MIRACLES WITH THE BW INSTANT MEMORIZED DECK

TECHNIQUE
As it is the case with other memorized decks on the market, the BW
Instant Memorized Deck allows you to:

- Know the exact position of a given card in the deck;

- Know which card is located at a particular position in the deck.

Why should you consider adopting this particular system, when
there are already so many other clever arrangements in print on the

market, who profess the same features?

Consider that this particular arrangement can be assimilated in not
6 months, or 6 days, or even 6 hours (!), but in 15 minutes. Many
may do so in 6 minutes! Members of the underground scene have
already dubbed this the "super-easy card memorization technique".

WHAT YOU NEED

A regular deck.

QUICKSETUP OF THE BW INSTANT MEMORIZED DECK

To quickly set up the BW Instant Memorized Deck, do as follows:

. Sort the cards by suit and then in numerical order with the cards

in four face up piles with Aces on top of each

. Arrange the piles from left to right in the CHaSeDorder: Clubs,

Hearts, Spades and Diamonds.

137

Principle of the

Boris Wild

Instant

Memorized Deck

. Now cut the Clubs pile to bring the 4 of Clubs on top. The order

becomes from top to bottom 4, 5, 6, 7, 8, 9, 10,J, Q, K, A, 2, 3,

. Cut the Hearts pile to have the 3 on top,

4 of Clubs
3 of Hearts

2 of Spades

Ace of Diamonds

5 of Clubs
4 of Hearts
3 of Spades
2 of Diamonds
6 of Clubs

21 -
22 -
23 -
24 -
25 -
26 -
27 -
28 -
29 -
30 -
31 -
32 -
33 -
34 -
35 -
36 -
37 -
38 -
39 -
40 -
41 -
42 -
43 -
44 -
45 -
46 -
47 -
48 -
49 -
50 -
51 -
52 -

. Cut the Spades pile to have the 2 on top,

. The Diamonds pile remains with the Ace on top.

Then proceed to assemble the deck by picking with your right hand

one face up card from the Clubs pile and place this card face up in
your left hand. This process is continued from left to right with the
Hearts, Spades, Diamonds then again back to the Clubs until all
cards are in your left hand.

Your deck in now ready!

Here is the actual stack for the deck in a face down position:

1 -

2 -
3 -
4 -
5 -
6 -
7 -
8 -
9 -

10 -
11-
12 -
13-
14 -
15 -
16 -

17 -
18 -
19 -

20 -

138

5 of Hearts
4 of Spades
3 of Diamonds
7 of Clubs
6 of Hearts
5 of Spades
4 of Diamonds
8 of Clubs
7 of Hearts
6 of Spades
5 of Diamonds

9 of Clubs
8 of Hearts
7 of Spades
6 of Diamonds

10 of Clubs

9 of Hearts
8 of Spades
7 of Diamonds

Jack of Clubs

10 of Hearts

9 of Spades
8 of Diamonds
Queen of Clubs

Jack of Hearts

10 of Spades

9 of Diamonds
King of Clubs
Queen of Hearts

Jack of Spades

10 of Diamonds

Ace of Clubs
King of Hearts

Queen of Spades

Jack of Diamonds

2 of Clubs

Ace of Hearts

King of Spades
Queen of Diamonds
3 of Clubs
2 of Hearts

Ace of Spades

King of Diamonds

139

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

. Spades

= 5

. Hearts

= 10

. Clubs

= 15

In order to use the BWInstant Memorized Deck, you just need
to follow the three steps below:
First: Remember the Suit Values:

. Diamonds

= 0

BASIC WORKOUT FOR THE BW INSTANT MEMORIZED DECK

THE RULES

First Rule: What card is at a given position in the deck?

If someone calls out a number from 1 to 52, what card is in
that position?

5

The mathematicalrule is the same for all numbers and the best way
to understand it is by practicing the examples that follow.

. A spectator calls out "21". Remember the number, and succes-

sively add 0, 5, 10, and 15 to it until a multiple of 4 is obtained.

21 + 0

= 21; 31 is not a multiple of 4. Go on;

21 + 5

= 26; 26 is not a multiple of 4. Go on;

21 + 10 = 31; 31 is not a multiple of 4. Go on;
21 + 15 = 36; 36 is a multiple of 4, STOP!

15 is the value for Clubs, therefore the 21st card is a Club.

To discern the value, divide by 4 the multiple obtained: 36

divided by 4 is 9; therefore, the card at the 21st position is the
9 of Clubs!

. A spectator calls out "38".Again,remember the number, and add

successively0, 5, 10, and 15 to it until a multiple of 4 is attained.

38 + 0

= 38; 38 not a multiple of 4. Go on;

38 + 5

= 43; 43 not a multiple of 4. Go on;

38 + 10 = 48; 48 is a multiple of 4, STOP!

10 is the Heart value, therefore the 38th card is a Heart.

