STICKS & STONES NUMBER 2

A leaflet for the left hand

This is an undated, previously unpublished effect by Ed Marlo. I
found it amongst my scribbled notes. When reading it something in
the plot seemed fuzzily familiar. Finally it dawned on me: it's a
variation of the Vincent Dalban problem/plot from the Jinx. If you
have a copy of Hierophant #2, refer to "Notes On The Lie Speller".
Also see Marlo's three methods in Hex! (1969) under the title,
"Mental Lie".

The standard presentation for the Dalban plot is as follows: The
spectator selects a card and returns it to the deck. He runs through
the cards and names each one as he comes to it. When he comes to
his selection he miscalls it. The performer immediately stops him,
catching him in a lie.

Marlo added a new slant by having the spectator think of a card.
The cards are called out as in the Dalban approach; however, this
time all the cards are named and the selection is miscalled.
Afterwards the performer names the mental selection.

The following presentation is offbeat and difficult to reconstruct, yet
its procedure is clean and direct. Call it...

Mindreading Joker

EFFECT - A Joker is removed from the deck. A spectator freely
shuffles the cards and selects one. The selection is placed in his
pocket without being noted. The performer fans the pack face-down
and the Joker is inserted. The cards are cut a few times and the
pack is handed to the spectator. The performer turns his back.

Now the spectator is told to look at the card in his pocket and
replace it. Next he's told to call off the cards in the pack; however,
when he comes to the Joker he's to miscall it and name the card he
has in his pocket. For example, when he comes to the Joker,
assuming that the Three of Hearts is in his pocket, instead of saying
"Joker" he says "Three of Hearts". The whole pack is dealt and each
card if named. While his back is still turned, the performer asks for
the Joker. Holding the Joker to his ear, he explains: "The Joker will
whisper the name of the card in your pocket." The performer
concludes the effect by naming the selection.

WORKING

1) Find a card with an imperfection on it--some mark or speck that
will identify it. If you want to be sure, prior to the effect pencil-dot a

known card on its upper left and lower right corners. This marked
card is your key card. Assume this marked card is the 9D.

2) Your deck, of course, contains a Joker. Hand the cards to the
spectator and ask him to remove the Joker. Have the cards
thoroughly shuffled and have an unknown card removed and placed
in the spectator's pocket.

3) Next the Joker must be placed face-down on top of the marked
card. You can do this yourself. Simply insert it above the key card
and have the deck cut several times. A superior approach--one used
by Marlo on other occasions—is to have the spectator replace the
Joker into the spread. How? Simple. Just use the Classic Force
technique and force the Joker's "return" to the deck, which is
working backwards and will prove to be easier.

4) Turn your back and ask the spectator to look at the card in his
pocket and replace it. Now have him turn the deck face-up and
name each card as it comes to it, miscalling the Joker and naming
the pocketed card.

5) Listen for the 9D to be called. The next card he names will be the
selection. The rest is build-up and showmanship. Emphasize the
impossibility of knowing anything.
- Edward Marlo, with details supplied by Jon Racherbaumer

HEUREKA

When he isn't resurrecting the ghost of Hofzinser and putting pins
into Marlo dolls, another publisher is fond of scanning the Published
Record for reinventions and rediscoveries--effects and techniques
that were published years ago and prior to present claims. He's
choosey when it comes time to cast aspersions and through
hindsight and second-sight, imply that someone has lifted another's
trick. This column is dedicated to the proposition that reinvention
does happen; that curious coincidences do occur. Yet we shouldn't

leap to wrong conclusions, distort facts, and read between literal
lines. Let's be content with possibilities and remain fascinated with
verisimilitude. Here's an example:

The "McDonald Aces" is familiar to most cardmen. The routine
appeared in Chapter Four of Dai Vernon's More Inner Secrets of
Card Magic. Later, Tannen's published Garcia's version in New Stars
of Magic (Volume 1 - Number 2).

I thought the McDonald Aces were interesting and would have been
impressed to see "Mac" McDonald, with his one arm, perform it. I
agree, however, with S. Leo Horowitz when he wrote: (Speaking
about four Ace effects...) "In methods where double face cards are
used, you are told to lay the cards out in a crazy order of pattern,
some face up and some cards face down. They are gathered up, laid
out in rows, the process being repeated several times until the
double face cards are in the right position to proceed." This excerpt
is found in Aces High, a manuscript published in 1947. The
McDonald Ace routine isn't wholly confusing, but the cuts, initial Ace
switch, and other bits aren't my idea of immediate clarity. Garcia's
embellishments embody some subtleties and each Ace vanishes in a
different manner, but the overall effect isn't as straight-forward as
my standards demand.

