THIS effective trick can be done with any pack of cards. Begin by having the pack shuffled by a spectator. In taking it back sight the bottom card, make an overhand shuffle, bringing it to the top and note also the bottom card at the end of the shuffle. Go to a lady and say you will make a predic...

USING any pack, the Joker is first placed face up and a spectator is asked to shuffle the cards, then take out any face-down card and without looking at it put it in his inside coat pocket with its back outwards. This done he passes the pack to a second person who does the same thing. The process...

IN THIS trick a special move is necessary that is not at all difficult. It is to apparently show the faces of all the cards but to keep one hidden. You have the card on the top, turn pack face outwards and run the cards off one by one from the left hand into the right. When you are about two thir...

WITH any pack, after it has been well shuffled, secretly sight the two top cards. Riffle shuffle retaining these cards on the top. Put the pack down and have a spectator cut it at about the middle. Invite him to touch one packet. Whichever he touches interpret his choice so that he gets the one w...

ALLOW a spectator to make a free selection of a card from a freely shuffled pack. Let him replace it anywhere as you ruffle the outer ends of the pack. By keeping a tight hold of the inner ends you prevent the card from going right home. Tap the inner ends quite even and then give the protruding ...

ANY pack, borrowed if possible, may be used. Have the cards thoroughly shuffled by one or more spectators. Take it back and run through it to find and remove the QC, the most gossipy of all the Queens. In doing this spread the four top cards so that you can see and memorize their indices. Read th...

EFFECT. From a face-up borrowed pack a spectator deals the red cards face down on your left hand, the black cards face up on your right hand. Putting the black cards face up on the table, hand him the red ones to shuffle. Write something on a piece of paper, fold it and lay it down. The spectator...

IN TAKING a pack from its case quickly note the top two cards and let them slip back into the case as you take out the remainder. On a slip of paper write the names of these two cards, fold it and hand it to someone to hold. Have the pack shuffled, then cut into two parts and one part handed to y...

EFFECT. A spectator shuffles a pack of cards, which can be his own, and then spreads the cards face down on a table. He points to any card he pleases, and that card is removed from the pack and kept in full view. Next he is asked to think of a card. He names it and that card is missing from the p...

THE following five cards are placed face up in an even row on the table, KH, 7C, AD, 4H and 9D. The performer addresses a spectator, somewhat as follows: "I have picked out five cards at random and I want you to mentally select just one. You have an unrestricted choice and You must not think that...

USING any pack that has been freely shuffled, secretly note and remember the top and bottom cards. Looking through the pack to remove the Joker gives a good opportunity for doing this. Then riffle shuffle letting the last card of the left-hand portion fall first, and the last card of the right-ha...

IN THIS version the two packs are shuffled and exchanged, then both are again shuffled and exchanged but before handing over your pack you sight the top card. The best way to do this is to sight the bottom card when taking the pack from the spectator then with an overhand shuffle bring that card ...

EFFECT. A card selected by spectator while pack is in his own hands, placed in performer's pack and card selected by performer from his pack, placed in spectator's pack. These two unknown selected cards turn out to be the same card. Unprepared packs. REQUIREMENTS. Two ordinary packs, same size, w...

ONE of the earliest versions of the effect.
Two packs, red-backed and blue-backed are used, they may be borrowed since no preparation is necessary, also an opaque envelope. Show the packs face up one in each hand. Call attention to the envelope and in order to pick it up put the pack in your righ...

MOST of the tricks along this line use only one spectator and the performer. Now it is possible to use two spectators for a double effect. Two ordinary packs are needed. The working will suffice to make clear the effect itself. Hand one pack to one person and have him shuffle. As he finishes this...

HERE again the key card with pencil dot on top left and lower right corners is used. Let the Pack be thoroughly shuffled and four cards be freely drawn. Fan the pack to show the cards well mixed, spot the dotted card and split the pack so that the first card is returned under it. Cut the pack sev...

BEFOREHAND take a spot card, a 7 for instance, and with a pin prick the card on the face just near the top index. This will raise a tiny lump on the back of the card which can be felt with the ball of the thumb as you deal the cards. Put this card seventh from the bottom of the pack. To present t...