Dividing 48 by 4, we get twelve; twelve represents a Queen.
Thus, the 38th card is the Queen of Hearts.

. Spades has one sharp point, so:

. A Heart has two ventricles, so:

1 x 5 =

2 x 5 = 10

3 x 5 = 15

. A Club has three leaves, so:

4
8

12
16
20
24
28
32

9 x 4 =

10 x 4 =
llx4=
12 x 4 =
13 x 4 =
14 x 4 =
15 x 4 =
16 x 4 =

The mnemonic "hook" which I use to commit the progression to
memory is extremely simple; I remember "5".That's the extent of it!

Building on this concept, note that:

. You can draw the pip of a Diamond within a "0" (or you need

to make a check with a lot of zeros if you want to buy a dia-
mond i). So:

0 x 5 =

0

Second: Memorize the multiples of 4 until 64

That means: 4, 8, 12, 16, 20, 24, 28, 32, 36, 40, 44, 48, 52, 56,
60 and 64.

1 x 4 =
2 x 4 =

3 x 4 =
4 x 4 =
5 x 4 =
6 x 4 =
7 x 4 =
8 x 4 =

36
40
44
48

52
56
60
64

. This time, consider "7". Remember the number, and add suc-

cessively 0, 5, 10, and 15 to it until a multiple of 4 is attained.

7 + 0

= 7;

38 not a multiple of 4.

7 + 5

= 12; 12 is a multiple of 4. STOP!

Therefore the card is a Spade. (5 corresponds to Spades)

Dividing the multiple of 4 by 4 02 divided by 4) gives 3; the
value of the card is 3.
The card in the 7th position is the 3 of Spades.

Third: You will need to memorize two mathematical rules.

One rule will help you find a card at a position. The other rule will
permit you to name the card at a position.

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141

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

. Should the spectator call out a number which you immediately

recognize to be a multiple of 4, the card will be a Diamond.

40 is called out: 40 divided by 4 is 10. 10 of Diamonds!

52 is called out: 52 divided by 4 is 13. 13 stands for the King.

King of Diamonds!

N.H.: Tbesame mathematical rule worksJar all the numbers, but an

adjustment must be madeJar 6 oj them. Tbesecases are numbers: 41
- 45 - 46 - 49 - 50 and 51.

Second Rule: at which position is a given card in the deck?

If a card is called out, where is it in the deck?

This rule is even easier!Just look at the followingexamples and you
will be convinced!

. A spectator calls out the 9 of Clubs.

Committhe card to memory. Multiplyits value by 4:
9 x 4

= 36

From the resultant number, 36, remove the value associated to
the suit. Clubs being 15:
36 - 15 = 21

In these cases, you will apply the same method to find the multiple
of 4 but the division by 4 will yield a number greater than 13. In
these cases, simply subtract 13 from that resulting number and you
will obtain the right value!

. 41 :

. 45 :

. 46 :

. 49 :

. 50 :

. 51 :

142

The 9 of Clubs is the 21st card!

41+15 = 56

56 / 4 = 14 ~

The 41st card is the Ace of Clubs.
45+15 = 60
60/4 = 15 ~

. A spectator calls out the Queen of Hearts.

Commit the card to memory. Multiply its
Queen) by 4:

12 x 4

= 48

From 48, subtract the suit value, 10 for Heart.

14 - 13 = 1

value (12 for a

15 - 13 = 2

The 45th card is the 2 of Clubs.

46+10 = 56

56 / 4 = 14 ~

48 - 10 = 38

14 - 13 = 1

The Queen of Hearts is in the 38th position.

. The 3 of Spades is called out.

Committhe card to memory, and multiply its value by 4 :
3 x 4

= 12

The 46th card is the Ace of Hearts.
49+15 = 64

64 / 4 = 16 ~

16 - 13 = 3

From 12, subtract the suit value.

The 49th card is the 3 of Clubs.

50+10 = 60
60 / 4 = 15 ~

12 - 5

= 7

The 3 of Spades is in the 7th position.

. You'll love Diamonds. Allyou are required to do, is to multiply

the card's value by 4.

10 of Diamonds?

15 - 13 = 2

The 50th card is the 2 of Hearts.

51+ 5 = 56
56 / 4 = 14 ~

10 x 4 = 40

14 - 13 = 1

card is in 40th position.
King of Diamonds?

13 x 4 = 52

card is in the 52nd position.

The 51st card is the Ace of Spades.

143

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

N.B.: This mathematical rule will workfor all the cards but an

adjustment must be madefor 6 of them. Theyare the same cards cor-
responding to theparlicular cases exposedin Rule #1: Ace of Clubs,
2 of Clubs,Ace of Hearls, 3 of Clubs,2 of Hearls and Ace of Spades.

Actually, if somebodycalls out one of thesecards, you willget a neg-

ative number, so here is what to do:

3 x 4

12 - 15

= 12

The3 of Clubs,for example, willyield a negative3 value:

= -3

A card obviouslycannot be at a negativeposition in the deck...

unlessyou count from the bottom!Subtract 3from 52 (the bot-
tom position) and you will get 49: the 3 of Clubs' position.

