hand is still holding the deck from above (with a card palmed)

and the left hand is holding the deck from below.

With the right hand gripping the top card only, you say, “We
are now going to find all four Aces very quickly. " As you say this the
left hand secretly carries all the cards below the top card into
the left pocket (Photo 1), leaving the right hand holding on
to the top card and a palmed card, and it comes out with the
top card of the deck as you say, “One Ace in my left pocket. ” This
Ace is dropped onto the table or handed to another spectator.
There really isn't much to this secret ditch; it's the same as used
in David Williamson's '51 Cards to Pocket', and other similar
routines. Simply cop the deck and put it into your pocket as
you slightly turn your body.

The right hand now gently deposits its visible card in the left
hand (the single card masquerading as the entire deck as shown
in Photo 2) as it retreats to your right trouser/jacket pocket
with the palmed Ace and removes it from the pocket.

72
 2

With the left hand casually holding on to a single card, snap

your right fingers over the card the spectator is holding and
say, “That should be the third Ace"; they turn over their card to
discover the third Ace.

You now bring your empty right hand over the single card in
your left hand (apparently covering 'the deck' completely) as
you say, “The final Ace is more difficult so I’ll make the whole deck
vanish ... leaving just one. ” Slowly squeeze your hands together
before opening them to reveal that the deck has vanished,
except the last Ace.

Notes
Larry Jennings' 'Deck to Pocket' from his Thoughts on Cards
DVD was the first effect I saw in which the deck was boldly
pocketed under the guise of removing a selection, while leaving

73
 a single card in the hand. Jackie Mc Clements' effect ‘Shock
Treatment', from his 1994 lecture notes of the same name
(and later The Crimp No. 48), was the first effect of this style
I encountered that used the four Aces. I always preferred the
use of four Aces, however, I always wanted a handling that
had nothing ‘held out' at the start, had a change happening in
the spectator's hands, produced four separate revelations and
could be performed by starting with all four Aces on top.

I particularly like the fact that the revelation of the deck

vanishing doesn't happen immediately after it has been ditched;
instead, two revelations occur after the ditch has taken place.

It is possible to remove the need for a slip cut by simply

palming off two cards with the right hand, carrying both cards
to the right pocket before removing the Ace and leaving the
indifferent card behind. You can also remove the slip cut and
top change entirely by apparently cutting to the first Ace and
handing it to the spectator (face down) before proceeding as
previously described.

If I have the opportunity, I do something slightly different

with this routine that is even stronger. After the multiple shift,
I secretly load the top Ace under a glass (or any object) on
my right. Now I allow for a few moments of time misdirection
before proceeding almost exactly as described above; however,
I don't palm an Ace in my right hand and remove it from my
right pocket. Instead I hold on to the top card, reveal the first
Ace in the left pocket (as the rest of the deck is ditched), cleanly
show an Ace under the glass, reveal an Ace has appeared in
the spectator's hands and finally make the deck vanish in my
hands, showing the final Ace.

I prefer this handling as the four separate revelations now

seem completely, stylistically different and it expands the

74
spatial dynamics of the effect. I didn't describe this handling
immediately because it's not always possible to take advantage
of your environment in this way. The original handling can
be performed in every environment, however if I have the
opportunity to load an Ace under something on my right, I will.

75
 The Back Room Demo
Don't underestimate the power of this routine because of its extremely
simple methodology. With the correct attitude and commitment, ‘The Back
Room Demo' appears to be a genuine demonstration of incredible skill.

Have the deck legitimately shuffled, retrieve it and then cull the
Aces to the top, under the pretense of memorising the order of
the cards. You could, of course, use a stock control here or palm
the Aces and add them on after the shuffle; all tha'ts important
is that the spectator shuffles the deck and the Aces are invisibly
controlled to the top.

“This isn't really a trick, it's an old training exercise that cardsharps
would practise before a card game. Don't ask me how I know about it...
I'll show you as it's a fascinating thing to demonstrate.

There are normally a maximum of ten players in a card game and my

aim is to deal an Ace to one of those players. So, if you name the third
player I'll shuffle an Ace to the third posit ion; if you name the ninth
player I’ll shuffle an Ace to the ninth player. I know I'm just showing

76
this to you as a demonstration ... but imagine how useful this would be
to an unethical Poker player or croupier!

aThis is more complicated than doing a Rubik d Cube, especially because

its being done through memory and a sense of touch rather than sight!”

All you have to do now is add the requisite number of cards

to the top of the deck. That's it! So, if they name the fourth
player just add three cards to the top. If they name the sixth
player, add five cards to the top. Do this through a variety
of cuts and shuffles and end with a deliberate cut. Make the
procedure look as genuine as possible. This routine inherently
allows you to improvise your handling and be flexible; by
improvising your methods for adding the requisite number of
cards to the top and adding whichever false cuts and shuffles
you want, you will have a routine that is virtually impossible to

77
 follow (see 'Real Ace Cutting', page 129, for further thoughts
on this subject).

Once you have added the correct number of cards to the top,
pick up the deck and slowly deal the cards into a face-down
row on the table as you verbally count each one out loud, and
then when you reach the named position, pause before slowly
turning the first Ace face up (Photo 1). Now say, “But you may
think that placing one Ace at that position might be a bit too easy ...
so instead of just finding and positioning one Ace . . . I tried to find and
position all four!” Pause for a beat and then deal the other three
Aces face up onto the table (Photo 2).

Notes
I can't think of many routines that suggest such levels of
breathtaking skill, through such profoundly simple means—it
is the ultimate pseudo demonstration. However, this simplicity
demands a believable performance; you are supposedly locating

78
and organizing four of a kind from a shuffled deck, so how
you introduce and present the effect, convey skill and time the
revelations will all dramatically affect the resonance of this routine.

The Any Card Game Control (Small Stock Handling), page

129, is perfectly suited for use with this routine as it provides
a casual and unconsidered counterpoint to the simplicity and
directness of the effect.

79
 Clean Cutter
This is an extremely clean in-the-hunds Ace-cutting routine. The interesting
feature of this routine is the fact that the Aces are all together, yet the
impression of them being cleanly cut from different areas is very strong.

With the Aces on top of the deck, start by giving the deck to a
spectator and take them through the process of the Deep Slug
Control (page 63). At the end of this control establish the little-
finger break above the Aces and remember the name of the
indifferent card that is directly above them. From this position
you are going to perform a series of baffling locations which
creates the impression of your finding the Aces in completely
different areas.

Say, “The first Ace is next to the ... [name the glimpsed card]. ”
Now cut all of the cards above the break to the table and then
cut another portion onto the cards already tabled, making sure
this packet contains at least five cards.

The moment this packet is placed down, pick up the top card
(the first Ace) and place it face up on the packet in your left

80
hand. The left hand now drops the Ace onto the table as the
right hand picks up the tabled packet (Photo 1). As soon as
the Ace hits the table, revolve your right hand palm up to flash
the previously named card. Openly drop the packet onto the
left-hand cards and lightly dribble the cards from hand to
hand to dispel the idea of a control. This sequence creates the
impression that the Ace has cleanly come from the left-hand
portion; therefore it s very disarming (especially to magicians)
when you flash the named card and cleanly drop the right
portion on top without holding a break. The other three Aces
are now on top of the deck.

Continue, “The second Ace is next to the ...” Swing cut the top
portion of the deck into the left hand and rotate the left hand
palm down to flash the face card of its portion. Name the card
you see at the exact moment it rotates into view; timing your
words correctly creates the impression that you knew ahead of
time which card you were attempting to cut to. Once this card
has been named, rotate the left hand palm up and at the same

81
 time use your left forefinger to pull the top card over the front
of the packet until it revolves around the front end and appears
face up under the packet, next to the named card. This is a
standard revelation (Photo 2).14

Now place the cards in the right hand under those in the left
hand but stepped to the right (Photo 3), and then hold the
entire deck at the lower right corner as your left hand removes
the second Ace and places it onto the table with the other
previously tabled Ace. Once again, square up the deck and
casually dribble the deck from one hand to the other.