IN TAKING back a pack which has been shuffled by a spectator, note and remember the bottom card. Turn your back and holding the pack behind you invite a spectator to make a free cut, then take off the card on the lower section, look at it and remember it. As he looks at it turn facing him and exp...

RUN through any well-shuffled pack to remove the Joker and, as you do this, note and memorize the three top cards. Hand the pack to a spectator and tell him to deal three heaps face down. After he has dealt several rounds tell him he can deal irregularly, two on one heap, three on another and so ...

WITH any complete pack a spectator, after shuffling it, selects a card by thrusting the Joker into it and noting the card that lies above it. He squares the pack and cuts it as often as he wishes, then deals the cards into the face of the card about half an inch diagonally from the outer index wh...

ANY pack may be used: have it thoroughly shuffled by a spectator and in taking it back sight the bottom card. Put the pack on the table after secretly making a mark on the top card with your thumbnail. Instruct the spectators that after you leave the room some of them (any number) are to draw car...

HAVE a spectator shuffle the pack, take it and run cards from the left hand into the right, asking him to stop you at any point. When he does so separate the cards at that point and hold the right-hand packet before his eyes, spreading the indices of the last five or six cards and telling him to ...

A DOUBLE-BACKED card is required. Have this on the top of the pack. False shuffle and cut, leaving it in that position. Allow a spectator to make a free choice of one card and note it. Cut the pack about the middle, at the same time slipping the double-backed card on top of the lower portion, and...

REQUIRED two packs, one red-backed, the other blue, also a double-backed card, one side red the other side blue, to match the packs. The double-backed card is set, blue side up on the blue-backed pack. Allow a spectator to take any card from the blue pack, examine it and place it face up on that ...

TWO packs are required; one red-backed, the other blue-also a double-back card, one side red the other side blue. The red side is prepared with diachylon and the card is placed red side down on top of the blue pack. All is then ready. Hand out both packs to be shuffled. Take them back and from th...

TWO packs are required, one blue-backed, the other red, together with a double-backed card one side of which is red and the other blue. From the red pack take any card and place it face upwards third from the bottom of the blue pack. Under this put the card you wish to force, face downwards, and ...

IN ADDITION to a double-backed card you require an envelope, a slip of paper and a pencil. Beforehand take any two cards, say AC and 2S and write their names on the slip of paper. Put this in the envelope and fasten the flap down. Place any indifferent card face up between the face-down AC and 2S...

A DOUBLE-FACED card, say AH-KD, is placed second from the bottom in an ordinary pack, with the KD side as the back of the card and the real AH on the bottom of the pack. Thus prepared, execute a riffle shuffle, leaving the two bottom cards as they were. Make the Hindu shuffle, asking anyone to ca...

ON THE bottom of regular pack place the KD, and next to it a double-faced card, AH-KD, with the KD side showing. Borrow a hat, show the two bottom cards and drop them from the pack into a hat, but awkwardly and visibly let another card fall also. Remove the double-faced card as the KD and place i...

THE plot of the trick is the usual one. Four A's are placed on a table and three indifferent cards put on each. One pile is chosen, the A's vanish from the other three piles and all four are found in the pile selected. The use of double-faced cards makes the trick easy to work and very convincing...

THIS trick depends on a principle that is very little known even by magicians and should he particularly noted. Hand a one-way pack, properly arranged, of course, to a spectator to shuffle. This done give him the following instructions: 'Fan the cards with their faces towards you, remove any card...

THIS term is applied to cards the backs of which are so patterned that if after they have been arranged exactly the same way of the reversal of a card, end for end, can be detected by the difference in the pattern. The principle is by no means a new one but Charles Jordan was probably the first t...

HERE is a way to set a pack, which may have been borrowed, right in front of the spectators. Have a card selected, noted, returned and secretly pass it to the top. Bring it to the bottom with an overhand shuffle and sight it, then send it to the middle with a riffle shuffle. State that you will d...

