E lixir V o l u m e 1 | Is s u e #1 |S u m m e r #1 ILL U S T R A T E D B Y ： C A T A L IN C A N T E A

J U LY M M X V II Lo g o a c o v e r s b y ：c a t A l in C a n t e a
E d i t e d b y ：m . h e l m e r
C o p y r i g h t 2012-2017

4
 (HANDS OFF REVERSE -- CONTINUED)

The talon is now face up and the known reversed card is on top. Bring the talon forward and the
squared pack looks normal. This complete reversal takes only an instant and the ruse is
perfect.

Hand the spectator the packet and instruct him as follows,

M〇h, yes... (as though you had for gotten)... remove the top card and ■!〇〇火 at it. Leave the packet
The following effect was submitted by the great Jon Racherbaumer. Other than some minor layout behind your back. Bring only your card forward, look at it, then return it to the top of the
alterations, it has been untouched, just as it was submitted, hence the year 1971 written at packet behind your back.M The spectator will remove your known reversed card. Suppose it is
the very end...
the QH. You must watch the spectator during this handling so that he does exactly as
instructed. Take whatever verbal precautions you deem necessary.
Effect
Continue,

The spectator freely cuts to a card which he inserts into the center of a packet behind his MTo make it more difficult and so there's no way I could possibly see your card or know its
back. While this packet is still out of sight behind his back, it is inserted into a card case position in the pack, please insert your selection into the center of the packet. You wonft
and closed. The performer has not touched the cards during this procedure. Despite these
even know its exact location 卜
stringent conditions, the performer mentally divines the selection, which somehow magically
reverses itself in the deck while still in the card case. No, the magician does not take the
After you are certain that the spectator has done everything you have asked him to do, hand him
case and cards from the spectator and the spectator checks the face-up selection himself.
the card case and say,
Believe it or not, the deck can be borrowed.
"Take this card case and bring it behind your back. Now place the packet inside the card case
We have not been able to trace this effect to its lair, but part of the handling belongs to
and close the case. Keep everything behind your back.n
Hideo Kato. Behind—the-back effects are not new, but they are effective and memorable. Anything
that happens in the spectator's hands will evoke strong reactions. Some of the known effects of
When the spectator has completed these actions, say,
this type have certain drawbacks• The deck is unclean at the end or one or more cards are end
up reversed in the deck. Sometimes the performer must handle the cards at the wrong time and
MThe card case is added insurance. You'll have to admit that it's impossible for me to fool
various handling procedures are too complicated and indirect. This effect and procedure,
around with the cards once they're inside the case. Besides, I've never touched cards.
despite its great simplicity, overcomes the usual problems. It will also fool the pants off of
Right? Is there any way I could know your card? Is there any way I can know your card's
magicians who do not know its secret.
position in the pack?^ The spectator will agree.

At this point, the dirty work is done. There is nothing left to do but sell the effect. Shake
[ethod
the case and say,
After you borrow a deck, perform some fair shuffles and cuts, glimpse the bottom card and
MI'm concentrating! Yes, your card should be the Queen of Hearts!^ This is strong, but there is
secretly turn the bottom (face) card face up. There are many ways to accomplish this. Since
more. Add, "But the difficult part is to turn your card over while it is still in the card
favorite methods are not always the best ones, try Mario's "Flourish To Reverse" (The New
case! Let me repeat. Is it possible for your card to reverse itself and turn face up while i t ’s
Tops - August, 1964). If you do not like sleight-of-hand, try this…
in the packet inside the card case?^
Say, "This is a strange experiment where you place the cards behind your back so none of us can
Conclude by having the spectator open the card case, remove the cards, spread them, and
see them.M
disclose the face-up selection. When he sees his selection face up among all the face-down
cards, he will be truly puzzled. In fact, the average magician will be baffled. The beautiful
Place the deck momentarily behind your back and when the cards are out of sight, quickly
part is that everything is clean. As the spectator sits there with a quizzical look on his
reverse the bottom card. The move is invisible. Bring the cards forward and say,
face, smile and say, ^Remember, I never touched the cards I"*
MFirst, you must select a card.^
The use of the card case is a wonderful ruse. It takes care of the problem of the spectator
holding a face-up packet in his hands. It is unlikely that he will remember which side of the
As you say this, give the pack a quick Hindu Shuffle, retaining the reversed card on the
card case coincides with the backs and faces of the packet. If there is a perfectionist in the
bottom. Ask the spectator to cut off any number of cards and place them aside. The top card of
crowd, when the spectator places the cards in the card case, have him turn the deck over and
the remaining talon will be his selection. As the spectator does this, you hold the deck face
over several times.
down in your left hand. As soon as the cut-off cards are removed, your right forefinger points
to the top card of the talon.
Say, MTurn the case and cards over several times . This agitates the cards and irritates my
mother-in-law! All that turning has reversed your cardln
Say, JJThis is the card you cut to. It will be your selection.^

