likes to spread the cards as openly as possible so that the audience gets to see the entire faces of all four :rrds to ensure that any magicians in the audience don't think he is using double-indexed cards. vac


the fan in just the left hand, allowing you to remove the Queen with the right hand. Display the back of the loeen as you explain, "The frst thing that stands out is the Queen of Hearts. It's the only Queen amongst the three irt?rs. Not only that, but the Queen has got a blue back and I have actually written Queen on it, to make things

zzllveasy to follow." Once everyone has seen the back of the Queen, replace it face up into the fan, second from ugr. but leave it outjogged for about an inch. You can now flip the packet face down to show a red-backed card rmh 'foker" written on the packet, with the blue-backed card protruding out of the front end. Slowly square the ]ren into the packet. rvill now show a total of three redL*ed cards with "Joker" written across aeir back. The first is on top of the packet rqt the second is stuck to the face of the r:p card, which you now need to separate. Io do this, place your right thumb on the .oner edge of the packet at the right corner rnh the right index finger in a similar lrsition, but on top of the packet. You can rrn'riffle up the packet with the thumb rod separate the top card from the one erectlybelow it. Once your thumb holds ,roto this card, pivot it around in a counterlockwise direction so that everyone can ;ee the writing across it (fig. 2). As you : ou

2 Page


- lack Parker's 52 Memories

show the cards say, "And the lokers are completely opposite to the Queens. They all have red backs and the word Joker written on them. The Queen does stand out really well against the lokers so everything is in your fayour!"

-\lomentarily remove the - now separated - top card, but don't show its face because it is the eye chart. Instead, gently place it back on top of the packet ensuring that it doesn't affix itself to the double-sided tape. Immediately take the packet with the right hand and execute the first two actions of an Elmsley Count (that is, peel off a sinqle card and then execute the block-push off switch to peel two red-backed cards with "|oker" written on them into the right hand (with the double-sided tape stuck to the top card of the left-hand packet). Next, gently i.eel the blue-backed "Queen" card offon top of the pair, but outjogged for around an inch, ensuring that it .lt'reSfl't stick to the double-sided tape. Finally, place the final red-backed "|oker" card face down onto the table .r.s \-ou say,"I'll make things even easier for you by removing one of the lokers and leaving it down here on the .rrL l(.

3.rck to the left-hand packet. Place the right thumb on top of the inner end of the packet (contacting just the :ccond card frorn top) and the index finger on top of the outjogged top card and then pull both cards backwards

urtil the top card lines up with the lowermost two cards. You may find it necessary to wrap the left index finger r:trurd the front end of the packet if necessary to ensure that the top card lines up correctly with the bottom i,,rtr. ThiS is essentially a backwards Christ / Annemann Alignment Move.

\ltrr-e the right hand to the front of the packet and pinch the three outjogged cards with the thumb on top and :rlers on the bottom. Pull all three cards - as one - outwards until they disengage from the injogged card, and :ren tlip the triple card over, end for end to show the Queen. Don't let the triple card square onto the packet i:trrushi immediately turn it face down on top of the single card. This cleverly places the Queen of Hearts on top : the double-sided tape, which sets you up perfectly for the surprise ending. - -:re the four-card packet into the right hand, with the thumb on top and fingers below and gently apply a little j,."'\'n\\'ards pressure in the general vicinity of the double-sided tape. This will ensure that the lowermost two ::rds stick together for the climax. Ask your participant,"Yol)r sole job is easy - you just have to find the Queen. -i; r' itere do you think she is?" She will reply that the Queen is on top of the packet, to which you immediately :cspond srith,"Well, I'm afraid this is where things get slightly odd as there isn't just one blue-backed card with 'l:1.cn " x'ritten on the back. Instead, there are three..." Spread the packet to show three blue-backed cards, :it r'ith "Queen" written on the backl This will come as a surprise, so take your time with this moment before :.r::ing over all three cards and dealing them face up onto the table to show the three |okers. The double-sided :::e rr'iil bond the cards enough for you to handle the double card freely and as if it were just a normal card.

