Hardin's Magic Brain

Contents

Introduction

Colour Changes

CPR Change
Imagine a Colour Change as visual as the ClipShift but with no
knuckle busting moves and silent!

Barrel Change
The Slowest and most visual colour change that there is… with
no gimmicks!

Savings Change
A gimmickless and visual change of a playing card inside a box.

Controls

CPR Control
Cleanly cut a playing card in to the center of the deck. Secretly
controlling it to the top.

LTB Control
A single card is cleanly inserted in to the deck and left out-
jogged, then squared in. With no moves. It’s now on top.

Switches

Light Switch
Switch a single tabled playing card in the natural action of
turning it side for side.

Virgin Switch
A utility move for switching a card outjogged from the center
of the deck, in a natural invisible motion.
Effects

Vrigin Transpo
Lloyd’s rendition of the Dan and Daves modern classic, the
Tivo Transpo.

Twins
A prediction is made. The spectator chooses a card. The pre-
diction is shown to be the chosen cards twin!

Red Sky
A card placed face up in the deck instantly switches with a
card face up on the bottom of the deck.

Sniper
The spectator takes a shot at finding their card in the deck
and completely misses… as a kicker, they find that they’ve
been holding on to it the whole time!

FLY
A teleportation of a signed selection… all in the spectator’s
hands!

Eat Fresh Sandwich
Imagine seeing one of a pair of face cards slowly and visually
melt through the deck towards the other, bringing with it,
your selected card.

Flic – Flac
A hyper visual 2-phase inversion routine that you can add in
to your existing set.

Credits
Introduction

This is Rebel. This is my work. This is my magic.

Everything you read within the pages of this book is the end result and the final page in
this chapter of what I have to offer in card magic, since I first discovered my passion for
magic over 17 years ago.

This is probably not the last work on card magic that I’ll ever put in to print. It’s what I
see as a close to a chapter of my card magic. Every technique, effect and idea that you’ll
read here has served me for years of performing, in fact, some items in here are roughly
5 years old.

I’m moving into to a new chapter of my work in regards to card magic, so, before I start
to resent this stuff, I feel like I’m giving something back to the community that have got
me to this point so far.

The majority of this stuff is visual and like myself I’m not going to go into a whole lot of
detail, hopefully, my magic will do the talking.

I hope you all take at least one thing away from reading these notes.

Cheers,

Lloyd T. Barnes
Imagine a colour change as visual as the ClipShift but with no
knuckle busting moves and silent!

CPR CHANGE
HISTORY

CPR stands for Classic Palm replacement. I created this move after seeing the Chad
Nelsons ClipShift, falling in love with the aesthetics of it but the mechanics didn’t fit
me. What, essentially, the CPR change is a reversal of a One Hand Top Palm. Key dif-
ference being the way in which you grip the card, instead of a traditional Classic Palm.
First, you’ll learn the CPR Grip, then the mechanics and finally other utilities.

This is knacky and you will need to take time to practice and learn it but once learned, it
becomes second nature.

CPR Grip
Approach this as if your going to place a card
into Classic Palm but instead of using pinky and
the ball of your thumb to grip the card, your
going to grip the card between the 3rd joint
on your index finger and the heel arch of your
thumb. (Pic. 1).

The reason for this being that if the card was palmed
1 in a traditional way, it would not clear past your
thumb when the change is happening. So with the
card gripped in such a way that it’s already, slightly,
past your thumb, its can easily be shifted on to the top
of the deck..

CPR Grip shown without deck. (Pic 2).

2
CPR Mechanics

With card gripped and the deck held in
over hand grip, your ready to execute the
change. (Pic 3)

3. Spectators View

The next series of movements happens under the
guise of a shaking motion.

Your index finger relaxes and points
forward (Pic. 4) as your pinky runs flush
down the side of the deck (Pic. 5, 6.).

What your pinky is doing, is shifting the card
on to the top of the deck.

6.
Usually, the card that is now on top, will be
about 5mm misaligned on top of the deck,
you’ll be able to spot this, as your eyes will be
used to seeing what happening. So to correct
the misalignment, you’re simply going to use
your index finger to shift it so that it’s square
on top of the deck. (Pic. 7)
7.
The slowest and most visual colour change there is… with no gimmicks.

Barrel Change
HISTORY

The inspiration for the appearance of this colour change, as with most of my musings,
comes from my strive to create magic the way I think magic would look, if it were really
possible.