Perform an All Around Square Up, using that action as

motivation to glimpse the bottom card of the deck. This allows
you to use the same pattern of speech that you did before
saying, “The third Ace is next to the ... [name the glimpsed card]. ”

Execute a swing cut, cutting the top portion into the left hand,
but this time rotate the right hand palm up, displaying the card
you just named (Photo 4). At this same moment, use the left
thumb to push the top card of its portion over the right side and
use the third and fourth fingers of the right hand to clip the top
right edge of the protruding card in the left-hand packet (Photo
5). Now by moving the right fourth finger lightly outward
while keeping the right third finger stationary, this clipped Ace
will begin to revolve face up (Photo 6). When it is face up, the
left thumb temporarily holds it in place on top of the left-hand
portion and the right portion is then placed onto the left-hand
cards, slightly stepped to the right. The right hand once again
grasps the deck at its lower right corner as the left hand removes
the third Ace and places it onto the table with the others.

14. Bruce Elliotts Brrrrtttt! from issue 231 of The Phoenix (1951) and The
Chinese Deal from Dai Vernon s Inner Secrets of Card Magic (1959).

82
2

3
4

5
6

7
 The right hand now places the deck into the left hand. As you
square up the cards, establish a break between the stepped
portions. Now say, “Previously I was trying to cut next to specific
cards ... this time I want to cut to an exact number. I think the last Ace
is twenty-eight cards down. ”

You now execute a riffle force on yourself! Simply riffle down

the outside of the deck with your left thumb to approximately
the point of your break, and then immediately lift off all the
cards above your break (Photo 7). Now thumb the top card of
the lower portion onto the tabled Aces (making sure it remains
face down). Assemble the deck and hold it in your right hand as
your left hand reaches forward to turn over the final Ace.

86
Clean Cutter 2
This version of'Clean Cutter' is performed in the hands. Simply
begin with the Aces on top of the deck and use any stock control
to create the impression of a shuffled deck.

Begin by dribbling a quarter of the deck into your left hand,

and before revolving the right hand palm up, you say, “The first
Ace is next to the ... [naming the visible card at the exact moment
it comes into view]. "Now rotate the right hand palm down and
use the left thumb to peel the top card of the deck to the left
(Photo 1) until the right-hand portion can flip the Ace face up
onto the cards in the left hand.

The Ace is left outjogged and slightly angled to the left as the
cards in the right hand are dropped on top and everything is
held in right-hand end grip. This is an extremely simple but
deceptive sequence if performed smoothly.

Continue, “The second Ace is next to the ...” Swing cut a large
portion of the deck (above the outjogged, face-up Ace) into

87
1

2
the left hand and rotate the left hand palm down to flash the
face card of its portion (Photo 2). Name the card you see at the
exact moment it rotates into view; timing your words correctly
creates the impression that you knew ahead of time which card
you were attempting to cut to.

Once this card has been named, rotate the left hand palm up
and at the same time use your left forefinger to pull the top
card over the front of the packet until it revolves around the
front end and appears face up under the packet, next to the
named card. Place this portion onto the cards in the right hand,
allowing both outjogged cards to roughly align. This entire
sequence is extremely similar to 'Clean Cutter', but the process
is being performed with outjogged Aces visible in the deck.

While holding the deck and the Aces in right-hand end grip,
display the position of the two Aces by rotating the right hand
clockwise and holding the deck slightly side-on to the spectator,
so they can see the Aces are in separate areas of the deck. In
this moment glimpse the bottom card of the deck. Alternatively,
you can forego this 'in-action' glimpse and simply glimpse the
bottom card of the deck before you begin cutting the Aces (it is
the same card).

Rotate the right hand back palm down and say, “The third Ace is next to the ... [name the g
cut, of a portion of cards above the Aces, into the left hand and
rotate the right hand palm up, bringing the named card into
view.
As described in 'Clean Cutter', push the top card of the left-

hand packet to the left and revolve it face up with the right little
and third fingers (Photo 3). The only difference is that you are
performing this move with two outjogged Aces in the right-
hand portion. Once the third Ace has been turned face up, drop

89
3

4
the cards in the right hand on top, displaying three outjogged
Aces in separate parts of the deck (Photo 4). I will normally
spread the deck in my hands at this point to really display the
fact that each Ace is in a separate section of the deck.

Close up the deck and strip out the outjogged Aces, but as you
do slightly lift up on the lowest Ace and obtain a break above
it. Now you can hand the three Aces to a spectator to hold,
or place them onto the table, as you execute a riffle force on
yourself (Photo 5) to find the final Ace. You can also execute
a one-handed cut at the break if you prefer something flashier.

Notes
Both sequences were designed to look like you are genuinely
cutting Aces from separate areas of the deck, when in fact
this is an illusion. It certainly doesn't feel as if the Aces are

5
 all together; the Aces are subtly shifting positions as you are
apparently naming cards that are directly next to the Aces. This
approach is extremely deceptive and yet technically within
reach of everyone.

92
Flow Productions
The following two sequences create smooth, flowing, visual productions,
where the Aces appear to come from different areas of the deck. This is
done with all four Aces together on top (this is the simplest place to have
the Aces after a cull or a palm addition) and uses minimal technique.
Although they are very different, the idea of impressionistically cutting
four Aces from four packets has been used by Frank Thompson,15 Bob
Veeser,16 Al Smith,1 / Ian Baxter18 and more.

Both productions can be done with the deck tabled or with

the deck in the hands. Ill describe the handlings with the deck
in hand. For those of you who want to do it with the deck
tabled, you 'll have enough information here to experiment for
yourselves.

15. According to Max Maven and Harvey Rosenthal, an unpublished effect,

shown around to other magicians in the early 1970s.
16. In his book Faro Controlled /Miracles (1964), Ed Marlo credits Bob Veeser
for the idea within the ‘A Subtlety For The Spectator Cuts The Aces’.
17. See ‘Cross-Over Aces' from The Talon #2 (circa 1980).
18. The Commercial Magic of J.C. Wagner (1987) by Mike Maxwell within the
'J.C. 's Super Closer' routine.

93
 Four-Packet Flow
Start with the four Aces on top of the deck. Execute a series
of false shuffles and cuts which retain the Aces on top. Now,
execute a Finessed Frank Thompson Cut (page 47) or a Bounce
Cut (page 51), but at the point where you are about to place the
final packet (original top portion) down onto the tabled cards,
push off a single card and drop that onto the tabled portion
(Photo 1). This happens in the flow and rhythm of the cut.

As soon as the single card has been placed onto the tabled
cards, the left thumb pushes off another card into the right
hand (Photo 2) and then both hands move forward. As the
hands move forward the left thumb pushes the top card over
the side of the deck (Photo 3).

The top card of the portion in the left hand and the single
card in the right hand are now levered over face up (Photo 4),
making sure that the Ace turned over by the left hand is in line
with the tabled packet (Photo 5).

Now the right hand takes the packet from the left hand and
drops it behind the other face-up Ace at the same time that
the left hand grasps the packet behind the other Ace (Photo
6). Both hands now simultaneously cut their packets outward
(Photo 7). Now each hand turns the top card of both packets
face up in line with the other Aces (Photo 8).

You can now collect the packets, one on top of the other,
returning the deck to its original order. If you are not preserving
the entire order of the deck in this sequence, simply contrive a
way to hold a break above the Aces in the middle of the deck
and cut packets to the table, instead of executing the false cut
at the start.