Here's the point to ponder: In Page Wright's Notebook (1933) you'll
find a routine on p. 53 called "One Armed Poker". Ta-da! In its own
words: "This is offered as a tale with a moral, but a sad tale. For it
concerns a magician who once, in a tragic accident, lost one arm--
lost it entirely. To make it worse, it was the right arm, and he was
right handed and could do practically nothing, so he spent all his
time playing poker." The writer later admits the effect "is nothing
but the usual four Ace effect... but the patter provides a little
different plot and the execution with one hand makes the effect
appear more remarkable—a startling piece of sleight-of-hand."

Believe it or not, this routine uses three double-faced Aces as in the
McDonald routine and the general effect is Transposition-ala-Ace-
Assembly, only four X cards are dealt onto each Ace rather than the
standard three. (Poker hands contain five cards.) The Wright
handling is NOT the same as the McDonald Aces, although the
"vanish" is basically the same and Wright further credits the move
to an effect called "Whirlwind of Wizardry" or a book by that name.
Was there a relationship between "One Armed Poker" and
McDonald's Ace routine?

Karl Fulves's new book is on the stands. Dover publications of New
York published the 113-page book and it's beautifully produced. It's
simply called Self-Working Card Tricks: 72 Foolproof Card Miracles
for the Amateur Magician. It contains 42 illustrations by Joseph K.

Schmidt and, for the lowly price of $1. 50, features the biggest
bargain available to watchful cardworkers.

The book is truly a nice product. Fulves credits a few others here
and there; the rest are ignored. I'll comment on specific items in
subsequent issues; however, I was struck by an obvious
contradiction. Fulves sends a free leaflet to subscribers from time to
time, depending on the winds of controversy. He calls these freebies
Interlocutor, a role he apparently relishes. I'm curious as to what
things or which persons he's acting as a self-appointed go-between?
No matter. In Interlocutor-6, dated January 5, 1976, he explains:
"Magic is a hobby. I earn no money from it." Perhaps he means that
he makes no "profit" from magic? He obviously earns money. After
all, he sells his books and magazines. The Dover book is probably a
contract deal and Fulves writes that he's working on "a large book
of general magic contracted for by a major publisher. This is an odd
approach for a hobbyist, especially one claiming to earn no money
from his hobby. The credibility gap widens. His Walter Gibson
impersonations will have to improve!

Getting back to the Dover book, readers will find many queer items.
For example, my eyes quickly caught "Double Prophet" on page 63.
This version has elements found in "Another Problem Posed" from
The Artful Dodges of Eddie Fields. The effects are similiar in that
two selections are predicted, the selection procedure uses random
cuts, ends with a group of face-up cards, and the face-down cards
at each end of the face-up group become the random (?) selections.
The methods are different. The Marlo methods in the Fields book
work. The method in Fulves's book will not work. If you follow the
directions on pp. 63-65 you'll note that after the Cut-Deeper Force
actions there are two face-up portions. This is not indicated in
Figure 22 or mentioned in the text. This kind of prediction effect
demands preliminary shuffles. After reading "Double Prophet", if
you're still interested in performing such an effect, try the following
method:

1) Preset the red Jacks on top and bottom of the deck, or use
Marlo's impromptu get-ready from the Fields book, Steps 1 through
4. For purposes of this description assume you've set the Jacks.
Table the deck and execute a few Riffle Shuffles. Retain the Jacks
on top and bottom.

2) Hand the deck to the spectator to place under the table, out of
sight. Make your written predictions. Then ask the spectator to lift
off about a quarter of the deck and turn it face-up on top of the
deck. Further explain that he's to "cut deeper" and turn
approximately two-thirds of the uppermost cards over, replacing
them on top of the deck.

3) To complete the random cutting actions, ask the spectator to
give the pack a straight cut. Take back the deck and ribbon spread
them face-down onto the table. A group of face-up cards will be in
the middle of the spread. Point out that this topsy-turvy condition
was arrived at by chance cutting.