Also, I want to give credit to Bill Perkins. A couple of years back, Bill published a colour
changed named “X-change” which has a similar look to the Barrel Change, yet has an
almost reversed handling. Bill has contacted me since seeing the Barrel Change and given
me props for it.

Explanation
To Begin, start by turning over a double on
top of the deck and obtain a pinky break
under the top card. Ensure to have the deck
milked towards your self, so the spectator
can’t see the identity of the card on top.
(Pic 1.)

Note; The card that you want to end up with
should be on top now I.e. second from top before
turning over the double.
1

The next phase reads more complicated than what it is but with practice and should take
about a second to do.
Your right hand thumb pushes down on the
card where the break is, thus levering the
card up at the top end of the deck. (Pic. 2)

Your left hand should now grip the deck
using your pinky and the heel / ball of your
thumb and your left hand thumb resting
along the edge of the deck. (Pic. 3)

Now your right hand middle and ring finger
clips the top edge of the card. (Pic. 4)

4
Your going to bring the deck down to
about waste level, with the top card
clipped with your right hand middle and
ring finger, allow the card to bend at a
90-degree right angle from the top of
the deck. The edge of the card facing
towards the spectators eyes. Your right
hand fingers are together so that the
spec can’t see the curved card. (Pic. 5)

The spec should be able to see the bottom half 5
of the deck (closest to them). I.e. they will see
the second card down, what they think is the
top card.

Now you’re going to wave your right
hand over the face of the deck (to-
wards the spec). Still clipping the
card with the middle and index fin-
ger. What I like to do, is open up my
middle and index finger, this gives it
a more open look and allows the spec
to see more of the change. (Pic. 6)

I also wave my right hand back and forth
slightly to make is seem as if it is changing
back and forth.

6
As your hand gets to the end of the deck I.e.
the end of the change your right hand will
allow the card to become unclipped and your
left hand thumb is going to grip the edge of
the card and hold it against the deck. (Pic. 7)

It needs to do this as the card will have a slight bend
in it and will stick up off of the deck. 7

Move your right hand away from the deck to
show the changed card clearly.

To clean up, your going to bring the deck
up towards yourself again, push the top card
out-jogged up towards the ceiling, then with
my right palm facing them, pinch the top of
the card with my thumb and index finger also
with my left thumb holding the card on to the
deck. Rotate the right hand down and then
allow the card to snap free of the left hands
thumb. (Pic. 8.) 8

This will take the bend out of the card. You then
hand the card to the spec to examine.

You can palm off the remaining top card but what I like to do is a Cardini change with it
to the bottom as the specs are examining the changed card.

NOTE:
This change can be done from a number of different positions, one of which, being with
your body turned to the side and the deck held on it’s side, eye level to the spectator.
A single card placed in the card box, with the flaps kept open so
they can see it at all times. A simple shake and the card visually
changes in to another. Completely impromptu and examinable!

SAVINGS Change
HISTORY

I wanted a colour change for spectators with the tag line that “No sleight
of hand or trickery” was going on. So I figured that if I put a card in a box
there would be no way, in their eyes, that I could do and ‘sleight of hand’ to
change the card.

The method hit me almost instantly whilst picking up the card box, not long
after, I had achieved, aesthetically and methodically, exactly what I wanted.

Set up (if needed)
All you need to do is open the deck the way you most of us do. By slicing the sticker on
the box and opening it. All you have to do is keep the sticker on and covering the half
circle that’s cut out of the back of all deck cases. Not really a set up, more of check.

Performance
Have the card that you want to be left
with on show at the end of the change,
second from top of the deck.

Turn over the top X-card of the deck,
show it and flip it back face down on top
of the deck. Now do a double lift and pick
up both cards, keeping the back facing
towards the spec, be sure not to flash the
face.
1
Pick the box up, hold it upwards (make
sure all the flaps are opened wide) and
drop the double in. IMPORTANT: The
face of the double must be facing the
sticky part of the sticker that’s cover the
half cut out circle. (Pic. 1.)
Quickly, pinch the card against the
sticker, as you bring the case down
the X-card will drop away from the
revelation card, so that the spec can
see the face of the X-card in the
box. The card that its going to be
changed into will be stuck up against
the sticker and “ceiling” of the box
and cannot be seen. (Pic. 2)
2

Hold the case with your thumb
and middle, ring and pinky on the
sides above the case. Your index
will casually rest on top of the
case.

Make sure the spec can see the
face of the X-card. (Pic. 3)
3

Exposed View
To execute the change, Shake the case from
side to side. Push your index finger down
on the case, with just enough pressure to
release the card from the sticker, the change
card will fall flush on top of the X-card and
the change is complete. (Pic. 4.)