ask,"If the three lokers are now blue-backed and have 'Ql4een' written on them, where do you think the l:,../r i,sr" The participant will respond that the red-backed card that you tabled earlier must be the Queen, to '";hich vou quickly qtip,"If you think that, you need your eyes tested!" Immediately turn the card over to show an e" e-testing chart and proceed to check her eyesight for her (as a general rule, if she can't see any offensive words ,n the card you've prepared, she probably needs glasses). - r::allr ,

CortztrttENTS . This is an interesting trick because you are given credit for a lot more changes than actually happen. When vou rvatch closely, the only card that changes on the face is the Queen of Hearts, which changes to the eye test chart.

?aee 152 - Jack Parker's 52 Memories

-:-. b'elieves that the back changes are rvhat realh' thron' people and something that surprised him when he - -:-. up u-ith the idea is that rvriting "Queen" and "|oker" on the backs of the cards really seems to get a better -: :-iir)r than just using different coloured backs.






'u rrould like to learn more about handling double cards that are affixed with double-sided tape, I would xmeod watching Luke Dancy's Magic IV The EyesDYD (2003), which contains a complete treatise on the

i.E DITS -:rael Weber uses a similar idea for separating two cards stuck together with double-sided sticky tape in his ..d -\lonte" from his volume of Stevens Magic Emporium Greater Magic Video Library series (1987).


t53 - Iack Parker's 52 Memories

DOUBLE-BACK TruLOGY qgRqa q/ 19 /a\

As the title suggests, this is actually three separate tricks built into one routine. A11 three effects make use of a single double-backed card that is added to a deck. So grab a double-backed card and come along for the ride! The whole routine is very fooling and is incredibly well structured, so I urge you to learn it.

Mrmonv in a three-trick routine. For the first trick, he causes each King to individually travel from a packet of cards and appear back in the deck, even while the spectator tries to hold onto them.

Jack cails upon the four Kings to perform

Next, fack has someone select a card and places it between the four Kings. It doesn't stay there for long though, as it vanishes in quite an amusing fashion. Its reappearance turns the laughter into gasps because |ack then places a face-up King on the table and causes it to change into the selection even though he stays well away from it during the change. As if that weren't enough, the missing King reappears amongst cards that the participant holds. Oh, and the selection turns face up in the deck!

Finally since it's probably bedtime now, Jack tells a story about the four facks and how they saved the day during a diamond heist.

SITIGHTS USED Sloppy Zarrow Addition (Herb Zarrow and )ack Parker) Double Turnover Push-In Change (Fred Braue Handling) fordan Count (Charles |ordan) Three-Card Ascanio Spread (Arturo de Ascanio) Elmsley Count (Alex Elmsley) Half Pass

Srrup Place the double-backed card on top

ofthe deck.

Trucrc 1 _ PTnSISTENT OErrNorRs Start by saying, "You've probably seen tricks usingfour Aces. Well, Aces are only for experts: I haven't graduated that far and still use Kings." Spread through the face-up deck and upjog the four Kings, ensuring that you don't flash the gimmicked card at the back of the spread. Strip out the Kings and arrange them in black, black, red, red

order from the face. Turn the Kings face down and slip them under the deck, and then turn the deck over. Page 154 - ]ack Parker's 52 Memories

\-rEad over the top five or six cards to show the four face-up Kings with a few face-down cards below them. It's :rsi Io ensure that the lowermost King stays quite close to the double-backer that is directly below it as this will :e": rrith the switch that you are about to carry out. But first, note and remember the suit of the topmost King l* s sav it's the King of Clubs) as you'll need to know this later in the trick. To carry out the switch, simply flip :E :op five cards face down on top of the deck then push offthe top four cards into the right hand. Given that :e iorrermost King is close to the double-backer in the spread at the start and that everything looks copasetic .r:ce the cards are face down, the flipping over of an additional card always goes unnoticed. This is what fack .:;"m the Sloppy Zarrow Addition. I hope Herb doesn't mind. r';r-e the right hand's spread of four cards (the double-backer and three Kings) face down onto the table and ,* .'l'll place the four Kings down here for a moment as I want you to remember another card. We'll use whatever -r; happens to be on the top of the deck." Complete a Double Turnover, keeping a little finger break under the -:r:,::le as it lands face up. Once everyone has seen the face of the card (let's say the Four of Clubs), turn the :r:urle face down again, but let it fall outjogged for about an inch. Immediatety pick up the double card by the a,:nd and insert it in the centre of the deck, again outjogged for an inch or so.