4) Remove the face-down cards on either side of the face-up
portion as per "Another Problem Posed". Show the red Jacks and
your matching prediction.

- Edward Marlo, "Method Four to Another Problem Posed"

In fairness to Fulves, "Double Prophet" will work if you spread the
cards between your hands, keeping the face-up section on the
bottom hidden beneath the face-down portion above it. He does
not, however, mention the existence of this other face-up section;
hence, many readers may be momentarily or lastingly perplexed.

AENOS

The spectator looked astonished and said, "That's fantastic! I don't
believe it!" He continued in this fashion until I calmly shrugged and
said:

"I know... it's a marvelous effect..." The spectator let me finish, but
he looked mildly puzzled. Finally he asked, "What do you mean--
'effect'?" Good question. What do we mean when we use the word
"effect"?

Terminology in magic has never been a scientific affair. No precise,
universal lexicon exists wherein we find agreement and
understanding. Writers of magic literature habitually use the word
"effect" and we use it as part of our banter, everyone assuming its
meaning is self-evident. Yet if we're asked for a succinct, complete,
and detailed definition, we're hard-pressed. A casual explanation
might go like this: "The word 'effect' means a brief description of
what happens during a trick. It entails everything that apparently
happens in the eyes of the audience." Unfortunately the subject is
more complicated than this.

The Random House dictionary gives thirteen definitions for the word
EFFECT. Three seem applicable to magic: (1) Something that is
produced by an agency or cause; result; consequence; (2) A mental
impression produced, as by a painting or speech; (3) An illusory
phenomenon.

All three definitions apply to magic. The performer is a primary
cause of what happens. He produces the effect; he causes the
result. The audience receives a mental impression of what's going

on, each creating their own "seeming" of what's happening. The
effect, regardless of its causes, is undeniably illusory.

Those sensitive to words will quickly recognize the almost look-
alike, sounds-alike word, AFFECT. Word specialist, Theodore M.
Bernstein, has pointed out that AFFECT means to influence whereas
EFFECT means to bring about or accomplish. He also suggests a
Loraynean method for making a distinction between the two. He
writes: "Think of the first letter of each word--the 'a' in 'affect' and
the 'e' in 'effect'. Then think of the 'a' as standing for 'alter' (which
is not a synonym for 'affect' but is close to the meaning) and the 'e'
as standing for 'execute' (which ditto)." This helps, but prose in
magic books should be more exacting, more specialized. I propose
the following definitions:

EFFECT - An action procedure or sequence of events that produce
an illogical, impossible, and unexpected result. This procedure is
subjectively perceived in an impressionistic way, is subject to laws
of human psychology, and uses techniques from dramatic arts.

AFFECT - When used as a VERB it refers to any techniques used by
a performer that specifically influences the audience's emotional
responses. When used as a NOUN it refers to the audience's
response itself and to the performer's emotional response to his
audience and own performance.

EFFECT is basically OBJECTIVE.

AFFECT is basically SUBJECTIVE.

EFFECT concerns what happens.

AFFECT concerns what happens to the audience.

EFFECT concerns what a performer does.

AFFECT concerns what an audience does.

EFFECT & AFFECT mutually work together.

The subject is complicated, isn't it? Perhaps the foregoing recital
brings you closer to a meaningful understanding of two words we
take for granted and are vain enough to assume comprehension.

- Jon Racherbaumer June - 1976

Bob Walker has become a full-fledged cardiac (a neologism coined
by Frank Furkey several years ago) and has taken notes on
everything dealing with cards. His Crux manuscript dealing with
"Touch Turn - Twisting The Aces" is now over 300 pages with no
end in sight. He wrote another book on the Lin Searles Ace plot
involving red-backed Aces & blue-backed X cards, and has devised
a Cannibal Card routine wherein a card is apparently "eaten" and
actually found inside a King!

The following routine comes from his bulging notebook:

TOUCH TURN ALA CASCADE

This routine offers a striking double climax. We simply applied a Roy
Walton idea to the Crux Phase. Its Cascade ending makes the
routine strong because all four principal cards change and you're
clean at the end. Students will see similiarities to "Pineapple
Preserve" from Kabbala - Vol. 2 - No. 7.

EFFECT - The four Aces are removed from a red deck and shown
one at a time. Each one magically turns face-up. After the Crux
sequence, the two red Aces are placed face-down on top of a tabled
deck. The black Aces remain in your hands. Now the black Aces
become blank cards and the face-up red Aces are shown to have
blue backs!