That's it!

T

he real life applications of the Boris Wild Instant Memorized
Deck, or simply the BWIMD,are innumerable. Any routine
whose pre-requisite is the use of a memorized deck is pre-

sentable with this technique. It will sustain casual examination as for
the Si Stebbins stack.

So, whenfaced with a negative value, subtract the numberfrom 52.

Easy!

FLASH MEMORIZATION

This simplest application is to simulate the memorization of a full

pack in a few seconds. Rapidly false shuffle your memorized deck
a few times, spread the cards in your hands with fierce intensityand
ask a spectator to call out a random number from 1 to 52. While
simulating intense recall of the pack's order, mentally perform the

"number to card" calculation as per the FirstRule and announce the

appropriate card. Hand over the pack, instruct the spectator to
count down to the position: the called out card will be there!

REVERSE FLASH MEMORIZATION

The reverse operation is just as effective!

Ask a spectator to call out a card of her choosing. After a few sec-

onds' concentration while applying the method from the Second
Rule, announce the card's exact location in the deck!

COVERT LOCATION
It is at times advantageous to be able to secretly locate a card, spe-
ciallywith a simple cut. Imagine that you are intend on forcing the
4 of Diamonds. You quickly calculate its position mentally and
know that the card is (Quick?Have you done it?) 16th from the top.
You may estimate the cut and cut to either under the 15th or over

the 16th, depending whether you wish for the card to be on top of

144

145

Easy

Applications

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

- The 26th position (middle of the deck)

- The 39th position

intercepted! The Clubs - Hearts - Spades- Diamonds may be put to
contribution as well in helping localize the card.

If you are attempting to locate a precise card, the markings will give

you immediate feedback as to whether you are successful or not.
Similarly,if you are attempting to cut the deck at a precise level, the
markings will allow you to know if you are right on or off; and if
you are off, the cards tell you how much of a correctionis necessary.

An excellent training routine is to prepare a Marked Deck /

Memorized Deck and try to:

the deck or at the bottom. If you are new to estimation as a card

handling technique, do not be intimidated, it is really quite easy. A
trick to make the estimation easier is to mentally divide the deck's
side in four quarters. Thus,S references points are present:

- The 1st position (!)

- The 13th position

. If, for example, a spectator calls out "28",estimate to 26 and add

two more cards.

. Cut to a card which corresponds to a randomly chosen number

(the markings will tell you how close your estimate was);

. Cutting to a specific position and "aiming" to a specific card.

Again, the markings will give you immediate feedback.

- The 52nd position (1)

With these, you may learn to cut to any position at will.

. "20" calls for a cut between the points where you visualize 13

and 26.

Do indulge in these exercises. As you try them out, your estimation
and calculation proficiencies will quickly improve. It is now up to

you!

. "36";spot 39 and cut 3 cards above it.

Since most routines call for a given card to be brought to the top,

you might prefer erring on the minus side, i.e. not cutting enough

cards. This makes it more likelythat the card will be on top, or near
the top. Overestimation,on the cut, would send the card to the bot-
tom of the deck.

. If your deck conveniently happens the be a BW Marked Deck,

things are a lot simpler! A casual spread of the top cards will
reveal their identity, thanks to the markings. No need for furtive
peeks!

However, you will rapidly appreciate that the Marked Deck /
Memorized Deck combination will allow you to systematicallycut
the appropriate card! Why? Because when cutting the handheld
deck, it is relatively easy to read the marks off the top card of the
bottom half, and riffle off cards is necessary... so the right card is

To verify the effectiveness of the cut, there are 2 methods:

. You may quickly peek at the face of the 2 or 3 first cards and

adjust accordingly if the required card is not the top one. A sim-
ple double cut, or a pass, will fix things up nicely.

The French Connection

Yannick Lacroix, Michel Huot, PatriceMeunier and PatriceDemers

146

147

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

PREPARATION

. The ordinary deck must be stacked in the

Memorized Deck order and inserted in its case.

BW Instant

. The BW Marked Deck must be stacked as per the Double

Personality write-up (a reverse Si Stebbins). This deck is cased
as well.

blue deck of cards is displayed, put back in its case and
handed to a spectator for safe keeping. A prediction is writ-

ten on an opaque index card and put face down on the

table, its actual message hidden from view.

Whilst the performer faces away from the audience, a spectator
freely selects a card from a red deck and writes its identity on anoth-
er index card. Once she is done, the magician faces the audience
and the spectator is requested to turn her card over; the spectator's
card is inscribed King of Clubs whilst the performer's card is seen
to be inscribed with a number... 37.

. Two index cards or business cards are on the table, along with

the Bic pen whose cap is pointing towards you. The stage is set...