l::a vour left wrist to show the face of the outjogged double and say, "f ust so you are sure I am not cheating, .;nt vou to hold onto the end of the Four of Clubs like this, so that it can't go anywhere." Turn the hand back


uP and demonstrate how the participant should hold the card by taking hold of its end

with the right hand, executing a Push-In Change (see "Long Dimensional Phone Call," page 7L for an explanation) to leave ":u rtith a face-down King outjogged. Place the deck on the table and invite the participant to hold onto the end :r re outjogged King.


'-.i uP the tabled King packet, turn it face up and execute a |ordan Count to show the four Kings. Say,"With ; -: luck and presuming I read the instructions correctly, if I riffle the Kings like this ... one of them, the King o-f


firbs [name the King that you spotted earlier], should vanish from my packet." Riffle up the inner

end of the to make the magic happen and then take the packet in right-hand end grip in preparation for an Ascanio rread-sryle move. Drag out the bottom card with your left fingers and simultaneously drag offthe top card r:-r l'our left thumb. These cards are not held square but wiggled against one another,leaving you with two -::J. - held as one - in end grip. Casually rotate both wrists to flash the backs of all three cards then turn them :uk again and re-form the packet by reversing the actions and inserting the double card between the other two. r-i r-ou do so, spot the bottom king of the group and remember its suit (let's say it's the King of Hearts).


:r;-'Qne Kinghas vanished; the King of Clubs. I wonder where he could bel" Nod your head towards the card :-a: the participant is still holding and raise your eyebrows. As you address the participant, pick up a little finger r-*ali above the bottom two cards of the packet and retake it in right-hand end grip, taking over the break with :e right thumb. Continue, "It seems unlikely, but let's take a look anyway." lJse your right hand to pick up the :;r-r-deck above the selection by its short ends. This is easily done while still holding the King packet. Have the =nicipant remove the outjogged card. As soon as he starts to look at the selection, secretly drop the two cards :dort-the thumb break onto the half-deck that you're also holding. Separate the hands and place the remaining -''o Kings on the table. You can now use the right hand to pick up the tabled half-deck, finally dropping it onto =e left-hand cards burying the King of Hearts face up in the deck, with the double-backer above it. Table the :E;L

lake the King of Clubs back from the participant and use it to scoop up the two tabled Kings, flipping the packet :a;e down into the left hand (with the King of Clubs ending up on top). Carry out an Elmsley Count to show ;e tbur face-down cards then flip the packet face up and execute another Elmsley Count as you say,"Now that I Page 155 - ]ack Parker's 52 Memories

have all four Kings again, let's try another." The King of Diamonds trvo red and two black Kings.