EFFECT. Any pack of cards is shuffled by a spectator and handed to the performer, who lays it face down on the table and asks a person to cut the pack at about the center; to look at and remember the card on the top of the lower part, replace the card and put the portion cut off on top. The spect...

FROM a one-way pack, arranged in order, allow a spectator to freely select any card, note what it is and push it back into the pack at any point, you, of course, having first turned the pack around. Shuffle overhand and have the pack cut several times. Announce that you have such control over the...

THE invention of the late Louis Haley, this trick first appeared in print in The Genii, Oct. 1936. First secretly give the inner end of the whole pack a sharp bend by squeezing the inner corners downward between the left second finger and thumb over the first finger which is doubled below the pac...

EFFECT. Any pack may be used. Performer turns his back. A spectator freely selects a card, replaces it reversed in the middle of the pack, squares the cards and lays a handkerchief over them. Performer lifts the pack and handkerchief and a card is seen to rise from the pack raising the fabric. Th...

THIS is one of the easiest as well as one of the most effective presentations of this often seen effect. The magician has a card selected from a group of cards cut from the top of the pack. An elastic band is snapped around the performer's half of the pack and the selected card is returned to the...

A CARD is taken, noted, replaced and the pack shuffled and cut. The pack is handed to the spectator with the request that he find his own card and save the performer worry and trouble. Ask him to start dealing the cards face down, to stop at any number he may think of between one and ten so that ...

FOR this trick it is best to use a new pack of Bicycle cards, preferably of the air-cushion finish, with white border. Sort out the black and the red cards. Place a red card and a black card back to back and continue this arrangement with all of the cards, so that all the black cards are face upw...

The pack in use must be a pre-arranged one, a switch being made with the ordinary pack of similar backs. Allow a spectator to make a free selection of one card from the set-cup pack. Cut the pack and sight the bottom card. Proceed to name the chosen card from it by pretended lip-reading with the ...

In gathering up the cards after the last trick, reset the pack and continue as follows:
After false shuffling the pack and having it cut several times with complete cuts, borrow an envelope and hand it with a pencil and a pad to a spectator. Approach another person, fan the pack behind your back ...

REQUIRED. a double-faced card, say AH-KD. Put this on the bottom of a regular pack showing the AH face, next to it place the unprepared KD and in the middle of the pack, reversed, put the AH. Begin by taking off the two bottom cards, showing their faces and drop them into the hat. Remove the doub...

FROM a one-way pack which has been thoroughly shuffled fan off five cards in the right hand, turn the rest of the cards face down and hold the pack with its outer end pointing to the right. Hold the fanned five cards with their faces towards a spectator and ask him to mentally select just one car...

THIS special pack consists of twenty-six ordinary cards, all different, and twenty-six short cards all of the same suit and value. The latter may be narrower as well as shorter, but short duplicates only are generally used. The pack is set up by arranging the two sets alternately, thus every othe...

IT IS not certainly known who devised this variation of the combination of long and short cards, but the title, 'Mene-Tekel', was first applied to it by the late W. D. Leroy, the well-known magical dealer of Boston. Like the Svengali pack it consists of twenty-six ordinary cards and twenty-six sh...

A CARD having been chosen, its duplicate brought to the top, the card itself replaced in the pack and the pack squared up, have a number called, suppose it is fifteen, and announce that you will make the card pass magically to that number. First, however, show that it is not already at that numbe...

BRING the duplicate of the first card to the top as already explained, leave the chosen card in the first spectator's hands and go to a second person. When he draws a card do not pass the upper portion to the bottom as before, simply lower the top packet to the side of the lower one and with the ...

A FAKE is required consisting of two pieces of cardboard, a little larger than a card, fastened together around two sides and one end byadhesive tape or pasted paper. There should be space enough between the pieces of cardboard to take three cards. Half an inch from the top of each piece and midw...

FOR this effect, which Mr. Gravatt considers one of the best of the tricks of its type extant, you require a Mene-Tekel pack having red backs, and an ordinary pack with blue backs. Show the red-backed cards all different, have a card selected, and bring the duplicate to the top. Take the chosen c...