4 Before

After

To hand everything out, simply slide
the double out in to your hand, keep-
ing the two cards square, immediately
hand the spec the box. This gives you
the tiny amount of misdirection needed
to cop off the X-card in to gamblers cop
and then hand them the changed card
to examine along with the box. (Pic. 5)
5
Cleanly cut a card into the center of the deck. Whilst controlling it
to the top.

CPR Control
HISTORY

After creating the CPR Change, I realized that it was much more than a
colour change and more of a utility move. This is one of many application
that adopts the CPR Change Mechanics

Mechanics

Holding the deck in left hand dealers
grip, show a card that you want to control
and flip it face down on top of the deck.
(Pic. 1)

As you bring your right hand to the deck,
get the top card in to CPR Grip. (Pic. 2)

2
With the deck in left hand dealers grip
and right hand resting above the deck, 3
pick up half the deck and drop it to your
right on the table. (Pic. 3)

Be careful not to flash the card in CPR Grip

Spectators View

Bring your right hand back the left hand, pick up the remainder of the deck (Pic. 4) and
in motion of moving your hand from left to right, execute the CPR Change move, to
replace the card back, flush, on top of the deck. (Pic. 5). Now just drop this half of the
deck on top of the rest of the deck.

4 5

Note: Up to performance speed, the CPR move is totally invisible.
A single card is cleanly inserted in to the deck and left outjogged,
then squared in. With no moves. It’s now on top.

LTB Control
HISTORY

Daniel Garcias Ego Slip is what I think, if I could do magic, a control would look like. I.e.
cleanly placing a card in the center, leaving it outjogged and then with no funny moves,
squaring it in and instantly it’s on top.

However, my hands get really moist when performing so, with out exposing the Ego Slip,
I would always end up having more than one card left outjogged. To fix my problem, I
combined the Ego Slip with Fred Robinsons Ambitious Riser move, to give me the LTB
Control.

Mechanics
Let a spectator select a card from the
deck, whilst they’re looking at it, with
the deck in left hand dealers grip,
outjogg a card from the rear, at the
center of the deck (towards yourself).
(Pic. 1.)

Take the card back from them, and hold
it at the top right hand corner I.e. the pad
of your right hand middle finger will be
touching the number on face of the card.

2
Take the card and once or twice pretend to stab it into the front end, center of the deck.
Now create a small offbeat but by leaning back slightly and glancing up at the spec.

At the same time as you do this, two things
are going to happen at once.

1. You’re going to pivot the card,
flush on top of the deck. Credits to Dan-
iel Garcia’s Ego for this element. (Pic. 3)

2. You’re going to execute Fred
Robinsons Ambitious Riser move and
re-grip this X-card as it comes out
from the front of the deck. (Pic. 4)

4. View without hand in view

Spectators View Front Exposed View
Guide yours and their eyes back down,
after they’ve very brief glance at you,
and act as if your just sort of wiggling
the outjogged card to get it square,
which your gripping with your right
hand finger and thumb. (Pic. 5)

Allow this image to sit with them
before cleanly pushing the card in
flush with the deck. (Pic. 6)

Notes: At the right angle, this control can be burnt and not seen, however, with the simple off beat
misdirection, I comfortably perform this for just about anyone.
Switch a single tabled playing card in the natural action of turning
it side for side.

Light Switch
This takes direct inspiration from the Macmillan Switch. I was experimenting to
HISTORY

see whether I could do a single card switch, switching a card from Gamblers Cop in
a Macmillan-esque fashion. After playing with the idea for a while, it became appar-
ent that it was totally achievable, in fact, the move is even easier to perform than a
Macmillan switch and in my opinion, it looks a lot more natural. The downside is
that this does have angle issues, so I usually execute for one or two people, sitting
directly in front of me.

To see a video of me performing this, go to: http://vimeo.com/15226982
Password is: lightswitch

Mechanics

Start by having a card on a surface and have a slight bend in the card so that it arches off
the surface. I.e. corners lifted off surface. NOTE: It’s best to do this on a close up pad.

If the card that you want to switch is facedown on the surface, than have the Copped
card facedown also.