will show twice during the count, displaying

Say,"I'll try the King of Hearts this time lnaming the suit you spotted a moment agol. He can sometimes be trouble but I'll do my besf." Riffle the ends of the cards again as before and then spread them face up to show I'ou only have three Kings. Drop the Kings face up on the table, allowing them to spread a little ,o thut everyone can see their faces, then pick up the deck and spread through it very openly until you arrive at the face-up King of Hearts. " Here he is! Face up right in the middle of the deck. I don't even rlememb,er me going near the deck, so even I'm pretty spooked by that one!" Cutthe deck, bringing the face-up King to the top (and the double,backer to the bottom). Deal this King onto the tabled Kings and then reach down to the tabled spread and separate the nvo Kings that haven't yet travelled (King of Diamonds and Spades, in this case). As everyone is watching you do this, casually turn your left hand palm down and table the deck. The double-backed card will hide the fact that you have just secretly turned over the deck. Pick up the Kings so the two that haven't yet traveled are at the face of the face-up packet and say, "I have nranaged two Kings which leaves me with the Spade and the Diamond that haven't been subjectei to my powers! r\'hich one would you like to go next?" Adjust the top two cards so the chosen King is on top (let's say the King of Spades) and the unselected King is placed at the back of the face-up packet. Flip the cards face down and Elmsley Count, but keep the last card in your other hand (this is apparently the King of Spades, but is really a different King) and catch a little finger break below the third card as it is counted. 'lfil Say, bop these three r\irrgs as you have singled out the poor old King of Spades as the next victim!" Drop the single King face down on top of the packet and execute a Double Turnover to show the King as you name it. Continu e,"Wish him luck we may never see him again!"

Turn the double card face down and deal offthe top card into your right hand. Insert the single King face down into the centre of the deck, fully squared, by sliding it in from the back. You will probably rr..d to piace your left hand (rvith the packet held in dealing grip) at the front end of the deck so that the cards don't ,pr.ud and expose the true condition of the deck. Sat-,"lust

for a change I'll try

to get the King of Spades to jump from the deck back into my hands to join his three ttssociates." Elmsley Count the face-down packet once again, but turn the final card.faciup to show that the King of Spades has returned to the packet. Flip the King face down and ask the participant to hold his

palmup hand out for you to drop the face-down packet on top of his palm. With thf done, ask that he put his other hand palm down on top and then raise his hands into a praying position with his fingertips pointing upwards. Explain, "That only leaves us with the King of Diamonds and I am going to need all thi help I'can gethith him. You hold on to all four of the Kings and we'll see if we can get some divine assistance."

Pick up the deck, being careful to keep it square, and hold it between your palms, mimicking the participant,s position. You will need to keep track of the orientation of the deck as you are about to secreily r.r.rr. the deck. At this point, fack normally jokes, "Dear Lord. I am sorry I missed church on Sunday. I was busy working on this card trick. It won't happen again." Open your hands in the opposite way that you closed (to them reverse the deck) and ask the participant to open his hand too. As soon as he notices that a King is missing, spread through the deck to reveal that it's face up in the centre. Slide the King out of the spread and table it with the other Kings. This completes the first trick, but the fun has only just begun.

Page 156 - |ack Parker's 52



Trucrc2 .-"iASE

the deck face down in front of you and pick up the four Kings, arranging them into red, black, black, red .:der. Hold the Kings face up in a small fan in the right hand. Use the left hand to lift offaround two thirds of --:e tabled deck and slowly start to dribble the cards back onto the tabled portion, asking your participant to stop i r.ru at any point. When he obliges, place the cards that you didn't dribble off to one side, then place your left .:dex finger onto the top card of the bottom portion and push it forwards towards the participant. Finally, place ::e packet that you tabled a moment ago back on top of the lower portion of the deck. - able


the participant to look at his selected card and, as he does so, close the fan of face-up Kings and Half Pass When he has remembered his card, hold your hands out towards the participant and push . ithe top two Kings and take them in your other hand, slightly spread. Ask the participant to place his selection -;e down onto the bottom Kings (which should remain square so that you don't flash the face-down King) and --:e lowermost one.

--:en drop the top two Kings face up on top.

:-rplain that you wiil now make the selection vanish. Bring your hands closer to your body but still fairly close to ::e tabletop. Hold your right hand over the top of the packet in end grip and use the left fingers to gently push -:-e bottom card over to the right so that it is hidden under the right hand. With the card in this position, move :t'th hands forwards, but allow the sidejogged bottom card to fall face down onto the table. Continue moving ,,:ur hands forwards, ignoring the dropped card and continue to focus your attention on the cards in your hand.

llalie a magicai gesture over the deck and then say, "The card has oficially vanished! It's hard work this magic :--