THE plot of the trick is the usual one. Four A's are placed on a table and three indifferent cards put on each. One pile is chosen, the A's vanish from the other three piles and all four are found in the pile selected. The use of double-faced cards makes the trick easy to work and very convincing...

HAVE three cards selected and pass the duplicates to the top in the manner explained above. Each spectator then pushes his card into the pack which you square up each time in the fairest possible way. Drop the pack into a borrowed hat and proceed to mix the cards, apparently, by shaking the hat v...

PICK out the four A's and put them on the table face downwards. To show them, take them by their outer ends and turn them over lengthwise. They must be in a packet one on top of the other. Now turn them face down sideways and they will have been reversed. Replace them thus in different parts of t...

A CARD having been freely chosen, returned to the reversed pack and the card well shuffled, take the pack and put it behind your back. Ask what number the spectator would like it to appear at. Strip the card out and put it second from the bottom. Bring the pack forward, show the bottom card, turn...

WHEN a knife blade is thrust into the ruffled pack it will, as has already been seen, rest on the back of the force card. If, however, you want to have the card appear as the bottom card of the upper portion, thrust the point of the knife in a downward direction which will bring it below the shor...

THE card is selected, returned, and the pack wrapped in paper. A knife is thrust through the paper into the pack and the card will rest on the knife either above or below it.

AN EASY but effective force for stage or platform work can be made with the Svengali pack. An unprepared easel is required which has a ledge on which you can stand seven or eight packets of cards. Having shuffled and cut the prepared pack, show the faces all different. Next, while exhibiting and ...

A CARD having been drawn and the duplicate brought to the top, you very thoughtfully turn your back to enable the spectator to show the selected card to everyone else. Seize the opportunity to note what the top card is and slip it into a pocket. Turn around, have the chosen card replaced, ruffle ...

PICK out the four A's and put them on the table face downwards. To show them, take them by their outer ends and turn them over lengthwise. They must be in a packet one on top of the other. Now turn them face down sideways and they will have been reversed. Replace them thus in different parts of t...

A CARD having been freely chosen, returned to the reversed pack and the card well shuffled, take the pack and put it behind your back. Ask what number the spectator would like it to appear at. Strip the card out and put it second from the bottom. Bring the pack forward, show the bottom card, turn...

BEFOREHAND separate the red suits and the black into two packets. Reverse one packet, put the two together and shuffle the pack thoroughly. Show the faces of the cards proving they are well mixed, then separate the reversed packets with an apparent cut as already explained. Until you can do this ...

TAKE any court card face downward and place a sixpence on the center of its back. Hold the coin firmly with the thumbs and press firmly and evenly with the fingers from underneath all around the card. The shape of the coin will be clearly impressed on the card, a rim, imperceptible to the eye, be...

HAVE the short card on the bottom and the card you want to force on the top of the pack. Ask a spectator what month he was born in, suppose he says 'May'. Illustrate then just what you want him to do. Deal the first card on the table calling it January and continue the deal calling the next card ...

A PACK of one-way cards, Bicycle Rider cards, for preference, in which the mark to be noted is near the upper left-hand corner. The trick is presented as a purely mental feat and you take pains to apparently eliminate all possibility of trickery. After having the pack shuffled hold it behind your...

PERFORMER has any card freely selected and returned to the pack. Pack is shuffled and handed to the spectator who is instructed to deal the cards one at a time on to performer's hand and any time he feels like it to stop and the selected card is found there. This effect is about 97 per cent perfe...

WE ARE pleased to be able to offer through the courtesy of Jack McMillen, the inventor, a new method of working the rising card experiment that is certain to take its place among the thousand and one ways of working it already in existence. For impromptu work this has many distinctive features. N...

I DON'T know where Mr. James got his title for this mystery, but any time anyone can produce such a problem I'll be the last to argue over what it is to be called. Certainly no concocted effect has in years been so original in effect upon the watchers. I have used the problem any number of times ...