94
1 2

3 4

5 6

7 8
 Pure Flow
This is a very impressive and baffling demonstration of mastery
that is so simple it hurts to give it away! The initial inspiration
for the sequence came from watching a croupier friend of mine
toy with a stock control. The impression is that from a genuinely
shuffled deck the four Aces are instantly located in a smooth,
visual, flowing style.

Start with the four Aces on the top of the deck. Give the deck a
series of cuts that keeps the top stock intact and then execute a
couple of shuffles that again keep the four Aces on top (mixing
overhand shuffles, riffle shuffles and cuts is a very powerful
and convincing technique, especially if your attitude is casual).

Finally execute the Bounce Cut or Finessed Frank Thompson

Cut (or simply a swing cut), so that the bottom half is on the
table and the top half is in the left hand. In one smooth, flowing,
deliberate action execute the following moves:

Push the top card off the deck into the right hand by its right
edge (Photo 9). Allow this Ace to fall face up onto the table. By
the time the Ace lands face up, execute a stud deal of the second
Ace to the right of the face-up Ace already on the table (Photos
10, 11 & 12).

Now push the top card off the deck into the right hand and
carry it to the right of the tabled Aces. At the same time the left
thumb pushes the top card of the deck over the side of its half
(Photo 13).

Both hands simultaneously lever over their cards so they fall

face up onto the table (Photo 14). The half remaining in the
hands is now placed onto the rest of the tabled cards.

96
 9 10

11 12

13 14

As soon as the last Aces turn face up, continue shuffling and
cutting with the same rhythm and style that you did at the
beginning. By doing this it appears as if the Aces just pop' out
of the shuffling process. There is no break or pause between
the initial shuffling, the production and the final sequence of

97
 shuffling. The written description of this technique may seem
like anon-deceptive, over-simplified production; however, when
done with the right tempo, fluidity and grace this production is
stunning and impossible to follow. It's one of my favourites.

98
Chapter Three Summary
Good , simple design is versatile. With just four Aces on top of the
deck, you can perform a wide variety of routines, productions
and revelations that are efficient at exploiting the same simple
position. The aim of this chapter was to demonstrate how
versatile simple design can be; some pieces are extremely visual
and others more conceptual, some are virtuosic demonstrations
of skill and others are more interactive and subtle.

My favourite effect in this chapter is The Backroom Demo’

(page 75), as it expresses incredible skill through a method
so simple, that even a beginner in magic could execute it.
However, like all magic of this nature, the simplicity of its
method is proportionally counterbalanced by your abilities as a
performer. ‘Clean Cutter 2 is also a favourite of mine because
of its sneakiness in combining simple techniques, deceptive
psychology and an interesting visual display; a display that
serves to reinforce the authenticity of the effect.

Each of the effects in this chapter have different rhythms and

styles that suit different performing contexts, but remember,
they were all executed from the same position and they all rely
on relatively simple technical mechanics.
4.
Classic Simplicity
Stem Cell
Thu routine started as an experiment: I wanted to be able to do several
gambling-style effects that were all magical, interactive and had exactly
the same methodology. You can perform a baffling Monte routine,
Magician vd. Gambler routine or a magical sleight-of-hand sequence
without having to remember different setups; all you do is change
your predentation and you have three different effects! Therefore three
groups of people at different timed could dee exactly the same sequence of
moved and yet they will have different experienced. This is all about the
psychology of framing.19

Firstly, lets deal with the fundamental technical roots of

'Stem Cell', and then I will explain exactly how to generate
the different effects. Begin with four Aces on top of the deck
and execute an In Faro shuffle to position the Aces second,
fourth, sixth and eighth from the top. Overhand shuffle the

19. 'Framing' is a psychological effect dealing with cognitive bias that I am

quite interested in. An advanced, single-card exploration of the framing
effect can be found in my book This is Not a Box, 2016, 'A Choice Illusion',
p.11.

103
 deck, secretly performing a Lift Shuffle20 as follows: Chop off a
block of cards into your left hand—large enough to contain all
the Aces—and, as your right hand comes back to shuffle more
cards on top, your right fingers steal the first block behind the
rest of the deck.

Shuffle all the remaining cards from above the stolen block into
your left hand so that you are just left holding the stolen block.
Now run a single card from the stolen block onto the cards in
your left hand before finally dropping the block back on top.
This is a deceptive single-sequence shuffle that will be used to
remove the cards between the Aces.

At the exact moment that the final block is dropped back on

top, the left hand squares the cards and performs a push-off
double turnover to show an indifferent card. The double is
turned down and the left hand thumbs the face-down top card
(an Ace) onto the table. As soon as the card has been placed
onto the table, the left middle finger goes under the deck and
the left thumb moves to the middle of the top card. Now by
pressing upward with the left middle finger the deck pops up
into the exact position needed for another shuffle sequence. If
you repeat this sequence four times you will have shown four
random cards, when in fact there will be four Aces on the table.

This is a smooth, flowing sequence with no hesitation or

interruption. It looks absolutely casual and this is exactly the
technical sequence you will repeatedly use for 'Stem Cell’; the
only thing that changes is the way you frame each effect.

20. See Card College, Volume 2, Roberto Giobbi (1996).

104
Stem Cell Monte
“Have you ever played Three Card Monte? Well you shouldn’t, you
cant win. Three cards are shown and you normally have to follow the
odd card. ” I normally remove three cards from the bottom of
the deck and just openly demonstrate what I mean and the
spectator will instantly understand or remember what you are
talking about.

Continue, “The major problem with that game is that I know which
card you are trying to follow, co I know which card to switch at which
point. Instead I'm going to show you something different; I'll show you
three cards and you just think of one of them ... but don’t tell me which
one. Then it is far more difficult for me to deceive you ac I don’t know
which card you are following.” This establishes the logic for the
technical sequences that follow. Simply execute the 'Stem Cell’
sequence three times, each time placing a face-down card onto
the table until you have three face-down cards in a row. At this
point, pause for a brief moment and then begin a final shuffle
sequence as you say, “In fact instead of three, why don 't I give you
four co that you have even more choices?”

Once this final card is placed down, place the deck away in the box
or in a pocket, leaving you with four face-down cards in a row on
the table. You will now use a piece of psychological misdirection
to create the impression that you know what they are thinking
while simultaneously reinforcing the notion that four random
cards are on the table. Say, “Even though this seems really fair, there are
several things I know: You won't have thought of the final card; you will have
already made up your mind at that point. You won’t have thought of the first
card because it will have seemed too obvious. Therefore, I can be pretty certain
you are thinking of one of the two middle cards. However, now that I've told
you this, there is nothing to stop you from changing your mind ... but...
you ’ve probably forgotten exactly what the other cards are! Anyway, don’t
cay anything, just try and follow the card you are thinking of. ”

105
 Now start to switch the cards around on the table, sometimes
moving fast and then slow. Try to make it appear as if you
are possibly switching the cards or maybe you are trying to
misdirect them. Do not underestimate the power of this moment
so take your time. At some point stop and ask the spectator to
point at their card; once they have indicated the position ask
them to name their card. Now slowly reach forward and turn it
over to reveal an Ace; pause for a beat before turning over the
remaining cards to reveal four Aces!

The best part is that this effect has been created with words,
through framing. You are now about to learn a completely
different routine even though the exact same technical
procedure is observed.

Stem Cell Magician vs. Gambler

While I'm sure you have already guessed what is about to
happen, please read this closely as there is some interesting
psychology at work.