Now, have the card that you want to switch on
to the surface, in Gamblers Cop. Pinching it at
the top corners of the card between the tip of
the middle finger and just below the knuckle of
the index finger. (Pic. 1)

1
Slide your index finger under the top left
hand corner of the tabled card and pinch
it with your thumb in the center, at the
top of the card. (Pic. 2)

Open up your palm and under the motion
of moving your hand from left to right and
also make a motion as if your flipping the
tabled card over, allow the Copped card to
be kicked out of the palm, and fall below
the card that you have pinched in your fin-
gers. The previously Copped card, should
be in motion, moving from left to right as
it lands on the surface. (Pic. 3) 3

Use your index finger and thumb to
reposition the card back into Gamblers
Cop. (Pic. 4)

All of these movements happen in about a half a second, as you’ll see in the video

This may seem, difficult and also very exposed, but after you view the video (given in the
history) and give this practice, you’ll see that this is very attainable. I would practice this
in front of a mirror, so that you can get your angles down correctly.
A utility move for switching a card outjogged from the center of
the deck, in a natural invisible motion.

Virgin SWITCH
HISTORY

This switch was created as a convincing finish to the finale of Dan and Dave’s
Tivo Transpo. However, I’ve realized that this is more than just a finale to one
effect but more of a utility switch than can be applied to a number of routines.

With a back-to-back double pinched in
your right hand thumb and index finger.
Bring the cards forward and touch them
down on top of the out-jogged X-card.
(Pic. 1)

2 things are now going to happen at
once, your going to push the back-to-
back double in to the deck about a
quarter of their length. (Pic. 2)

2
At the same time, your left-hand index
finger is going to push the X-card in flush
to the deck. (Pic. 3)

Now quickly pull the back-to-back
double out of the deck at the same time
spread your thumb and index finger, thus
spreading the cards. This process should
take about half a second to execute.
(Pic. 4)

Exposed View Run Through
Lloyd’s rendition of the Dan and Daves modern classic, the Tivo
Transpo

Virgin Transpo
HISTORY

The Tivo Transpo has become a modern classic, what with it being a di-
rect, simple and visually effect, great for grabbing your audiences’ atten-
tion. A lot of magi’s have tackled this plot but what most fail on, is the final
switching of the X-card. What I’ve done, is taken my Virgin Switch utility
move and worked it into this effect.

Start by turning over a triple on top of
the deck, showing the card, in this case
the Queen of Hearts. (Pic 1).

Turn the triple face down on top of the
deck and place the X-card out-jogged half
its length, in the center of the deck. (Pic.
2)

Leaving the Queen of Hearts second from top.
2
Now turn over and show the top card (in
this case the 8 of Diamonds) at the same
time catching a pinky break bellow the
Queen. Place the 8 face up on top of the
face down Queen, with a pinky break
below both cards. (Pic. 3)

Now you’re going to perform the Swirl Change. When the change is finished, the Queen
of Hearts should now be seen by the spec, with the 8 aligned back-to-back as a double
with it. (Swirl Change run through Pic. 4, 5, 6.)

4 5 6

WITHOUT placing the double square
on top of the deck, you are going to pinch
the double with your left hand thumb and
index finger (Pic. 7)

7
Re-position your right hand thumb and
index to pinch the double in the same way,
making sure the fingers are pinching the
card in the center. Let go of the card with
your left hand fingers. (Pic. 8)
8

Now Execute the Virgin Switch. The effect is complete.
A prediction is made. The spectator chooses a card. The prediction
is shown to be the chosen cards twin!

Twins
HISTORY

After creating the Virgin Switch, an effect using this utility move to force
a card seemed like a natural progression. I worked it into this simple, fast
and direct prediction effect and I now use it as one of my opening piece
for walk around. It grabs their attention straight away and I can continue
forward with all eyes on me. Simple, direct and Hard Hitting! This is great
for walk around magic.

Explanation

Start with two identical cards on top of
the deck (I.e. 10 of Spades & 10 of Clubs)
Your now ready to start the effect. (Pic. 1)

Place the top card facedown into a
spectator’s hand or a surface. (Pic. 2)

2
Spread the deck and have the spectator
touch any card, outjogg this card. Ask
them if they want to change their mind
or not before squaring the deck back up,
leaving the card outjogged. (Pic. 3)

Get a break under the top card of the deck
as you draw attention to the prediction in
their hand. (Pic. 4)

Either have the spec turn the prediction
over or what I like to do is take it from
them and show is as you bring back and
place it, face up, on top of the deck.

This gives conviction to bring the card back to
the top of the deck.

Now, you should have the face up pre- 5
diction on top of the deck with its twin,
face down below it, both above the pinky
break.

All you do now is casually execute the Virgin Switch and the effect is complete.