IF POSSIBLE borrow both the cards and the envelope for use in this trick. First have the pack shuffled freely and sight the top card. Next borrow an envelope and paper, write down the name of the card just sighted, fold the paper and enclose it in the envelope. Casually lay the envelope on the pa...

THE effect is that a card is selected, replaced in the pack and the pack wrapped in a handkerchief. This is then gently shaken and the card penetrates it. After the pack with the reversed chosen card is returned to you, lay it face up on your right palm with the narrow ends inwards. Throw the han...

WHEN the shuffled pack with the reversed chosen card is returned to you, cut the pack once at the chosen card bringing it to the bottom. Place the pack in a spectator's pocket, sighting the card but not allowing anyone else to see it. Have a number called. Bring the cards out one by one taking th...

WITH the selected card reversed in the pack as usual, hold the pack by the two ends between your hands, face downwards. Ask the spectator to throw a handkerchief over the pack. Then saying, 'Perhaps it will be better to have the pack in sight all the time,' draw the pack away with one hand, the o...

AFTER the usual preliminaries, the pack with the chosen card reversed in it is returned to you. Shuffle it overhand by the ends and bring the chosen card to the top. Put the pack on the table, and cut it into two heaps. Borrow a handkerchief and a penknife, open one blade and lay the knife down. ...

Rob Stiff introduces Sal Piacente, a true expert in card magic and one of the world's most authorities in the gaming industry. In this series, Sal will breakdown some of his most renowned and astonishing routines. These routines have gained Sal his fame in the inner circles of card magic and will...

Are you ready to memorize 13 cards in less than a fraction of a second? Think that sounds impossible? Sal will prove you wrong and soon you'll be doing the same to your audiences.

Sal performs his rendition of Steve Forte's Ace Cutting routine. He'll teach you how you too can learn to effortlessly cut repeatedly cut your deck to reveal all four aces, even after repeated shuffles.

In this second Ace Cutting routine, there are no crimps for the audience to see. So, not only can they examine the deck all they want, they can even shuffle it themselves. This ability for the audience to be hands-on takes the Ace Cutting routine to the next level.

What makes this routine so powerful? It's that the climax, in the end, is actually in control of the spectator's hands. Watch and learn!

Sal will stack the four aces into his deck and then deal them back to himself. Watch and prepared to be blown away as Sal counts out four cards four times... and the fifth card is always an ace.

This routine draws its name from the cards used. In poker, the court cards, i.e. kings, queens, jacks, are referred to as the paint. So, it means all the high cards in a deck... which is exactly all you'll be using to perform it.

Here's another great ace cut routine, because you can never have enough of 'em! This time the aces are going to help you deal yourself out a royal flush... or two.

This next routine is more of a gambler's move. It's less a magic trick and more a display of skill. You'll be setting up hands as you shuffle the cards... and you'll be using this move for a long time to come.

You start by showing your spectator the four aces. Next, you'll place them on top of the deck and do a simple Faro Shuffle. What happens after that? You deal yourself back all four aces, of course.

This last trick is the perfect closer. Why? The spectator doesn't simply pick a card from the deck, they only have to merely think of a card... and you divine it.

This next trick is a great follow-up for the 4, 5, 6 Packet Trick. They work, hand and hand with each other... both equally baffling. Your spectator will pull out a poker hand, take note of the highest card in the bunch and return them to the deck. After a good shuffling or two, you'll be able to...

Simon Lovell performs the color change trick, the New York Opener to kick off this series of easy to learn and easy to perform card magic and moves. A series based on the 1973 novel, Super Subtle Card Miracles by Frank Garcia.

This trick allows you to take a little break. You can rely on the deck to do all the heavy lifting this time around. It'll find your spectator's card for you. A wonderful handling of the Dunbury Delusion by David Lederman with a delight surprise at the end.

The ability to perform a false shuffle with an aura of effortlessness is an essential tool for all magicians at any level. This effect doesn't require a card to be chosen, yet an extraordinary amount of magic occurs right before your spectators' eyes. Inspired by Bill Simon's Full Packet Shuffle,...

This classic transformation will perplex and stun your audience as you turn your deck's four aces into completely different cards. They'll think you've exposed yourself with some poor hand placement choices, until you flip the four cards over and prove them wrong.