Say, “I want to show you something interesting. I want to dhow you the
difference between skill and magic. Trying to find specific cards while
shuffling is extremely skillful and extremely difficult. Hopefully I'll be
able to find a pair or three of a kind, but it's not easy. ” This is a very
simple way to set up the idea that you will be actively looking for
cards while shuffling. Perform the 'Stem Cell' shuffle sequence
and then the double lift. Name the face card of the double (well
use a Jack in the example presentation), and say, “A Jack. So,
I'll try and find another Jack. ” Turn down the double and drop the
top card onto the table. Now perform another shuffle sequence
and again name the face card of the double (in this example, a
Four), saying, “Ok, a Four. Well, I can still find three of a kind. I just
need the rest to be Fours or Jacks. ”

106
Turn down the double and drop the top card onto the table.
Now perform a third shuffle sequence and name the face card
of the double (in this case a Six), saying, “Hmm, a Six. Well if I
can find a Jack, a Four or a Six, then I will have a pair Which should
I find?” Whichever value the spectator names, turn down the
double and deal the top card next to the other cards. Perform a
final shuffle sequence and name the face card of the double (in
this example, a Nine). “See, I toLd you its difficult! Damn, a Nine.
However, what If I could invisibly change this into a Jack, Four or a
Six? That would be good, right? Which one?”

Deal this final card next to the other three face-down cards and
hover your hand slightly above it (as if attempting to change
it into the named card). Finally, say, “Skill doesn’t always work. I
will need something else!” Slowly turn over the card to reveal an
Ace, pause for a beat and then turn over the other three cards
to reveal all four Aces.

This routine is fun to perform because you have no idea what

cards will actually be named, and often there is a pair that
naturally appears, or some other pattern. This is great to exploit
and means you have to think on your feet while performing.
This increases the sense of realism necessary to contrast the
magical ending. It also pulls the spectator into the effect as they
are seeing that you are trying to find cards and failing; they can
also interact and try to define certain outcomes ... which also
fail!

I also love the fact that we go from confusing, messy cards to

Aces. This feels bigger and more impossible than the standard
approach to this effect. The standard approach is to interlace
Aces and say, Tens; you now show three Tens and the final Ace
is a mistake, and then all the cards change into Aces. I think
this is inferior for two reasons. Firstly it only feels like one
change (Tens become Aces); although it is the same procedure,

107
 psychologically it feels like a binary change. However, several
random cards becoming Aces feels bigger than a binary change;
it feels like each card individually changes into an Ace. Secondly,
aesthetically I also like that chaos becomes order, which makes
the ending feel more magical and visually pleasing.

Stem Cell Sleight of Hand

This sequence is the most direct version of 'Stem Cell' and is
very magical. I would normally use it if someone specifically
asked me about sleight of hand.

Begin by saying, “I want to dhow you something very weird. I want

you to remember one of four cards, but dont tell me which one. ” Now
simply execute the 'Stem Cell’ shuffle sequence four times,
each time placing a face-down card onto the table until you end
up with a row of four face-down cards. Say, “Don’t tell me which
one you are thinking of. You might have changed your mind, it doesn't
matter ... just place your hand down onto the one you are thinking of
do that it’d completely covered. ” Once they have done this, subtly
shift your weight, adjust your sleeves or maybe stretch your
hands. All these actions are subtly communicating that you are
preparing to do something special or difficult, however, don't
overdo it.

Using as barebones patter as possible, slowly lay your hands

flat onto two of the cards, and keep them there for a few
seconds before slowly removing them and placing one of your
hands onto the remaining face-down card, as your other hand
hovers above their hand. When your hand is above their hand
you say, “The hardest card is yours. ” Slowly turn over the three
visible cards to reveal three Aces and invite them to turn over
the final card to discover the final Ace. This last sequence is a
very direct, magical change of the Aces; they are apparently
seeing the actual moment that the change happens, which will
create a very vivid memory of a magic moment.

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Notes
With 'Stem Cell’, I always begin by palming the Aces and
having the deck shuffled. I then retrieve the deck, add the Aces
on top and execute a Faro Shuffle. Its only at this moment
that I decide what to do, depending on that particular audience/
spectator, that particular moment and simply what I feel like
doing.

You can now perform three baffling routines without ever

having to remember different methodological sequences.
Understand the psychology of the presentation and you have
three completely different effects to perform from the exact
same set-up and the exact same technical handling; you are
creating different effects through words rather than moves.
This is efficiency!

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 The Resourceful Professional
This demonstration was my attempt to construct a complete
gambling routine which demonstrated advanced culling,
stacking, false dealing, mucking and more from the simplest
position possible. I wanted to create an impressionistic routine
which required very little work and yet was able to compete
with, or potentially surpass, traditional demonstrations of this
nature. I feel confident that this routine delivers on those levels.

Remember that the aim of this demonstration is to create the

greatest impression of skill and control through the simplest
technical means possible. I have given a brief technical
description of each element, however while demonstrating them
you should be casually talking about each concept in exactly
the way one would expect for this type of gambling expose.

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Method
With the four Aces on top, bring up the subject of gambling,
card cheating, etc., and offer to demonstrate some fascinating
techniques. Each of the following elements is performed as if
that particular element occurred to you to demonstrate in the
moment:

1. Shuffle Location/Culling
Give the deck some shuffles and cuts, keeping the Aces on top.
Deal out three face-down cards, showing that the fourth card
(which is dealt to yourself) is an Ace. Leave the other face­
down cards on the table as you continue.

2. False Dealing
Place the Ace back onto the deck and demonstrate/expose a
number of face-up and face-down second deals. Stop when
you've dealt a known number of cards into a face-down pile
(let's imagine you dealt fifteen cards). I will deal the first five
with the Ace face down, then five with the Ace face up and a
final five with the Ace face down.

3. Stacking
Place the face-up Ace onto the fifteen dealt cards and place
this packet onto the deck and hold a break beneath it. Casually
mention that a useful skill is to be able to send the Ace to a
specific location, and turn the Ace face down and execute a slip
cut to the break, followed by some simple false shuffles and cuts.
Mention that you have placed the Ace at the sixteenth position
from the top; now cleanly deal the cards onto the table, showing
that the Ace is now at the sixteenth position. You can also ask
the spectator to name a number between ten and twenty. Once
they do, casually adjust your break accordingly before executing
the slip cut. Now you can proceed as previously mentioned, but
positioning the card at the position the spectator has named.

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 4 . Card Mucking/Switching
Assemble the cards and cleanly show the Ace on top of the
deck. Now use the technique for the Rub-a-Dub-Dub Vanish21
to simulate putting a card under your hand. Now lift your hand
and apparently shoot the Ace up your sleeve before revolving
your hand to show it empty. Execute a double lift with the
deck to show an indifferent card and deal this card (actually
the Ace) face down onto the table. Now apparently shake the
'sleeved Ace' back into your hand and then rapidly turn the
tabled card face up. This sequence perfectly simulates a card
switch without having to do anything complicated or anything
that can flash.

This sequence is incredibly deceptive and is a fantastic way

to demonstrate card mucking without having to learn any
complicated techniques. If you find yourself performing this
sequence without a sleeve, simply dart your hand below the
table or under your arm (as if depositing the Ace there), come
back out with an empty hand, execute a double lift, go below
the table or back under your arm again (to retrieve the 'Ace')
and now apparently switch it for the indifferent card with a
swift movement of the hand.

5. Shuffle Tracking
Explain that a useful skill is to be able to visually track the
locations of cards while the deck is being shuffled. Use a jog
shuffle to place the Ace about three-quarters of the way down
in the deck. Square the cards and get a break below the jogged
card. Now simply execute a riffle force on yourself and cut to
the break. This should look as if you cleanly cut to the exact
location where the Ace resides after a shuffle.

21. First published in Hugard and Braue's Expert Card Technique, 1940. The
move is said to be a Charlie Miller creation, although Miller is not credited
within the book.

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6. Four-of-a-Kind Location
Mention that one of the most difficult techniques is to locate
and control four of a kind. Now make sure the Ace is face up on
the deck, slowly place the deck down onto the table and then
turn over the other three Aces—which have been on the table
from the beginning. This ending is extremely elegant and will
come as a complete surprise to any audience.