Continue, This kind of action is disbelieved by the audience. It is too ridiculous and frivolous. Just
whimsy. Try this effect. It is very strong, particularly when somebody says "Do a trick!” The
principles used are not new, but he presentation-procedure is innovative. The exact handling
MTake this packet behind your back.^
and presentation is mine. The card case addition belongs to Kato.
As you deliver this line, gesture to demonstrate and quickly place your left hand behind your
back. Once it is behind your back, reverse the whole packet.
June 25, 1971

2
 (THE "EH, FUCK IT" ACE INTERLUDE -- CONTINUED)

What is going to happen now is that the pads of your left middle finger and ring finger are
going to contact the bottom Ace of the spread and surreptitiously slide it over to the left so
that it aligns itself with the top stack/Ace (Fig. 3).

Effect:

The Cardician takes the four Aces and loses three of them into the deck. He then takes the one
Ace and turns it end-for-end in his hands. Inexplicably, a second Ace appears. After every
rotation another Ace appears until he holds all four Aces!

This Ace effect feels like the magic is happening to the performer as opposed to him
deliberately causing the magic to happen.

[ethod

Begin by making sure that none of the four Aces are the bottom three cards of the deck. If one
or more are, give the deck a cut or two. However, itrs not the end of the world or anything if
they are! Turn the deck face up and then spread through the cards and up-jog the four Aces.
Once the four Aces have been all located and up-jogged, close the spread, but as you do so,
obtain a break underneath the top three cards with your left little finger (well bottom three
actually, but you get the idea). Strip out the four Aces with your right hand and place them
onto the face of the deck. Square up the Aces and then grip all seven cards above the break
with your right fingers in an End Grip. Then rotate the rest of the deck underneath the break
back face down.

Place the deck face down onto the table and set the seven cards onto your left palm in a Checkpoint -- At this point the seven cards should be arranged as such (from top to bottom):
Dealer^ Grip. From here, thumb off the top three Aces with your left thumb and grab hold of
them with your right fingers. Maintain a firm grip on the last Ace, which has the three X-cards ~ On the top of the spread there are four cards: three X-cards followed by an Ace underneath.
underneath. Show the four Aces momentarily before bringing your hands together and neatly ~ Underneath that block is another Ace, which is side-jogged to the right about half a
squaring the cards up in an End Grip so that the indices are nicely displayed (Fig. 1). centimetre and is under the shade of your right hand.
~ Underneath that Ace is another Ace, which too is side-jogged to the right and under the shade
Pinch the seven cards together tightly with your left hand at the end closest to yourself of your right hand, but this Ace is shielding the face of the second-highest Ace (turn your
(thumb on top and fingers below), which will allow you to momentarily release the grip with right hand palm down for a moment and take a peek).
your right hand. Then, rotate the cards end-for-end and then clamp them against your left palm — And finally on the bottom of the spread there is the fourth Ace, which has been slid over to
with your left thumb afterward. Re-grip the cards with your right hand in an End Grip once the left so that it is flush with the top block.
more, so that the bottom three Aces are under the shade of your right hand (Fig. 2).
Now, reverse count the top three cards of the block (the three X-cards) with your left fingers
and slide them onto your left palm (Fig. 4). 4

4
3
 (THE WEH, FUCK IT，， ACE INTERLUDE -- CONTINUED)
(THE "EH, FUCK IT" ACE INTERLUDE -- CONTINUED)

Say something along the lines of :

Now, your right fingers then pinch the top end of the packet (thumb on top and fingers below}
as you turn the packet end-for-end. As you place the cards face up onto your left palm, clamp
them down with your left thumb. Pause for a moment, showing that a second Ace has inexplicably
appeared.