-------------

I have left out performance patter in this effect because this is a simple and direct effect to perform
and leaves a lot of room to add what ever patter you want.
A card placed face up in the deck instantly switches with a card face
up on the bottom of the deck.

RED SKY
HISTORY

Sitting in the passenger seat, on the way home from Blackpool 2007, I was playing
around with a variation of Jay Sankey’s Wichita Slip. I wanted to spread the deck and
switch a face down card in the center, in the action of turning it over.

What I like about this routine is the fact the deck is face up. Most transposition effects
have the deck face down, which gives many outs for the switching of the X-card. I find
this tends to catch my magic friends off guard, something we all enjoy doing.

Explanation

Turn over a double on top of the deck (dis-
playing lets say, the 8 of Diamonds), milk
the deck towards yourself, and second deal
1
the X-card off the top (Pic.1) and place it
face up in the face down deck. (Pic. 2)

Because the deck is milked towards yourself, they
will not see the face of the X-card.

2
Square the deck and as you bring the
top of the deck into view, you’re going
to Cardini Change the face up top card
to the bottom of the deck. This should
be an invisible move and should just
look like your squaring the deck as you
bring it into view. (Pic. 3)
3

Now turn the next top card over
(displaying lets say, the Jack of Diamonds),
show it, then place it on to the bottom of
the deck. Now flip the deck over. (Pic. 4)

The position you should be in, should be
this: Face up deck, 8 of Diamonds face up on
top of the face up deck, Jack of Diamonds
face up below the 8 of Diamonds, X-card
face down in the center. Exposed in (Pic.5)

5
Spread the deck to show a face down
card in the center, being careful not to
flash the second card down. (Pic. 6)

You’re ready to execute the visual trans-
position. Execute a Cardini Change, thus
revealing the Jack of Diamonds and at the
same time, bringing the 8 of Diamonds to
the bottom of the face up deck. (Pic. 7)
7

Spectators view of the Cardini Change
(Pic. 8)

8. Spectators View
This next series of movements sound and may seem difficult in description but in reality it takes
about to 2 seconds to execute, looks very natural and doesn’t require too much practice to get down
smoothly.

Ok, so its going to look like you spread the deck to the facedown X-card and just casu-
ally turn it over to reveal the full transposition.

To start, spread through the deck, until you
get to the X-card, split the spread in half
holding one half of the spread in your right
hand and keep the left hand half, squared
with just the face down card pushed over
to the right, saying “the Jack is now in the
center”. (Pic. 9)
9

Bring the right hand, with the spread cards
over to the left hand packet and put the
bottom card of the spread on top of the
face down X-card. In one movement, act
as if your pulling the X-card to the right
with the right hand spread, also turning the
spread over to reveal it.
10

What’s actually happening, is that, using your
left hand middle finger, your buckling the
bottom card (Pic. 10) (to get an air bubble
so that it will slide) and kicking it under the
spread so that it’s in line with the face down
card in the center. (Pic. 11)

11
Your left hand thumb is then going to grab
on to the bottom card of the spread and pull
it (5 of Hearts shown in Pic 12) including the
face down X-card back onto the top of the
left hand packet. (Pics, 12 & 13)

At the same time your right hand index
and middle fingers grab the card from the
bellow the spread (Jack of Diamonds) and
turns the spread including the Jack over to
show the full transposition has occurred.
(Pic. 14)

The X-card is hidden underneath, in this
case, the 5 of Hearts.
14

This is an adaptation of Jay Sankey’s Wichita
Slip.

Your left with a reversed card in the center of the deck, to clean up, simply cut it to the
bottom and execute Aaron Fisher’s Gravity Half Pass with just the one bottom card.
The spectator uses a card as bullet to mark in the deck between
two cards, one of the cards is their selection… unluckily they fail.
When they think the trick is screwed up they take a look at the
bullet card to see that it’s switched… in their hands!

Sniper
HISTORY

Sniper bases itself on . A plot that I’ve played around with for years,
and although I love Harry original handling, I like to create my magic with
methods and handlings that suit my style. I’ve taken this plot and worked
so the magic happens in the spectator’s hands.

Explanation

Take out an ace from the deck and explain to the
spec that this is their one and only “bullet”. Have
them keep hold of it (Pic. 1)

Outjogged at rear, hidden from spec
Have a card selected, (the Jack of Diamonds in
this case) returned to the deck and controlled to
the top. Then, cut the deck in half and use the
thumb of your right hand to out-jog the selected
back (towards yourself) about quarter of an inch.
(Pic. 2)

2
Now riffle the deck and ask the spec to say
stop and then stab their bullet card into
the deck face down, where they stopped at,
leaving it out-jogged. (Pic. 3)
3
NOTE Ensure to riffle 2 or 3 cards
past the out-jogged card, so that their
“bullet” card goes below it. (Pic. 4)

Do not flash the outjogged, selected, card at rear
end of the deck.