Notes
If you look at the clarity of the ideas expressed in this routine
and the simplicity of the methodology used to achieve it, I think
you will see something rather pleasing. The only technically
difficult thing to perform is the second deal, however, you do
not need a great second deal as you are literally exposing the
technique for demonstration purposes.

I cannot express how happy I am with the structure of this

routine. To me it is a perfect example of how incredibly
simple means can generate powerful results. If I ever have to
demonstrate a card-cheating sequence, this is often the routine
I perform. It is quick, easy and expresses a wide range of
concepts while being entertaining and surprising.

113
 No-Motion Four Aces
I have long suspected that most ungimmicked versions of the
Ace Assembly are in fact subtle testimonies of a magician's
desire to appear clever, creative or skillful amongst his peers.
Therefore, such routines often use more technique than one can
shake a stick at; a constant stream of double buckles, false
counts, displacements, steals, changes, palms, false deals, half
passes, secret transfers, and the occasional 'original' move. In
my opinion, this kaleidoscope of dexterity is born from ego and
naivety; it's a chance for the performer to preen his technical
feathers and to gratify his technical fetishism, rather than
genuinely focus on the experience of the uninformed/objective
observer.

This routine is my attempt to create the ultimate handling with

virtually 'no moves'; one focused on pure effect, psychology
and practicality. Its fundamental roots can be found in 'Slow-
Motion Four Aces' by Dai Vernon and the 'Exclusive Coterie'
by S. W. Erdnase, but it has evolved drastically and is now
virtually unrecognizable from its predecessors.

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Effect
Four Aces are cut from a shuffled deck, three cards are placed
onto each Ace (to casually represent four hands of Poker) and
the Aces now invisibly travel to one packet.

Method
Begin by cutting four Aces from the deck and laying them out
in a face-up row across the table. This is an important phase
as it serves a very useful psychological function: It creates the
visual impression of the four Aces lying in a row on the table,
which considering the effect about to follow is an important
initial impression for the audience to have.

At an opportune moment after producing the four Aces, get

a break under the top three cards of the deck. Once the four
Aces have been on the table long enough to create a lasting
impression of them being there, allow both hands to work
together in collecting them up; the left hand acts as a stopper as

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 the right hand collects them up into an untidy face-up group.
The Aces are now turned face down onto the cards above the
break and the entire packet is lifted from the deck. As you do
this, move the packet forward a few inches, separating the
packet visually from the deck, while the left forefinger pushes
the deck deeper into the hand. This allows the Ace packet to
appear distinct and isolated (Photo 1). This sequence should be
executed smoothly and without the slightest hesitation.

You are now about to execute a sequence which I use in place

of the Braue Addition (as I have always felt that the Braue
Addition looks like a rather suspicious sequence of moves).
I much prefer the following sequence because it feels more
casual and incidental. It has taken me many years to develop
a sequence which is not only visually deceptive, but also
psychologically disarming and natural. This was my attempt to
create a sequence that looks like nothing; a casual, simple non­
moment. I call this technique the Unconsidered Switch:

Use the left thumb to draw off three cards by the inner left
corners (Photo 2), and replace them squarely on the bottom of
the packet before drawing off a final card and replacing this on
the bottom as you say, “It doesn ’t matter what order the Aces are in
. . . ” Drawing the cards off at their lower left corner keeps the
packet and the deck very obviously separated. Now turn the
packet face up (end for end) as you say, .. but I want them to
be mixed. "As you say this, draw off three face-up Aces with the
left thumb and replace them back onto the face of the packet.
Now draw off the top Ace with the left thumb and place it
on the bottom of the packet (leaving it casually misaligned).
Hold the packet against deck with the left thumb (Photo 3) as
the right fingers re-grip the packet by its sides and the hands
separate (Photo 4).

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2

3
 4

Casually turn the Ace packet face down onto the deck and
immediately thumb off the top four cards (with one hand) into
a row on the table as you say “This way in a moment you'll make
a genuinely random choice. ” As an apparent afterthought, switch
the Aces around on the table, ensuring that the only tabled Ace
ends up in the third position from the left.

Position check: The spectator believes that the Aces are on the
table; however, there are now three indifferent cards on the
table and an Ace in the third position from the left. The other
three Aces are on top of the deck in the left hand.

It is very difficult to convey in print the timing and flow of

this sequence. All I can say is that there is really no pausing
between your words and actions, and your actions merely seem
to be unconscious and unconsidered rather than deliberate or
rehearsed sequences. The nature of this sequence allows for

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cards to move in a rough, natural but controlled way. There is
no tumbling, falling or revolving of the Aces during the switch.
They just seem to be openly displayed or casually moved on a
flat plane. There are, of course, more technically demanding
ways to switch out three Aces, but in my experience these
approaches often just introduce more psychological suspicion
and practical limitation. I cannot stress enough that if the
attitude and performance of this moment are correct, this
moment not only looks natural, a spectator will forget you even
lifted the cards off the table or touched them at all.

To continue, count off twelve cards (without reversing their

order) into the right hand and set the rest of the deck aside.
Turn the twelve cards you have just counted face up and push
off three cards into the right hand as you say, "It doesen't matter
what these cards are as we are not playing a real game of Poker." Now
place these three cards at the back of the packet as both hands
move to straighten up the apparent Aces on the table.

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 Casually spread off another five face-up cards (showing more
indifferent cards) before closing the spread and turning the
entire packet face down. This sequence casually displays a
packet of indifferent cards while hiding the Aces.

Push off the top three cards and square them at the fingertips
and place them behind and overlapping the card on the far
right. Now push off another three cards, square them at the
fingertips and place them behind the next card (which is a
genuine Ace). Repeat this for the remaining two packets (Photo
5). This position is very important as it serves as another visual
reminder that the Aces are on the bottom of each packet while
establishing that all packets are equal.

Now with your forefinger, very slowly push the top portion of
each packet flush with each of the protruding cards (Photo 6)
as you say, “I don't want you to think I’m moving or touching any of
the Aces. ” Once this procedure is complete there will now be
four packets in a row on the table. The third packet from the
left consists of all four Aces.

Now say, “Choose any packet for yourself It doesn’t matter which
one ad they are all the same. ” This is an important moment as it
does a few things. Firstly it reinforces the idea that the packets
are the same. Secondly it introduces a genuine free choice that
psychologically makes this moment feel free from deception.
Finally it sets up the climax of the effect, which because of their
genuine free choice will retrospectively deepen the mystery
and create the opportunity for a miracle. Hopefully they will
choose the third packet from the left for themselves, but if not,
it doesn't matter. After they have made their choice simply slide
the Ace packet toward yourself. Whatever happens, either the
spectator will have the Ace packet or you will. The other two
packets will be positioned on the left- and right-hand sides
(Photo 7).

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6

7
 (To 'help' the spectator select the third packet, I often touch the
second packet from the left again as an unconscious adjustment
after I have mixed the cards. This seems to push the spectator
to pick the target packet more often.)

Now you say “I am going to show you do me thing amazing! I’ll cause
aLL of the Aces to vanish from their packets and to appear in my/your
packet. ” (Substitute my/your depending on the location of the
Ace packet.) You will now execute a simple display sequence
designed to create a very magical effect. You will always start
with the packet on your right, then the packet on your left,
before ending with either the packet in front of yourself or the
spectator.