PERFORMANCE

Extract the Memorized Deck from its case and show its cards as all
different. Put it back in its case, throw it to a spectator and ask him
to put it in a pocket. State that you will write a prediction on one
of the index cards.

Take the pen in hand. You absentmindedly start writing with the

pen's cap still on the tip. Take off the cap, offhandedly punctuating
the action by saying something to the effect that "it works better
without it".

The spectator holding the blue deck is requested to take it out and
to count down to the 37th card: it turns out to be the King of Clubs!

WHATYOU NEED

. An ordinary deck and its case (e. g. blue)

. A BW Marked Deck whose

back pattern is different
from the first (e. g. red)

. Two opaque index cards or

business cards

Holding the card nestled in your hand in horizontal position, pre-
tend to write something onto the card. The simplest technique con-
sists in jamming the ball's point onto the first phalanx of your sec-

ond finger, and to rub that fin-
ger's nail onto the card. The idea
create a credible illusion of writ-

ing. Do not write big; limit the
movements' range. Do not actu-
ally "write" anything which may
decipherable

from the pen's

movements. Simply be seen
writing something quickly (use
your nail to simulate the noise):
photo 79. The writing sequence

is quick, less than three seconds.

Once done, do put the index card aside, "writing"side down so that
no one realizes that nothing is actually written. Put the cap back on
the pen's tip, pushing it in fully so that the point pokes out of the
cap: photo 80. Introduce the stacked deck into play (the reverse Si

Stebbins) and spread it faces towards the audience, casually men-

. A black Bic ball-point pen,

whose cap has been doc-
tored: Photo 78. The tip is
cut off so that the pen will
write even though the cap appears to be in place.

A Stanley@knife will allow you to make the initial cut readily,

and soft sandpaper will round up the profile and make your sur-

gical intervention less apparent. Fear not; a truncated cap is not
unusual. Most pen caps bear a hole at the cap's point nowadays,
as a safety feature to protect toddlers against choking following
accidental aspiration. If noticed at all, your cap - and pen - will

be perceived as a standard Bic pen.

148

149

PHOTO 78

PHOTO 79

Coincidence

A

tioning its shuffled state and the
fact that all the cards are differ-
ent. Perform a few false shuffles
and cuts, culminating by enlist-
ing a spectator's help on the last
cut "to be on the safe side".

With both card and pen in

hands, I explain that it is not
necessary to draw the indices if
the card is a spot card; a figure
card only "needs to vaguely
resemble the original article".As
you say this, you (actually)write

on the card. A casual demeanor
is key here. You professedly go
through all this to be helpful and

PHOTO 81

make your spectator at ease. The interplay with her will provide

additional misdirection. Rehearse a real miming approach to get the

feel, and then incorporate the real writing while keeping the exteri-

or appearances of miming.When you are done, hold the index card
in the left hand, vertically,writing towards you.

Hand the pen to the spectator. As she reaches for it, you will pull it
back toward you and pull out the cap, again using the "itworks bet-
ter without it !" line. Change the grip on the index card for the
maneuver, as per photo 82. Once more, you have subtly condi-
tioned the spectators to notice that the pen could not have possibly
been used to alter your prediction, as the pen was capped, this a

clear non-verbal message.

Give the deck to a spectator to
hold and turn away from her
and the audience. Ask her to cut
the deck on the table, complete
the cut, and to look at the new top card. She is to memorize it and
to place it away in her pocket.

Then, face the audience and explain to the spectator that she is to
reproduce her chosen card on the other index card - by drawing it.
As you say this, take the tabled deck and put it back in its case after
taking a peek at the current top card of the deck reading off its
markings. Figure out the name of the selected card through appli-
cation of the reverse Si Stebbins progression (+3 to the value, next
suit in the CHaSeDsequence). Calculatethe positionof this card in the
BWInstant MemorizedDeck, and committhis number to memory.

PHOTO 80

You will now secretly write that number on your index card under
guise of explaining to the spectator what kind of drawing she is to

do. There are many subtleties involved which will cover you nice-
ly. Take your index card in hand, the "writing"facing you, but hold
the card verticallywithout looking at it. Take the capped pen in the
right hand and "mime"writing on the index card.

This is the reverse of the original situation; you were initially seen
writing on the index card (when you were not). Now, you will actu-

ally write on the card, but will be perceived to be "miming"- illus-
trating what you expect from the spectator. As the card is held ver-
tically, you will have to write vertically as well... without paying
overt attention to the writing!So a little training may be necessary
before you actually attempt the routine. Holding the card vertically
is quite logical, as you profess to explain how to re-create a playing
card: Photo 81.

A two step approach
pause, then the other.

PHOTO 82

PHOTO 83

Hand out the uncapped pen to the spectator as you slip the cap into
your pocket, awaiting completion of the drawing. You humorously
comment on the fact that the time taken for the drawing is propor-
tionally suggestive of either an Ace or figure, as the case may be.