Continue to say:

MOkay... I guess w e fll use two of the Aces.^

Then, pinch the top end of the packet with your right hand (again, thumb on top and fingers
below) and turn the packet end-for-end again. Clamp the cards with your left thumb again, then
pause once more, this time showing three cards.

Continue:

MThree, fine". Wer11 use three..."

To finish off, you are going to turn the cards over end-for-end once more, but this time your
right middle finger is going to slide the bottom Ace over to the right (Fig. 8). As you do
this, your index finger moves upward a bit, away from the cards•

Upon turning the cards over for the last time, show that all four Aces have appeared, act
flabbergasted, then pause and say:
From here, tell your spectator you only need the one Ace, so you are going to peel off the
"Four Aces." Eh, fuck it. How about a trick with the four Aces?^
other "three Aces" (the three X-cards) and lose them into the pack. So, you can either take all
three of them with your left hand and place them onto the top of the tabled deck and then have
your spectator cut them into the centre. Or, you can lose them by having your spectator cut the
deck into four packets and then placing one X-card on three of them and then cutting the
packets back together. Whatever you wanna do is just fine!

Once the three X-cards are done away with, you are going to draw attention back to the "one
Ace" that you are holding with your right hand (Fig. 6 ■一 Spectator,s View)• Clamp your left
hand (thumb on top and fingers below onto the bottom end of the cards. Now, rotate your right
hand downward a tad so that the back of your hand faces your spectator (Fig. 7). The position
of your right hand will shade the action that is forthcoming.
 (KINGS OVER QUEENS — CONTINUED)

Slide the top King with your thumb so that its top left-hand corner can be clipped between the
Рсбег Рс/&^лаљ fork of your left thumb and index finger. Count this as one. Don't clip the card too tightly,
but have it positioned so that it is elevated above the other fingers of the left hand. This
positioning makes it easier to exchange the single card for the triple, which you now are going
to do. To do such, your right hand moves over to the left and aligns its cards on top of the
Effect: single Black King, flush. Push the single King over to the right a bit so you can hold all four
cards with just your right fingers (thumb on top, index finger and middle finger below). Now,
The Magician has two packets of Blue-backed cards, one with four Kings of Clubs, and the other place your left thumb on top of the block as your right thumb pushes the top three cards over
with four Queens of Diamonds. He begins by counting the four Kings of Clubs and then sets them to the left as one (Fig. 10). Slide the top three cards into the fork between your left index
onto the table. After that, he counts the four Queens. With just a wave, the four Queens turn finger and thumb just as before and clip them there. Count this as two.
face down and then become the four Kings 1 The four Kings are then placed onto the four cards on
the table. The cards are spread to reveal that in between the four Kings are four face up
Queens, which all have Red backs!

You will need the following eight cards for this effect: four Red Queens (Hearts or Diamonds)
with a Red Back Design, and four Black Kings (Clubs or Spades) with a Blue Back Design. Peter
used four Kings of Clubs and four Queens of Diamonds for the video he sent me. Using those
exact cards are not necessary, as four Aces of Spades and four Aces of Diamonds will do fine,
or any other two pairs of four... Just kinda defeats the purpose of the title though eh?

Arrange the eight cards as such -- Set one Queen face up onto the table. On top of that set
down two of the Kings face down, and place another Queen face up on top of that. Square up the
cards. For the second packet, the cards are arranged as such -- Place the last two Queens face
down onto the table. On top of them place the last two Kings face up. Square up those cards.