Pick up the packet on your right, spread it and separate the

cards so that each hand holds two cards. Lever the bottom card
of the right-hand packet face up onto the table, and then lever
the top card of the left-hand packet face up onto the table. Next,
flip the remaining card in the right hand face up onto the table,
and at this exact moment, perform a Through-the-Fist Flourish
with the remaining card, dropping it face down onto the rest of
the face-up cards. As this happens your left hand remains in
a closed position (as if holding something) and hovers above
the target packet as your right hand hovers above the tabled
face-down card. Both hands make a subtle movement (as if a
sleight-of-hand technique has been performed at that moment)
and now both hands lift up and are seen to be empty. At this
moment you say, “The firdt Ace has vanished. ”

What is interesting about this moment is that the spectator does

not think that the Ace has vanished; it seems to have simply
been turned face down! This sequence causes the spectator
to doubt your claim and to assume that the Ace is still in that

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Now pick up the packet on the left and perform the same
sequence of moves, with one minor exception: After you have
performed the Through-the-Fist Flourish and dropped the
face-down card onto the face-up packet, mime a palm-to-palm
transfer (as if there is now something hidden in the right hand).
Now place the right hand over the target packet and the left
hand above the tabled face-down card as you once again appear
to execute a secret move to account for the moment of magic.

Finally, pick up the remaining packet and perform the same

sequence of moves (including the Through-the-Fist Flourish),
but this time instead of immediately dropping the face-down
card onto the tabled face-up cards, give it a quick spin/twirl
flourish as your left hand hovers above the target packet.

There are now three piles of face-up cards (with a face-down

card on top of each) and the target packet remains untouched
(Photo 8). Pause for a beat before turning over the face-down

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 cards one by one and then pushing all of the face-up cards
together into one messy pile (this creates a subtle potential
moment for the spectator to suspect that the Aces are hiding
in the mess of face-up cards). Now turn your attention to the
remaining face-down packet and slowly turn each card face up
one at a time, revealing that the Aces have all jumped to the
target packet.

Notes
This routine is a barrage of subtle psychological ploys designed
to create the illusion of Aces assembling into one packet (in
a quasi-one-at-a-time, slow-motion structure). It has taken
me many years to strip away all the superfluous technique
normally associated with this plot. This routine can look like
pure magic or expert sleight of hand, depending on what the
observer wants to see and what the performer wants to portray.

No bold misdirection is needed, there are no bad angles, nothing

can flash and the effect is incredibly clear. If you can hold a
break and perform some simple movements, you can perform
this routine. In fact, the hardest aspect of this routine is to
genuinely appreciate how such simple ideas have the power to
communicate so much powerful magic. With that in mind, here
is a reminder of the deceptive elements within this effect. I hope
you see cumulative power for creating a compelling illusion:

• The Ace-cutting sequence at the beginning is there solely to

create a visual/psychological impression of the Aces on the
table. This idea is incredibly important to the effect so do
not skip over this.
• The initial switch-out of the Aces is natural and casual; it is
performed with a nonchalant attitude and the movement of
the Aces is uncomplicated.
• The apparent Aces are moved around on the table, subtly
proving that any packet could have been chosen and the
same result would have occurred.

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• The extra cards are placed on each apparent Ace in a way
which draws more attention to the existence of the Aces.
• The packets all remain in a row, making all the packets
psychologically equivalent from the beginning (removing
the traditional T-formation).
• The final phase appears to contain 'moves' which suggest
that something is happening.
• During the final phase, there are face-down cards remaining
in each packet. A spectator is curious to see the face-down
card and will intuitively question your assertion of the
apparent vanish (thereby creating the existence of the Ace
in their own minds).
• The final messy amalgamation of the face-up packets
provides a subtle suggestion that the Aces may be hiding
there.

It is important that the initial Ace productions and vanishes at

the end of the routine are executed with grace and finesse. In
contrast, the middle section is deliberately simple and clear. In
fact, it is so procedural that it is void of any observable beauty.
This is a very subtle but important psychological technique as
it reinforces the notion that things happen only in the moments
when this sense of grace or finesse is apparent. This very subtle
idea is very deceptive and can be useful in many routines.

A final important point to consider is that a spectator doesn't

register the full effect up until the final moment. Normally with
a one-at-a-time assembly, the audience registers the pattern
of the effect and leaps ahead (therefore there is no surprise).
This effect maintains the potential for surprise up until the final
moment (by keeping the audience sceptical) while creating the
impression of a one-at-a-time, slow-motion assembly.

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Chapter Four Summary
The effects in this chapter are about tackling classic magic
effects with simplicity —Three Card Monte, Gambler vs.
Magician, Ace Assembly and a gambling expose. However, we
have tackled these effects from the simplest position possible
while still using the Aces as a structural framework.

This chapter has demonstrated that we can change an effect

with just words, without needing to change method. We can
create an effect using multiple layers of psychology instead of
multiple physical techniques, and we can stack layers of simple
physical techniques to achieve an incredible overall effect that
seems much larger than the sum of its parts.

All of the technical demands within these routines are relatively

simple, but the philosophy and psychology behind the design of
each is sophisticated and fundamental to their deceptiveness. I
hope that these routines have inspired a few of you to consider
how the combination of simple design and psychology might
help impact your work.

We now move to the final goal: evolving a trick into something

real through nothing but objectivity, psychology and simplicity.
We will make the production of four Aces from a shuffled deck
look like a true, genuine skill.
5.
Real Ace Cutting
 "Beauty of style and harmony and grace and
good rhythm depend on simplicity."
— Plato

Real Ace Cutting: exploring realism,

rhythm and nuance
'Real Ace Cutting'22 is an internally motivated method of
organic card manipulation designed to make your technique and
performances more believable, nuanced and entertaining. The
word 'real' is rather conveniently an anagram of my surname
but also fundamentally serves as the perfect way to think about
the attitude of this material. 'Real Ace Cutting' allows you to
reliably and authentically cut/locate/produce any four of a kind
from any deck of cards, in any environment.

If you were really able to produce Aces from a borrowed,

shuffled deck, what would it really look like? What would the
presentation be? How difficult would it be? How practical
would it be? I have genuine methods for producing four of a
kind from a borrowed, shuffled deck, so I know how it feels
and how technically demanding it is. I spent many years
working on this while dealing Blackjack, playing Poker and

22. I first presented these ideas at The Session 2009 convention in Gloucester,
England.

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 performing magic. I invested a lot of time in many sophisticated
methods, both magic and genuine cheating methods, for culling
desirable cards from a shuffled deck. However, in my opinion
'Real Ace Cutting' is a far superior approach to anything else I
have experimented with; it is within the reach of any intelligent
performer, and unlike other approaches, it truly allows you
to concentrate on and connect with the performance itself
(without sacrificing any realism or reliability). For this reason
I consider it to be a superior approach.

Finding four Aces isn't good enough; it must be believable

and entertaining. Not limited by style or procedure, this is
a flexible approach with very few rules; it cannot be rivaled
for deceptiveness or realism and will fool the most educated
observer. I don't want to define this method as a divergence
from other methods but rather define it on its own terms. This
method is simultaneously all methods and no methods. It is not
separate from other routines or just another routine. It is much
more about the performer, his mindset and his awareness than
just a technical procedure.

Having the deck genuinely shuffled by a spectator is the most

important and potent factor in convincing your audience that all
is fair and aboveboard. This act alone is enough to immediately
send an audience to sleep and to give you the necessary
psychological cover to use one or all of the following ruses:

1. Cull the Aces to the top before the effect begins and false
shuffle.
2. Cull the Aces while apparently looking through the cards to
memorise them or to remove a Joker.
3. Cull the Aces to the top during a previous trick.
4. Add previously palmed Aces onto the deck after the
spectator has shuffled.

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In all the years I've been performing magic I have always found
an opportunity to use one of the above ruses. I have learned
and created many methods for culling cards, but ultimately
none of them are remotely as good as the four ruses above. For
this reason it is important to understand that by simply being
relaxed and nonchalant as you use one of the above ruses,
you render the control of the Aces completely invisible in all
performing situations. There are, of course, subtle touches with
all of the above ruses to make them more deceptive, but I don't
have time to go into the endless possible variations considering
the many contexts in which they may be used.