During this time, pivot the wrist so that the card is in the horizon-
tal position, the inscription strictlyvisible to you: photo 83.

is what I recommend: first write one digit,

150

151

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

When the spectator has finished her drawing, retrieve the pen,
putting it aside. Tell the participant that you are going to both turn
the cards over simultaneously, revealing both inscriptions to the

audience. Do so. Read aloud the spectator's index card, and ask her
to read off your card. Repeat aloud both the card and number, and
recapitulate the conditions of the effect:

. Your prediction was written long before the spectator selected a

card;

the position. It is a solution pretty close to the initial effect; even
though taking the deck in hand does affect the routine's directness,

you still salvage it without the spectator being aware of the diffi-

culties encountered.

Psy-Show

. You have never looked at the face of the cards, and have never

seen the spectator's selection, as your back was turned;

. A deck was put away for safekeeping at the very beginning of

the effect.

This routine makes use of an under utilized technique; the sublim-

inal message. Initiallyemployed in the publicity arena as well as in

behavioral studies, the subliminal message is an apparently imper-
ceptible element which is nevertheless picked up by the subject and

acted upon in a predictable fashion.

In this particular routine, the cap is subtly brought into play in an

insidious fashion. The first time the spectator sees you attempting to

write with the cap on, you casually mention that "it works better
without it". This is not delivered as a "line", but as an off-handed
casual remark. It must not feel scripted; its efficacy lies in its casu-
alness. It should barely register with the audience.

Ask the spectator holding the memorized deck to join you, to
extract the cards out of the case and look at the position indicated
by the number C37in the example): it is the card drawn by the spec-
tator!

NOTES

What if, when the two index cards are turned over, you do not get

a match? It is possible that you've encountered a playful spectator
(or one with a mean streak, or simply slow) who has drawn a card

which differs from the selection. Asking the spectator to withdraw

the card from the pocket will allow you to remain on top of things,
and complete the effect in honorable fashion, gently chiding the
spectator and extracting humor out of the situation.

The line pops up again as you offer the pen to the participant.
Again, the line is underplayed, but it acts as an insidious convincer
that the writing on your card could not be altered once the pen is
capped.

The subliminalapproach allows to anchor certain perceptions in the
audience's mind. Consider including it in your arsenal of psycho-
logical techniques.

The other possibility is that you might have goofed on the calcula-

tions. Bouncing out of it is hardly an insurmountable challenge,
especially since the spectators do not know how you plan to finish
the effect. Calculate the position at which the new card should be
as you ask for the memorized deck. Figure out the difference
between the position and the number written on the card. Spread
the deck face up, secretly counting the appropriate number of cards
(the difference between the new number and the prediction) and
take a break at that point. Double cutting the deck will bring the
card to the appropriate position, as written on your index card.
Hand the deck to the spectator and ask him to count the cards to

152

153

THE COMPLETE BORIS WILD MARKED DECK

MIRACLES WITH THE BW

INSTANT MEMORIZED

DECK

trade with the spectator, as you ask her why she chose this partic-
ular number, does the number have any special significance,ete. As
the calculations of the stacked deck are simple, this should cover
you sufficiently.

Once the card crystallized in your mind, ask the spectator to stop
shuffling and to hand you the deck. Start spreading the cards face
down on the table, with an eye on the Level corresponding to the
target card's suit. In our example, of the 7 of Clubs, it would be at
LevelL As you spread the cards, looking for the target, comment to
the effect that no one may know the order of the cards. Since you
are playing for time, get the spectator to acquiesce.

blue deck is shown and shuffled. It is placed in its case and
tossed to a member of the audience. A red deck is shown

.and given to a spectator for verification and shuffling.

The performer then requests a third party to name any number from

1 to 52 (e.g. 13) as he takes the red deck back and asks the shuf-

fler to take a card out of the red deck (e.g. the 7 of Clubs).

Now you will force the card matching the position in the blue deck.
The two options are:

The magician then asks the keeper of the blue deck to take the deck

out of the box and to count down to the 13th card... It is the 7 of
Clubs!

. A regular blue deck.

. First option: as soon as the card is spotted, close up the spread,

keeping a break at the card (actually, above or below the card

- it depends on the technique you wish to use). Proceed to

force the card onto the spectator, and get the spectator to show
it to the audience. Use your favorite force.

. Second option: this is the method I use. As soon as the card is

spotted, close up the spread, and cut the deck using estimation
to have about 7 to 10 card above the spotted card, the force
card. Now, spread the cards face down and look for the card to
be forced and Hofzinser Cull it under the spread (as explained
in Peek Sandwich) as you turn toward the spectator. Ask her to
point to a card with a finger and, as soon this is done, separate
at that card the spread in the right hand, then square them
against the cards in the left hand. This will bring the pointed
card second to the culled card as now the Force Card will
appear to be the pointed card. You now rise your right hand
packet and ask her to take the card (the last card of the pack-

et), and show it to the audience.