Simon presents Frank Garcia's Crazy Aces, an impressive transformation with a bit of a modified ending. In just under seven minutes you'll learn how to transform all four aces into kings. After that initial shock, you'll wow your spectators once more by cutting to each ace in the your remaining d...

Do you have a great opener and closer for your routine... but something seems to be missing in the middle? You need a good transition trick to seamlessly weld the two together.

Simon has the perfect solution for that. The Speller Transition is a predominantly self working trick and requires li...

Simon demonstrates how to make your spectator's chosen four of kind completely and mysteriously disappear from the deck. What if they want them back? All you have to do is simply snap your fingers. The four cards will reappear, face-up and in the center of the deck.

A flashy bit of close-up magic that has you create your very own card gun. You'll even be able to load your gun with a very special card bullet referred to as the big bullet. The big bullet (aka the ace of spades) will actually fire the spectator's chosen card at them.

Simon reveals one of a magician's most confidential secrets to his spectators. The secret? The Frank Thompson False Cut. Simon demonstrates two ways to perform this essential trick. Both versions leave you with a deck thats order has remained unchanged.

In just under six minutes, Simon will teach you two different ways to perform Wesley James' single card control, Coming up in the World. This is a multi-faceted skill that has manifold uses for the aspiring magician. Equal parts deceptive and delightful, Coming up in the World is essential learni...

Simon demonstrates two versions of Topsy Turvy. First, Simon demonstrates his version that includes a control. After, Simon will show Frank Garcia's version which was based on moves by the famous Canadian magician, Dai Vernon and Tenkai moves. Both version start with a good shuffley-wuffley, though.

This move will prove to your audience that you're a true psychic due to your uncanny ability to know the order of the deck before ever even seeing it... just its backs. Although, by the end of the trick, they'll be seeing all backs too. When you're finished, all you'll have to do is snap your fin...

Two of the kings in your deck are going to be your little helpers with this trick. They are going to lead you right to your spectator's card. If they can't find the card, however, they have a tendency to get a little blue for letting you down.

In this little routine you'll find yourself creating more than one king sandwiches. These sandwiches include startling color changes, transpositions and more. Again, your four kings will lead you straight to your spectator's chosen card again and again.

Do you think you have what it takes to find three cards instead of just one? That really would be a miracle, wouldn't it? This trick has a long history. Many famous magicians have tried their hand at producing this miracle, including Michael Weber and Alex Elmsley. If you're successful, you will...

Simon will teach you how to turn any four of a kind into a seriously lucky poker hand. Just ask your audience what their personal favorite four of kind is. Then they will watch as their favorite cards transpose right before their eyes. If their new poker hand has taken the place of their favorite...

Simon presents Wesley James' take on the classic Chicago Opener, the clever and delightful Chicago Style. Your spectator will be expected to freeze their chosen card within the deck. This ice out will really make the cards feel a bit blue.

If you want nothing more than to look like a real, authentic gambling expert - Simon has a foolproof solution for you. The Faro Shuffle is a very, very cunning way to appear a card expert. A little prior knowledge and skills are required, but not nearly as much as your audience will leave believi...

This trick is based around the plunger principle. Put two in and one comes out. Two kings will actually plunge out your spectator's chosen card from where it has been lost within the deck.

What is your favorite part of the circus? The elephants or tigers? Or was it maybe... the clowns, unicyclists or the jugglers? If it was the acrobats, you're in luck. Simon has a trick that will allow you to control four jacks up and down a deck like a bunch of trained acrobats. The audience will...

For this trick, Simon demonstrates how to have any four chosen cards take elevator rides up and down your deck... one by one. Another delightful little routine that will require some tight work on order to be delivered successfully.

This move was considered to be fairly top secret back when Frank Garcia published the book this series was based on, Super Subtle Card Miracles. This transposition miracle camouflages your chosen four of a kind by magically turning them into aces - hidden so well, you may never find them again.