REQUISITES

(1) A red-backed deck; (2) Two red-backed blank cards; (3) Two
blue-backed Aces (AH - AD)

SET-UP

Remove the AS and AC from the red deck and position the AD and
AH 3rd and 4th from the bottom (face). Place the two blank cards
face-down on the table. Place the red deck face-up on top of these
blank cards. Pick up the tabled Aces (two red-backers - two blue-
backers) and arrange them in the CHDS order from the face;
however, distribute them in different parts of the deck.

WORKING

1) It's easier to perform this routine standing. Therefore stand up
and spread the red deck face-up between your hands. Begin by
pushing over a large block of cards, then spread normally and upjog
each Ace as you come to it.

2) Strip out the Aces and add the two face-down cards (blanks)
from underneath the pack via the Vernon Strip-Out Addition. Your
left hand consequently is left holding onto six cards. These are more
or less squared as a packet. Your right hand tables the rest of the
deck and ribbon spreads them face-up. Make sure to allow a small
block of cards at the right end of the spread to hide the two red
Aces.

3) Your right hand grips the 6-card packet from above and by the
ends. Make sure your fingers cover the front end of the packet.
Your left hand, using the thumb, peels off the first three Aces. Your
right hand deposits its 3-as-1 on top.

4) Flip the packet over into a deep Mechanic's Grip, then slide the
lowermost card with your right fingers to expose the AS. Turn it
face-up and place it on top of the packet as you say, "The Ace of
Spades is the leader Ace. I call it that because the other Aces follow
it and duplicate its actions. Watch..." Flip the AS face-down on top
of the packet.

5) Here you must secretly turnover the entire 6-card packet as you
scoop up the tabled deck. This provides necessary misdirection.
Once the deck has been picked up, replace it face-down in the
center of your close-up pad.

6) Flex the packet in a magical gesture, then Elmsley Count to show
that the AS is face-up. Instead of placing the last card of the count
on top, use it to flip the face-up AS face-down, then place it face-
down on top of all.

7) Flex the packet and Elmsley Count again. This time the AC will
appear face-up. Repeat the actions of Step 6 with the last card of
the count. Say, "That takes care of the black Aces. Now all the
cards are face-down again..." Spread the cards and hold the last
three as one. Square up.

8) Flex the packet; however, this time do a regular Elmsley Count
without flipping the Ace face-down. Spread the packet as four
cards, holding the last 3 cards as 1 and disclosing the face-up AH.
Say, "Even if we leave the Ace of Hearts face-up, it doesn't prevent
the next Ace from flipping over..."

9) Close the spread, flex the cards, and Elmsley Count. Both red
Aces will appear face-up. Spread the cards as four, holding the last
3-as-1. As you close the spread, transfer the top card to the bottom

of the packet, then get a break above the two lowermost cards with
your left 4th fingertip. Patter: "All this is peculiar, but something
more incredible happens when I separate the red and black Aces..."

10) Remove the four cards above your break, holding them from
above and by the ends with your right hand. Place them on top of
the tabled deck. It should appear as though you've merely placed
the red Aces face-up onto the deck; however, you've secretly
unloaded the two black Aces.

Patter: "If I place the red Aces on the deck for a moment, this
would leave us with the blank ones... Wait a minute. Did I say
'blank'?"

11) Execute the Through-the-Fist flourish with the two cards in your
left hand. They will emerge face-up and everyone will see that
they're blank!

12) Drop the pair of blanks face-up on the table as you add, "I
guess I was right...they are blank, not black!" Pick up the face-up
Aces on the deck and say, "For a moment I thought I blew (blue)
the trick..." With this hackneyed line, disclose the backs of the red
Aces to show that they're BLUE!
- Robert Walker, July 22, 1975

This leaflet is designed, created, and dashed-off by
JON RACHERBAUMER,
who accepts full responsibility for its contents, attitudes, and purely
personal prejudices. No one should take credit for whatever truth
survives or succeeds in these pages. And each reader will have the
last word.

If anyone wishes to share thoughts, afterthoughts (Loraynean),
reactions, and counter-blasts... send them to me:

P.O. Box 1142 - Metairie, Louisiana 70004 or drop Jonesy a line.