WHAT YOU NEED

. A red BW Marked Deck.

PREPARATION

The blue deck must be in BW Instant Memorized Deck order. Both

decks should be tabled in their respective cases.

PERFORMANCE

A woman is by your side to assist you. Display the two decks in
their cases. Take the blue deck out of its case and show the faces
to the audience, establishingthat the cards are all different. Perform

a false shuffle sequence and put the cards back in the case. Point to
someone in the audience and ask him if he plays basketball.
Regardlessof the answer, gently toss him the deck and asks that the
deck be put in an appropriate safe place such as a pocket.

Extract the red deck from its case and show all the cards as differ-
ent. Give this deck to the spectator next to you and ask her to shuf-
fle continuously until you tell her to stop. In the interim, ask anoth-
er spectator in the audience to call out a number from 1 to 52.

As the lady continues shuffling, determine the card at the number

called out. Your calculations are covered by the light banter you

N.H.:Asyou never lookat the cards' faces, aforce seemsto be out of

the question. Besideswhy wouldyou force a specificcard?

Technicallyspeaking, the effect is almost over for you. .. yet it seems

to begin now for the spectators!Ask the spectator to call out loud
the name of her card and to keep it in hand, facing toward the audi-
ence. Insist on the fact that her selection was taken out from a freely

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Miracle!

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shuffled deck. Then ask the spectator in the audience to repeat the
number he has freely selected at the beginning of the performance.

Ask the spectator with the blue deck to come forward, to extract the
whole deck from the case and to count down to the number called

out by the other spectator. He stops on the last card and keeps it,

face down, in his dealing hand. Do not touch it!!!Show the rest of
the pack, emphasizing the fact that all the cards are different. Ask
the spectator to turn the card over and to show it to the audience:

it is a match!

This is not a new theme, The "anycard at any number" problem has
been attacked from different angles. This particular approach has its
strengths: the cards' faces are not seen by the performer, the deck
is freely shuffled by one of the participants. The decks may be
examined after performance.

Manipulating the spectators' memories will allow to extract maxi-
mum effect out of the routine; here are a few ideas on how to

"nudge them in a favorable direction.

he performer shows a deck, shuffles it copiously, and cuts it
at a point determined by a spectator. He tables the rest of the
deck, stipulating that he will not touch it until the effect is

over. The cut off half is put in the card case as the performer gazes
away; the tabled stock is put in the performer's pocket as he still
looks away. Once this done, the performer dons a strange looking
pair of glasses, which he claims allows him to see through matter...
or at least cards and card cases!He looks fixedly at the closed card
case and announces a number: 19. The cards are extracted and
counted out; there are indeed 19 cards in the case!

But that's not all!As the performer walks away, he asks the pal1ici-
pant to deal the cards on the table and to stop at her leisure. The
card stopped at is inserted in the card case. Once more, the per-
former dons the extravagant glasses and stares at the case. He
announces that it is a "black card... a Spades... the 4 of Spades!"

Psy-Show

When asking the spectator to name any number (in a range of 1 to

52 but only call attention to that if she calls a number greater than
52), it is obvious that it could have been any number.

The card selection process should appear, ideally, just as free. And
the shuffling should not feel limited at all. The spectator stops only
when she is convinced that it is enough shuffled.

Of course, the glasses are examined at the end... to the spectator's
contentment!

WHATYOUNEED

. A BW Marked Deck

. The most outlandish pair of looking glasses one may find.

Should the spectator drop a few cards during the shuffle, you can
exploit this humorously, but this will again underscore the liberty
given to the spectators in the choosing and shuffling. This makes
the routine impossible to reconstruct.

Since you never touch the other deck after the selections are done,
the effect does become a major stunner.

PREPARATION

. Put the BW Marked Deck in

order.

a BW Instant Memorized Deck

. The deck is in its case and glasses in a pocket.

PERFORMANCE

Extract the deck from its case, dropping the case in close proximi-
ty of the spectator you plan on using. (She must be on your right).

Rapidly show the deck, and present it as a normal shuffled deck.
Go through a false shuffle sequence as you patter to the effect that

X-Rays!

THE COMPLETE BORIS WILD MARKED DECK

you are about to show them something very unusual. You may

indulge in complete cuts as well - just make sure you have a good
idea how deep in the deck the 4 of Clubs is (top card of the stack).

Spread the deck face out to show its shuffled conditions; take this
opportunity to locate the 4 of Clubs. Close the spread, keeping a lit-

tle finger break above the 4.

you do this, transformthe card into a number and subtractone from it.

(For example, should the card be the 5 of Diamonds, you know that
this corresponds to the 20th position, so 19 is your target number).

So after a few moments' mugging (and calculating...), announce the
number: 19.

Explain that you've counted 19 cards in the case and ask the spec-
tator to extract all the cards in a bunch and to count them, dealing
them onto the table in one pile (the cards are therefore reversed).