This trick, King Kut, uses the fundamental technique known as the Braue Reversal. The Braue Reversal is a sleight that allows you to control a card to the top or bottom of the deck... flip-flopped. It uses these techniques to cut the deck to each king within the deck. After though, the kings migh...

This reversal is a simple sequence that'll be almost effortless to pick up for magicians of any caliber. The only real prior skill or knowledge you'll need to be able to execute this trick is of how to control a card to the top of your deck. In the end, the spectator's card will find its way into...

First popularized by Don England in the 1980s with the book Don England's T.K.O.s by John Mendoza, this trick is another highly accessible and easy to learn move. You'll impress your audience in no time at all, the only requirement is - you'll need to take a seat.

This time, the cards are all in the spectator's hands. They call the shots every step of the way. In the end, when their prediction has come true - they'll believe that maybe they're the actual magician, not you.

Inspired by an Al Leech routine, Ace Faroleros is a bit of a lost and found situation. In order to find the missing cards, you'll need to put your spelling abilities to the test.

Where have the four ladies from the deck gone? They are known to have a special affinity for sleeves and crawling up them. If they're not all there though, where have the others disappeared to? Simon might have an idea or two.

In this Karl Fulves' trick, Optical Aces, your deck's two red aces will help you determine the location of your spectator's card. They'll be your eyes in the deck. They won't be able to accomplish this alone, though. You may want to enlist the help of their counterparts to finish this trick.

You don't run if you're not being chased. Simon presents another trick that's dependent on your mastery of the art of subtlety. Can you use the most obvious key card on the planet without being found out?

One of Frank Garcia's best kept hidden secrets, the Flourish Discovery. Audiences love this highly visual production trick. In no time at all, you'll have all four aces displayed and ready to help with your next move.

Do you need a real knockout of an opener; an opener that is equally as ambitious as your routine? Simon demonstrates one of Frank Garcia's favorite ways of opening the ambitious card.

Do you need the perfect little joke to pull on some of your fellow magicians? Or do you just want to prove the person that believes they know all there is to know about card tricks - wrong? This amusing trick, the Double Lift Feint, is that flawless little one-over you've been waiting to pull.

Watch as Simon miraculously changes the identity of one card by simply tossing it into his free hand. Sound impossible? Maybe... or maybe not.

This trick actually requires a bit of a dirty table... and that you do some cleaning, too. Don't fret, though! After you finish cleaning, you'll be left with an unbeatable poker hand.

An astonishingly effective technique that allows you to covertly catch a glimpse of the spectator's card. As always in card magic, this move is accomplished under the cover of doing something else. You will innocently ask the spectator for their autograph and learn everything you need to know.

Frank Garcia referred to this trick as one of his best kept secrets. This trick is simple, but very strong and uses the move you just learned, the Peek Diablo. You'll use that and your impressive prediction skills to locate the same card they've just drawn, but in another deck.

Simon presents an alternative to the Peek Diablo. Another way to catch a glimpse of the spectator's card is this variation on the Super Special Prediction. A more subtle approach is demonstrated, followed by one considerably more bold. The decision is yours!

The One-Two Cut is all about the rhythm. You can control a card to the top of the deck and maintain the original deck order. It can be done with a simple one-two hop. A move that's beyond detection so long as you can keep that rhythm.

Sometimes you want your hands to look very precise and magical when performing. Other times you just want your work to look rather sloppy and uncontrolled, so that when the magic does happen - it seems to be beyond your control. Simon enacts one such shuffle, the Maximus Control. A shuffle where ...

This Double Peek Control appears to be innocent - just two simple cuts. That's because that is really, truly all that's happening. These two basic moves will control their cards to the top and bottom of the deck, with very little effort.

Controlling one card can be learned rather easily, controlling two on the other hand... The Double Peek control can make it a very simple action, however. In seconds the spectator's two card will be controlled to the bottom of the deck and ready for the next step in your routine.

This fun little flourish is a great way to start the effect of four aces. Dr. Jacob Daley's Knockout is quite literal. You are not doing much more than literally knocking the four aces out of the deck. A terrific opener that sets you up perfectly to effortlessly glide into your next move.