Tilt the deck up to eye level, to show them
the face of their “bullet” card (Pic. 5) and as
your bring the deck down, your going to ex- 5
ecute Fred Robinsons Ambitious Riser move
at the same time as using your left index fin-
ger to push the “bullet” card in flush” (Pic. 6)

The bigger motion covers the smaller motion.

6
Brief explanation for Fred Robinsons ambitious
riser move: With the card out-jogged at the back
of the deck about a quarter of an inch, deck in
mechanics grip. Your left hand pinky contacts
the card, kicks it slightly to the right and then
pushes forward until it is out-jogged from the
front end of the deck. (Pic. 7 showing mid way
through the Ambitious Riser Move)
7

You are way far ahead of them now, the rest of patter, which you can play on heavily.

I ask them to pinch on to their “bullet” card
8 as I spread through the deck and get rid of
all the cards apart from the two either side of
their “bullet” card. I tell them, that there is two
chances to hit their selected card. I take my
time (Pic. 8 & 9)

9
Building up drama and eventually turning over the cards either side of the “bullet” with
them still holding on it.

I let them keep hold of it, reveal that the two cards are, in fact not their selection and
then I act like I screwed the trick up and go to put my deck back in the box. All with
them still holding their selected card, what they believe to be the “bullet” card.

Sit back… and watch.
A teleportation of a signed selection… all in the spectators hands!

FLY
HISTORY

A couple of years ago, I was playing around with the idea of having a selected card, van-
ish from between two sandwich cards and have it appear somewhere else. After playing
around with this concept for a little bit, it seemed like a natural step, to have it vanish
from between spectators hands and have it appear in another spectators hands.

I’ve always kept the handling simple and direct as possible and with this handling, it
leaves you quite far ahead of your audience, leaving you lots of room for presentation.
This is on of the biggest hitters that I do. People scream when I do this!

Explanation

Pull out two pairs from the deck; lets say the two
black queens and two red queens. Place the red
pair in one spectators hands and the black pair in
another spectators hands. NOTE: Place them face
down with out letting them see them, this gives
1 you reason to pick them up out of their hands
later. (Pic. 1)

Have someone select a card, take it back and
execute the LTB Control, leaving an X-card
outjogged from the center of the deck and the
chosen card on top. Alternatively, you could do
a Top Change and place the X-card in the cen-
ter of the deck, leaving the chosen card on top.
(Pic.2)
2
Now retrieve either one of the pairs
from one of the specs and show them
what cards they’ve been holding on
this whole time, this is a good excuse
to load the top card in to a sandwiched
position between the pair. Now, place
the pair (with sandwiched selection) in
the specs hand, have them place their
other hand on top of the cards “to stop
me getting to them”. (Pic. 3) Exposed 3
view of card loaded in to sandwich.

Take the other pair from the other specta-
tor and tell everyone “that you don’t want
to ever touch the chosen card”. Kick the
outjogged X-card to the left

Kick the outjogged card to the left, and
place one queen above it and slightly more
to the right than the chosen card, take the
other queen and place it below the chosen
card and slightly to the left. It now should
look like you have a fan of 3 cards, outjogged
from the center of the deck, with the X-card
sandwiched and face down between the 2
Queens. (Pic. 5) 5
Your now going to square this packet up and pull it out of from the deck (thus stealing the X-card
out)

To do this, place your left hand index
finger on the top right hand corner of
the X-card (this is hidden by the above
queen). (Pic. 6)

6 Exposed View

Bring your right hand over and go to kick
the 3 cards to the left and square them, as 7 Exposed View
you do this, pull the X-card in flush to the
deck. Now use your right hand finger to
rotate the 2 cards (that the spectators think
is 3 cards) out of the deck. (Pic. 7 Exposed
View) (Pic. 8. Spectators View)

8 Specs View
This may not seem like a natural collection of actions but by telling them that you never want to
touch the chosen cards, it gives the movements a lot more conviction.

Place these cards in the specs empty hands
and have them place their other hand on
top. (Pic. 9)

Your now way ahead of the spectators and you can use what ever presentation to en-
hance the effect. I like to repeat to them exactly what happened so far (what they think
has happened). Allow the spectators do the rest of the work, sit back and have fun.