With the deck still held in dealing position, riffle down the left
upper corner of the deck with the thumb as you ask the spectator
to say "Stop!".When she does, the right hand comes over the deck
and cuts it at the break. The right hand fingers cover the front edge
of the deck, hiding the actual thickness of the block. The block of
cards is immediately slid under the deck proper, and the assemblage
squared up. This sequence nullify the cuts and puts the deck back
in stack sequence.

Phase one: Part of the deck hidden in the box

phase Two: The Sequel, one card hidden in the box

Into the second phase: walk away from the table, while still keep-
ing the spectator within your visual field. Ask her to pick up the pile

of cards, and to start dealing onto the table, one card at a time. As
she deals the first card, think "19". On the next, think "18"... and.
continue so until the spectator stops dealing. Once she stops, asks
her if she wants the last dealt card or the next one in line for deal-
ing. Remember the number corresponding to her choice. Ask her to
look at the card, remember it, and to slide it into the card case. She

is then asked to close the case.

Table the deck in front of the spectator and mention that you will
not touch the cards until the end of the effect. Face away from the
deck and instruct the participant to:

- pick up a slug of cards;

- insert it in the card case;

- close the case.

Ask her to scoop up the tabled cards and walk back to her, without

really looking at her or the cards. Position yourself as you did ear-
lier and get her to place the cards, again, in your jacket's side pock-
et. Turn to face her and thank her for her assistance.

Pull out the glasses, put them on and stare at the card case. Take
advantage of your staring routine to change the number into the

card. 11, from our example, translates into the 4 of Spades.

When she is done, turn around for a brief instant and look at the

top card of the rest of the tabled deck. As soon as you have identi-

fied the card, turn away and point towards the deck, asking her

"Could you, possibly, put the rest of the cards in my jacket pocket,
so that they cannot help me?"

Approach the spectator, still gazing away, and get her to slip the

cards in your jacket's side pocket. You may then face the public,

and thank her. Take out the glasses out of your jacket pocket.
Explain that the glasses have quite an unique particularity; to see
thru matter. Add that they were not conceived to see through ladies'
clothes, but strictly for magical purposes. Propose on the spot... to
make a demonstration.

After a few moments, ask the spectator whether she inserted the

card face up in the case. Most of the time, she will answer in the
negative. In this situation, ask her to turn over the case for you - as
you do not want to touch it. As soon as she does, sigh and exclaim
something to the effect that "it is a lot easier like that!"

Successivelyannounce the color, suit and value of the card to recap
by revealing that the card is the 4 of Spades! Invite the spectator to
take out the card and show it to everyone in the audience!
Immediately offer the glasses to the spectator and ask her if she, as
well, can see through your devices. She will not.

Donning the glasses, stare fixedly at the case's edge, Move slightly
to the left, then right, as if you were trying to get a better look. As

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Psy-Show

When you table the deck in the beginning of the routine, you

announce that, "you will not touch the deck at all". The subliminal
statement is that the effect has yet to begin and that your prior

manipulation of the deck is not part of the routine. This will rein-
force the recall memory of the spectator, who will be convinced that

you, indeed, never touched the cards!

When you get physically close to the spectator, the action is moti-
vated by your requests to place the cards in your pocket. This con-
veniently puts you in visual range of the cards you need to identi-
fy. Choosing your pocket as a receptacle for the cards makes the

whole procedure appear fair and above board. Additionally, as all
the cards but one are pocketed, the stack's existence is secreted
from prying eyes. And you are in a great position to proceed with

a deck switch...

Since the unused cards are put out of play in your pocket, the effect
is crystal clear as there is nothing but the case on the table! It would
look the same if the glasses were truly magical.

The glasses do misdirect the spectators away from the actual
method. By focusing on this object, rather than on the cards, suspi-

cions will truly be directed towards the glasses... The ironic use of
"speciallooking glasses", in conjunction with a marked deck, makes

for potent entertainment for your spectators, doubled with deli-
ciously guilty pleasures for you.

he performer shows a deck of cards, puts it on the table and

walks away from the spectators, isolating himself in a corner
of the room. A spectator is requested to cut the cards and to

look at, and remember, the bottom card of the packet she is hold-

.

mg.

Then, the performer asks the participant to shuffle the cards she is
holding, and to hide the rest of the tabled cards in the card case. He
then walks up to her, takes the shuffled cards out of her hands, and
spreads them faces towards her. Never, at any point, does the magi-
cian look at the face of the cards.

The spectator is asked to concentrate on every single card present-
ed in the spread while keeping the identity of her chosen card in
the back of her mind. Without asking any questions, the performer
drops consecutively cards from his hands until he is left with only
one: the spectator mental selection!

WHATYOU NEED

A BW Marked Deck

PREPARATION

Assemble the deck in BW Instant Memorized Deck order.

The deck is in its card case, on the table. You are set to go.