Once you have the deck back in your possession with the Aces
under control, you must give the deck two or three shuffles that
do not lose track of the Aces. This shuffling must be very casual,
unconsidered and executed without much apparent conscious
awareness of the action (see The Real Optical Shuffle, page 41
and The Any Card Game Control, page 36). It is the attitude
and body language of the performer that deeply convince an
audience that the deck has been genuinely shuffled. It can take
many hours of study and practice to false shuffle cards, not
only with visual deceptiveness but with the correct attitude to
allay any hint of suspicion. Attitude is do crucial, yet most card
experts don't truly commit to maximising the potential of it.
Give 'attitude' some serious thought as it's probably the most
psychologically pivotal part of your performance.

The finished card expert considers nothing too trivial that

in any way contributes to his success, whether avoiding
or allaying suspicion, or in the particular manner of
carrying out each detail; or in leading up to, or executing,
each artifice. Therefore the writer has expended much
time and care in illustrating many manoeuvres that at
first may seem unimportant, but all of which are essential
to the curriculum of artistic card handling.
— S. W. Erdnase, The Expert at the Card Table

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 Only with an audience completely convinced that the deck
is legitimately shuffled can you begin. Pick up the deck and
riffle it in front of your eyes, and set the deck down again. With
the deck now isolated, subtly express the following or similar
sentiments through verbiage and body language:

• What you are about to see is very difficult.

• This may not work.
• This is something that you shouldn’t see as it is a secret skill.
• This idea is very valuable.
• This is not a trick.
• This is amazing.
• I am nervous/excited.

Subtly expressing the above ideas (without launching into a

contrived monologue) is a question of skilled showmanship; it is
often what is unsaid, withheld or suggested that an audience will
pick up on and where the fundamental power of a performance
resonates. Some performers will immediately understand this;
for others, this notion will seem illusive. With this in mind, a
basic description of what follows would be to produce the Aces
in any way you wish while concentrating on showmanship.
Although essentially true, it is much more sophisticated and
nuanced than that.

Every single action, reaction, technique, revelation, facial

expression, thought and feeling must be improvised or
discovered in the moment. However, I try to keep my words
to a minimum, or to not speak at all. This process is repeated
for each Ace, resulting in four independently created moments.
One must take on the role of someone who is doing this for real
(from a genuinely shuffled deck) so that in your mind it is real.
Forget that they are all together on the top. False shuffle the
deck and use the Sting Cut (page 29) to maintain control as you
think about how to find one Ace from the apparent randomness.
There are no rules as long as each revelation is committed to

132
in the moment. The revelations do not even have to be that
methodologically, technically or stylistically distinct; the crucial
matter is the commitment to each individual revelation and the
blind dedication to the location of that card. Each time the
process may start again. This is not a mechanical sequence but
a collection of independent, although related, organic moments.

Remember, I am not suggesting that its preferable for the

revelations to be stylistically distinct—they could all be exactly
the same or in keeping with a particular gestalt — but they must be
individually conceived of and committed to, not a pre-rehearsed
or familiar sequence. The fact that the techniques, timing,
pacing, revelations and style are conceived of in the moment
dispels the notion of pre-rehearsal and therefore emphasizes
realism. Through this process you'll discover a freedom to
pause, connect and communicate with an audience in ways that
were previously invisible to you. You are specifically focusing
on a different way to perform, concentrating on the rhythm of
the performance and becoming sensitive to how you need to
create and release tension. You have an alternative paradigm,
not just finding Aces—that's the easy bit.

Having a rehearsed routine that you think is theatrically better

than others is the complete antithesis of 'Real Ace Cutting'.
Every single production is the product of a decision that you
make in that moment; you may also decide to false shuffle, false
cut, stock shuffle or use a flourish at any moment (this not
only has the potential to add deceptiveness but it also changes
the dynamic range of the performance and may also give you
time to think about your next move). The deck may be on the
table, in the hands or both. The style and technique of each
revelation can change; you may cut directly to one, change one,
deal to one or leave one face down — ready to turn it over when
the moment is right—the possibilities are, of course, endless.
The important point to remember is that these decisions are
being genuinely made in the moment, without fear of failure,

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 and in complete response to the particular audience watching.
How you choose to let this inform your work is up to you, but
make sure you truly commit to this process while avoiding self-
indulgence or safety.

It is important to believe in the process. Imagine that you are

calculating positions, remembering cards, estimating, glimpsing
and using secret techniques that even you perhaps don't fully
understand. Once in this place, instead of thinking about how
to produce the top/bottom cards, think about which moves,
sleights or techniques may autonomously find an Ace. Even
though this is impossible, execute the technique (which just
happens to find one). Forget that the card is coming from the
top/bottom and just imagine that you are locating them from
random locations. This way of thinking will help keep your
body language congruent with the skillset you are apparently
using. At first this is much harder than you would imagine, but
with practice it can become as easy as breathing.

What you are trying to achieve is a living performance, so let

it live as much as possible. As soon as your performance lives
in this way it will start to develop a seductive and charismatic
quality that is almost impossible to create with any other
method. The more you know about card controls and card
revelations, the more willing you are to become sensitive to an
audience, the more you can trust yourself, the better you will
become at performing with this level of extreme simplicity.

One can apply any presentation one wants, convey any concept
and transmit any style with authenticity and power. It is my
method of choice because it has no predetermined form and
can therefore perfectly adapt itself to the moment. However,
this method isn't just about having freedom of choice, neither
is it simply an encouragement to 'jazz'. This method is about
realism, rhythm and nuance; having the opportunity to discover

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a different relationship with the audience and yourself as a
performer.

Technical Notes
Once you have the four Aces on top or bottom, hand the deck
to the spectator to shuffle (normally not thorough enough
to widely separate them). Take back the deck and give it a
pressure fan with the faces toward yourself; calculate where
all the Aces are and improvise a way to produce them. This
concept of injecting a little chaos or creating imperfection
within a system is one that I find fascinating, interesting and
ultimately stimulating in the context of performance.

Sometimes I will actually lose the Aces on purpose during a

shuffle so that I will have to improvise a way to find them. For
example, if the four Aces are on top and you have produced
two of them, perhaps execute a smooth riffle shuffle, placing
a few cards in between and on top of the Aces. Because you
know roughly where they are, you can improvise glimpses and
shuffle off any excess cards with relative ease.

Intentionally glimpsing an indifferent card and naming it before

locating it23 can be a very powerful or amusing technique to
inject. There are also many subtle techniques I can employ to
increase the belief that skillful memory techniques are being
used. Here are a couple of them:

1. Shuffle four cards onto the top Ace. Cut the deck, making
sure you hold a break. Cut the deck at the break and flash
the card above the break. Now say, “Ok ... the [name card]
...I think there's an Ace five cards away. ” Slowly flip over five
cards and reveal the Ace.

23. This ploy has been used previously by Daniel Rhod in an Ace-cutting
effect.

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 2. With the Aces on top, glimpse the bottom card and cut
the deck about halfway (maintain break). Say, “I think an
Ace is at the 26th position. I’ll try and cut straight to it. ” Allow
the glimpsed card to riffle off the thumb as you cut the
deck and flash the bottom card of the top portion. Name
this card and say, “I’m two off. ... This is the 21th card ... the
25th card is the [name glimpsed card] and the 26th is the Ace. ”
Suiting actions to words, turn over the glimpsed card and
then the Ace.

By memorising the order of the four Aces (when culling or while

apparently memorising the entire deck) you can have someone
name an Ace before you cut to it. You will have to work out in
the moment how to reveal that Ace, without losing control of
the others. This is incredibly deceptive and will force you to
think on your feet. In my opinion, this approach to cutting any
named Ace is virtually perfect.