This is one of my all time favorite effects to perform, it may sound dull in writing but
when done on the streets, it hits hard… really hard.
Imagine seeing one of a pair of face cards slowly and visually
melt through the deck towards the other, bringing with it, your
selected card.

Eat Fresh sandwich
HISTORY

The classic sandwich effect is one of my all time favorite plots and although
I have a number of unique takes on the plot, this is one of my favorites
because of how direct and visual it is. So this is me, dragging the sandwich
plot, kicking and screaming in to the new era of magic.

Explanation

Take out a pair of face cards, have the spec ex-
amine them, take them back and place them face
up on the top of the deck, catching a pinky break
under both of them. (Pic. 1)

Transferring the deck to your right over hand
grip, keeping the break with your right hand
thumb. Your going to dribble the cards and have
the spec say stop and select a card. Have them
replace the card back to where you stopped the
dribble. (Pic.2)

2
Now your going to execute Oliver Macia’s
“Wow Control” at the same time retaining
the top two cards, allowing the selected
card to be controlled beneath them..
(Pic. 3)

3 Exposed view of WOW Control

Selected card, going below top 2
sandwich cards

Specs View

Alternatively, execute Le Pauls Bluff Pass, with two cards instead of one. Thus, leaving the selection
2 cards down from the top.
Now you’re going to condition your au-
dience. First, take off the top face card
and start pretending to stab it FACE
DOWN towards the bottom end of the
deck towards your audience (act like your
“stabbing” it in to 2 or 3 times before
pushing in) leave it out-jogged about 3/4s
of the way down. (Pic. 3)
3

Tell your audience that you’re going to give
them an “exposed” view by showing them
the “back” of the deck “basically what you
see”. Turn the deck so that the out-jogged
card is towards you.

Now say “Actually I’m going to turn this card
face up” take the card out at the same time
do a get ready, with the top two cards, for a
Marlo Tilt.

5
Again, pretend to stab the deck from
behind, with the now FACE UP card,
about 3/4s of the way down again but
instead place it bellow the two tilted
cards, leaving it out-jogged. (Pic. 6)

Specs View

The illusion of the card melting through the deck is about to happen.

The heel of the thumb and thumb itself
should cover the tilt from the left and I
use my right hand to cover the tilt from
the right. What I like to do, I touch my middle
finger to the top right hand corner of the card and
my thumb slightly touches the back end of the
card.

You’re going to raise your left palm up,
allowing the space between the tilt to get
smaller. Your right thumb stops the top 7
card of the deck moving. The illusion looks
like that only out jogged card at the rear of
the deck is moving up and everything else
is staying still. (Pic. 7)
Everything is now flat and appears as it is,
on top of the deck. Spread the top cards to
show one card sandwiched between the pair
of face cards. Reveal that it’s the selection.
The illusion is now complete. (Pic. 8)

Continued...
Reasons For Conditioning

Some of you reading this may see the condition element of this effect as redundant.
However, to me, it is the key to making this illusion work and also, making them re-
member something they didn’t see. Here’s why:

Firstly, the stabbing action with the face card. When you repeat the stabbing action with
the deck rotated, it reinforces in their mind that you are really stabbing the card into
the bottom end of the deck. Rather than in the tilt. Also, letting them see its position
from the front view before rotating the deck, reinforces that nothing has changed at all
when the deck is reversed.

Secondly, turning the card face up after being out-jogged and facedown. Turning the card
face UP is a logical move to them, since you’ve just told them that you’re going to give
them an “exposed” view. Really, it’s giving you misdirection for the Tilt get ready.

Every time I Perform this effect, people come back to me and ask how I did it, I always
ask them to tell me what they seen and the majority of people will say something along
the lines of “you stuck the card in the front of the deck and I seen it go through the
cards and come to the top with my card”. It’s like some of them completely forget that
the card rises at the back of the deck.

Conditioning is a powerful thing and this effect capitalizes on it for me.
A hyper visual 2 phase inversion routine that you can add in to
your existing set.

Flic – Flac
HISTORY

Since first reading Chris Kenners “Perversion” routine, from his book
Totally Out Of Control, the inversion plot has been a strong favorite of
mine purely for the visuals that this plot relies on. It’s quick, fun and eye
popping!