PERFORMANCE

Extract the cards from the case, show them to be all different and
perform a false shuffle sequence while keeping a constant stream of
patter. Put the cards on the table and walk away from the deck so

that you may not see what the spectator is doing.

Ask her to cut up a portion of the deck and to look at the card
which is under this upper half. Insist on the fact that she must not

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forget it and that she may show it to the others if she so wishes.
Then request her to shuffle the cards she is holding and to keep
them on the table close to her.

Ask her to take the lower half of the deck, still on the table, and to
hide it in the card case.

Gradually drop, little by little, cards which do not correspond for the
one you are seeking. Pause for a beat before dropping while look-
ing at the spectator directly in her eyes.

Stop by keeping only a few cards in hand. Drop the last few cards
keeping one in each hand. Pretend dropping the right card, by low-
ering that hand and pause, then let the other one drop.

Stay immobile for few seconds, then as the hand containing the
selected card raises to her eye level, look at the face of the specta-
tor and nod in an interrogative fashion so that she confirms that it
is really her card.

Get verbal confirmation that the rest of the cards has been put away

and go back to the table. Take the card case and put it in your pock-
et without looking at it. Then gingerly retrieve the shuffled pack

while keeping it at arms' length (more or less extended) and do not
do anything suspicious, either in your gestures nor in your gaze.
Insist. on the fact that you have never seen these cards, which
implies lithe face of the cards", and that you shall never look at
them. Gradually spread the cards in front of the spectator's eyes,
asking her to concentrate on what she sees and to feel something

when she sees her card. Insist on the fact that she must not say any-
thing, nor do anything which might give you a clue as to the card's
identity. From your side, explain that you will not ask any question
and that she will not hear the sound of your voice from this point
onward. I like to use music from that moment to the end of the per-
formance.

NOTES

This routine may be repeated two or three times without any fur-

ther preparation!

When you have completed a first performance, scoop up all the

cards that you had dropped on the table, square them up and drop
them onto the rest of the deck. Suppose that there was 18. You may
without any problem reiterate the experience with another specta-
tor inasmuch as she cuts deeper than 18 cards. Effectively, the

stack's 29th card is still in 29th position, only the first 18 cards are
not in their initial positions!!!

To make sure that the spectator cuts a larger group of cards, simply

ask her to take a larger part of the pack litomake things more com-
plicated". This action will make things a lot easier for you!

Finally, should you consider a bold, reckless soul, you may attempt
a third time with, this time, a very large portion of the deck.

At this stage of the routine, all which is necessary for you to do is

to count the number of cards that you have in hand as you display
them to the spectator.

As soon as the number is known, it is easy for you to translate it

into a card via the method explained for the BW Instant Memorized

Deck. This card was the one below the group of cards she has cut
to earlier. It is therefore the one she has seen and the one she is
thinking of at this moment! For example, if you are holding 17
cards, it means that she saw the 17th card and this particular card is
the 8 of Clubs.

The routine's process remains of course identical for each supple-

mentary presentation.

Spread the deck anew in front of the spectators' eyes and spot the
card which you have in mind. This is easily to achieve as the mark-
ings are on the left edge of the spread cards and in the spectator's

visual axis. You are supposed to be concentrating on the spectator's
gaze, but in reality, you are searching for the card that you have in
mind.

Psy-Show

Although this effect can be repeated immediately, I never do this
because it would be anticlimactic to the theatrical presentation of

mine. Most often, I like to close my show with this effect or as an
Encore (d the performance on the Companion Video for this book).

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This routine's impact is particularly strong because of the clarity of
the effect: a card is simply peeked into a deck while you are away
from everything. The cards are shuffled, hidden and, when you
come back, you divine the one which was seen without looking the

faces, nor asking any questions!

The revelation is very powerful since there are no apparent clues.
Because of this, the climax becomes a particularly intense moment
that one should nurture.

For this, I use a musical accompaniment which is cued on at the
moment before I start to spread the cards in front of the spectator.

The cut is a calm piano piece taken from the soundtrack of a roman-
tic movie. The music never fails to engage a seduction game
between you and the participant. Passionate gazes exchanged and
coy smiles will not fail to amplify the intimate climate which you
aim to create.

Furthermore, the fact that not a word is uttered accentuates the "dra-
matic" aspect of the situation. The audience is not witnessing a card
trick but a privileged moment in which magic and emotion meet in
true symbiosis.

Finally, it is important to keep in mind that your goal is to IIphysi-
cally" find the card that she is thinking of, but its identity is of little
consequence. Indeed, you are supposed to feel deep in yourself
something which tells you; IIThiscard which has just passed in front
of her eyes is hers".

However, you are not supposed to know what card it is (a Heart, a
Club, a figure.. .). This is of no importance as the experiment's goal
is to perceive a strong feeling on a card, whatever its nature may be.

That is why it is crucial - after the revelation - to briefly look at the
face of the card as if you were curious to know what it is!

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