Skillful stock or slug controls can be developed to such an

extent that they can become an art in their own right. I have
baffled many magicians over the years with nothing more than
the exploitation of a stock control. Pay close attention to the
subtle technical and psychological factors that can make this
form of control truly convincing and you'll have a very powerful
weapon in your arsenal.

Performance Notes
Firstly, imagine that you are able to do this for real, and if this
was the case how did you come across this secret ability or
skill? Are there any other applications of this skill? Why did
you develop this skill? Why are you demonstrating it? Have
you met any other people who can do it? What is the history
behind this idea? I would suggest that you allow answers to
the above questions to create the foundation of a silent script,
which can subtly inform your demonstration rather than

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creating an uninformed, rehearsed monologue that cultivates
rigidity (ultimately destroying the potential for realism and a
genuine dialogue with your audience).

Your body language and attitude are incredibly important in

communicating a message. Therefore tension or suspense can be
created in many ways: using silence and concentration instead
of a verbal presentation, slowly turning a card to check if it is
correct before putting it back and producing it in a different
way, or maybe purposefully finding an incorrect card before
putting it back and continuing. These are simple examples of
ways to contrive a sense of tension and uncertainty, but they
work surprisingly well. Being hesitant, indecisive, conflicted or
cautious at any particular moment will also increase the realism
of your performance, so contrive a method to feel this way
without sacrificing an audience's confidence in your abilities or
the theatrical impact of your actions.

Often before beginning the effect I will remove my watch and

ring; not in an overly dramatic, cheesy fashion, but with just the
right amount of subtlety for the audience to notice. This helps
suggest that what you are about to perform is difficult and you
need to get ready for it. Other things such as taking a deep
breath, stretching your fingers or rubbing your hands together
can all help dramatically as long as they are used with care and
control. You must actually feet the need to use these strategies
in the moment rather than pre-rehearse or act.

I have many techniques and variations of those techniques at

my disposal when making a decision in the moment. However,
I regularly use about twenty different productions and twenty
different shuffle/cut controls. To each of these particular
techniques I have attached a memory/experience that I feel is
important or interesting. Sometimes these anchors are stories or
experiences to do with magic history or my own development

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 with that particular technique. Sometimes these anchors will
be fictitious creations based on imaginary scenarios that are
congruent with the theme of cardsharp skill. Therefore, I am
making genuine decisions in the moment and experiencing an
authentic stream of interesting cognitive/emotional information.
My ability to manifest a believable character and interesting
performance is therefore greatly increased. That said, I make no
attempt to bias any particular set of techniques. I try to remain
as free as possible in the moment and try to allow all techniques
the opportunity of being used—a kind of move democracy!

It is possible to perform by transforming your mental process

into something physical; a form of 'physical thinking.' For
example, you may decide to perform the entire sequence with
the idea of smooth, fluid movements in mind; a continuous
sequence of flowing, unconscious movements and revelations
that blend with grace and without interruption, like water.
Alternatively you may want something that is mechanical,
hard-edged and deliberate, like a machine. If you improvise
in this way you can create 'style’ in the moment, which is
a fascinating idea to me. Remember, this shouldn’t be pre­
rehearsed but merely informed by a state of mind in the
moment. This is a simultaneous state of thinking, feeling
and action, which is hard to explain. It has what I can only
describe as a Zen-like feel to it. I have always referred to this
concept as 'physical thinking.’

After you have performed 'Real Ace Cutting’ spectators will ask
you many questions about the effect, your skills and you as a
person/magician/cardsharp. This is when the 'Real Ace Cutting’
method really helps you; you can freely talk about improvisation,
skill, uncertainty and risk, without lying! You can be honest—
an honesty which creates a very sneaky dual reality. What you
say and do in these moments is very often just as important as
the performance itself for creating lasting impressions.

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Chapter Five Summary
By understanding how to allay suspicion before the effect
begins, how to communicate fairness during a stock/slug
control and how to perform the effect in a way that seems real
is a simple but sophisticated approach. The starting point for
this book was Henry Christs ‘Fabulous Ace Routine’, and as
you can see, that routine has been challenged and developed
beyond all recognition until logic and objectivity have produced
a variety of intriguing possibilities.

The attitude toward improvisation in Real Ace Cutting’ is not

entirely free from restriction, as it exists within the boundaries
of an Ace-cutting effect. However, this method isn't limited
to Ace cutting. It can inform many aspects of magic such as
an Ambitious Card routine, multiple revelation routine and
entirely improvised effects (which may have single or multiple
phases). It is also important to remember that if improvisation
is ever discussed in magic literature it is normally done so
with the focus solely on creating a spontaneous method or
spontaneous effect. Although I am not ignoring this notion, the
improvisation method suggested in ‘Real Ace Cutting' has its
focus trained on the performer and performance; it is performer-
focused improvisation and not trick-focused improvisation
(even though a ‘trick’ is improvised).
Practice with ‘Real Ace Cutting' is crucial. It may be
methodologically simple, but to fully master this way of
performing is very, very difficult. You must nurture your
abilities to think in the moment and to create an open dialogue
between your hands, thoughts, technique and performing skills.
Once you are confident that you can live in the moment with
the effect and are not restricted by structure, you are liberated
to discover a new freedom within your performance. The
hardest aspect of this approach is simply having the confidence
to step away from a classical rigid structure and to discover a
new dialogue between yourself and your audience.

This approach encourages the performer to invest in the

performance itself, not simply to create a methodological
conclusion to a trick. ‘Real Ace Cutting' is about the moment,
nuance, realism and liberation from ‘fixed systems'. By using
this method you can do whatever you want, you can perform
something unique, something special ... something real.

I remember seeing an interview with the artist Francis Bacon

in which he was asked if he ever used preliminary sketches in
his work. He said, “Yes, I do. But after that chance and accident take
over, as consciously I don’t know what I’m doing. At that moment I'm
thinking of nothing but how hopeless and impossible this thing is to
achieve. Suddenly there cames dome thing which your instinct seizes on as
being for a moment the thing by which it could begin to develop. " This is
very similar to how I feel when performing ‘Real Ace Cutting'
and that is why I love performing it.
In Closing
With the four Aces on top of the deck, you are now able to
simulate the original Christ routine, and to perform eye­
popping visual magic and many amazing gambling effects. You
also have the ability to perform devastating sleight of hand, to
improvise and to go beyond the capability of a 'fixed system'
move or trick. By widening your perspective on the relationship
between effect and method, you can hopefully see the potential
that simplicity offers. The final routine, 'Real Ace Cutting',
brings all the ideas in this book together and demonstrates
how methodologically and psychologically sophisticated a
simple design can become. 'Real Ace Cutting' is undoubtedly
one of my favourite effects, not only because it's deceptive and
entertaining for an audience, but because it's physically and
psychologically an enjoyable experience to perform.

In my opinion, simplicity is the ideal; the most valuable concept

that can inform magic. It is about presenting a strong, clear
message that is free from disruption or dilution. I spent many
years learning some of the most complicated magic techniques

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 and effects only to discover that when used correctly simple
techniques and effects are almost always superior. Simplicity
allows you to concentrate on performing; it allows you to pay
attention to what matters. The material in this book is not just
'simple' to compensate for a lack of ability or to indulge laziness,
it is an argument for the most elegant way of maximising your
connection with an audience. Simplicity is not a compromise, it
is the goal. The compromise is complexity.

Less is More has concentrated on Ace effects, however, the idea

of simple design goes far beyond the material in this book and
can serve as an analogue to all magic effects. Confrontation is
the only thing which brings life to thought, thus I hope this book
has made you confront aspects of your magic in new ways. If
so, I hope the process has been an enjoyable one.

World chess champion Emanuel Lasker said, "When you see a

good move, look for a better one. " If brevity is the soul of wit,
perhaps simplicity is the soul of magic.

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