Phase 1:

Start by having a card selected and clearly placed
face down on top of the deck. Now your going to
do a George Pughe’s Pass to get the card reversed
on the bottom of the deck. (Pic. 1)

Obtain a pinky break above the bottom, re-
versed, card and transfer the deck in to right
over hand grip, keeping a break with your right
hand thumb. (Pic.2)

2
Swing cut the deck in half; use your left
thumb to kick the top “X” card forward
about 1/3rd its length. (Pic. 3)

Simultaneously, your going to allow the
reversed card, which you have a break held
with, to be left out jogged at the rear of
the deck (towards you) about quarter of an
inch. (Pic. 4)

The deck should now have a face down
“X” card out jogged from the front end of
the deck and the selected face up card out
jogged towards yourself, above the “X” card.
(Pic. 5)
5
Deck should now be held in left hand mechanics grip.

Under the guise of a shaking action, your
going to perform Fred Robinsons Ambitious
Riser move, to kick the reversed card out at
the front end of the deck. Also, use your left
hand index finger to pull the “X” card, flush
into the deck. (Pic. 6)

Phase 1 complete.

Phase 2

Loose the first card in to the deck and again,
TG Murphy Deck Flip
get a card reversed on the bottom of the
deck, I like to do this by again, executing
George Pughe’s Pass.

Now have a new card selected, as they are
looking at their card execute a TG Murphy
Deck Flip. Now, you have a face up deck,
with a face down card on top. (Pic. 7)
7
Take the specs card back, place it out
jogged about half down in the deck and
angled to the left, so that you can grip the
deck in over hand grip and keep the card
out jogged. (Pic. 8)

Now, I bottom palm a card from the bottom
the bottom of the deck,

I like to hold the deck to the side with my left
hand, to show the spec that the card is about half
way down in the deck. This gives you conviction
to take your right hand off the deck and replace it.
(Pic. 9) 9

Then return the right hand back into over
hand grip with a card palmed*, your about to
execute the CPR Change. (Pic. 10)

*The palm used is a slightly modified classic palm
grip, see CPR Change explanation.

10
11

Pic 10 - 12 showing CPR Change being
executed (Pic. 10, 11 & 12)

To finish, spread the deck, careful not to
expose the facedown card below the top
card, to show that all the other cards in the
deck have turned face up also. (Pic. 13)

13
Credits

CPR Change:
Chad Nelson for inspiration taken from his move the “ClpiShift” which can be found
on his Surfaced DVD

Barrel Change:
X-Change by Bill Perkins is an almost a reversed handling of the Barrel Change and
was published many years before Barrel Change. It can be found in Bill’s X-Change
Manual. Bill and myself have been in contact since the release of the Barrel Change
and he likes what I have done with it.

Savings Change:
My research has shown no such existing method.

CPR Control:
N/a

LTB Control:
Fred Robinson’s Amitious Riser move can be found in Magical Arts Journal (Vol.1
No.11&12)

Daniel Garicas Ego Slip can be found on the first volumes of the Daniel Garcia Proj-
ects 1, 2 & 3

Light Switch:
I’ve contacted Jason England showing him this and as far as he is aware, this is an un-
published move.

My research has also come up with nothing like this in print.
Virgin Switch:
N/A

Virgin Transpo:
Inspiration from Dan & Daves Tivo Transpo which can be found on their Trilogy DVD
set

Swirl Change:
Marlo / Sankey

RED SKY

Marlo Top Change No.2 can be found in Expert Card Conjuring page 35

George Pughe’s Pass can be found in More Greater Magic on page 1053

Jay Sankeys Wichita Slip variation by Daniel Garcia can be found on his DVD
“Symphony”. I’ve slightly adapted it, to keep a facedown card in the center concealed

Cardini Snap Color Change can be found in Spectacle on page 53.

Sniper:
Inspiration from Harry Lorayne’s “Stabbed In The Pack” plot.

Fred Robinson’s Amitious Riser move can be found in Magical Arts Journal (Vol.1
No.11&12)

FLY:
Ed Marlo Standard Sandwich Load can be found in Carneycopia on page 133

The steal of the X-card is an adaptation of a move used for the second vanish from Bill
Goodwins “The Queens” routine that can be found in “Penumbra Vol. 8”
Eat Fresh Sandwich:
Oliver Macia’s WOW Control can be found on his DVD titled Control Freak

Dai Vernon & Ed Marlo Tilt can be found in Ultra Cervon on page 12.

Flic - Flac:
George Pughe’s Pass can be found in More Greater Magic on page 1053

Fred Robinson’s Amitious Riser move can be found in Magical Arts Journal (Vol.1
No.11&12)
Fin.
Contact: [email protected]