[ethod

To begin, pick up the packet with the Black Kings on top and hold it in your left hand in a
Dealer’s Grip or Staddle Grip (the Straddle Grip makes the upcoming count a little easier). You
are now going to display the packet as four Black Kings, but by only using the two Black Kings.
This is accomplished with a variant of the D.M. Count/The Hamman two-as-four count. To do so,
begin by sliding the top King with your left thumb over to the left slightly, so that you can
reach over with your right fingers (thumb on top and middle and index fingers underneath) and
grip the three cards below, akin to the positioning of an Elmsley Count (Fig. 9). When exchanging the single card for the triple, you instantly place your left thumb onto the
face of the single King and pull it over to the left so that it clears the triple. The triple
is then easily grasped by the right fingers. Count, this as three.

You should be holding the three cards with your right fingers and the single King with your
left hand at this point. Set the three cards on the top of the single King, making sure not to
flash, naturally! Count this as four. Proceed to gingerly turn the whole packet face down.

The position of the cards should now be like so: A face-down Black King followed by two face-up
Red Queens in the middle, which is then followed by another face-down Black King.

From here you are going to display the cards as four again, but just the backs. So grip the
four cards at the right long edge with your right fingers (thumb on top, middle finger and
index finger below). Then, push off the top three cards to the left as one with your right
thumb, and slide them onto the palm of your left hand by using your left thumb and the base of
your left index finger. Once there, clip the cards between the fork of your left index finger
and thumb.

Now, just as before, switch the positions of the three-card block and the single card three
times, so that the position of the cards are as such: the two Black Kings which are face down
and on the top of the two face-up Red Queens.

Now, take the top King with your right fingers as you bevel the bottom card of the packet with
your left little finger. Then insert the single Black King so that it is the second card from
the bottom. Square up the packet and set it aside onto the table.

7
 (KINGS OVER QUEENS -- CONTINUED) (CAANDY -- CONTINUED)

From here, you are going to pick up the second packet. Push off the top three cards to the left Official Super Spectacular Mayhew Card Creator (patent pending);
as one with your right thumb, and use the same method of showing two cards as four as taught
earlier. Count/switch the cards three times as you count four, so that the cards are positioned I used to sell handmade versions of my card creator for a ridiculous amount of money. Now I ’m
like so: the two Red Queens which are face up and on top of two Black Kings, which are face going to teach you how to make one yourself. Begin with a playing card which is blank on its
down. face.

Grip the four cards with your right fingers (again, thumb on top and middle finger and index Place the card on the table with the blank side face down in the "portrait' orientation. Draw
finger below) and wave them over the tabled packet in a magical way, saying that they will two arrows, one pointing left and one pointing right (Fig. Il). Then, on the blank face of the
transpose. card, write the words suit and value with curved arrows along each of the long edges (Fig. 12).

Then you are going to do another two-as-four count, but this time a little bit different. Push To see the card in action -- here is the card taking the two of hearts and the six of diamonds
off the top three cards to the left with your right thumb and then slide them into your left- creating the two of diamonds (Fig. 13).
hand fork by using your left thumb and the base of your left index finger. Now, align the
single card held by your right fingers (which is face down) on the top of the other three so
that all four cards are gripped by your right fingers.

Push off the top three cards with your right thumb and then slide them into your left fork
again, displaying two face down cards• Switch the position of the block and the single card
once more and square them up, so that the position of the cards are as such: a face-down Black
King, two face-up Red Queens in the middle, and then the other face-down Black King.

Turn the packet face up to show that the Queens have changed into the Kings. Then, push off the
top three cards with your right thumb and then count the two Black Kings as four three times,
using the method tight before, so that the two Black Kings are on the top of the packet. Upon
doing so, take the top King and place it face up on the bottom of the packet.

Turn the packet face down and then do the same count again, three more times so that you hold a
single Black King with your right fingers. Then bevel the bottom card of the packet with your
left little finger and insert the single Black King second from bottom.

Square up the packet and proceed to place it onto the top of the tabled cards. Spread the eight
cards on the table to reveal that there are four Red Queens sandwiched between four face-down
cards.

Now, reveal that the face-down cards are the four Black Kings with Blue Backs and that the four
Red Queens all have Red Backs. Voilal

The following effect has been more or less contributed as-is and was written by James Alan
trying to impersonate Chris. Suffice to say, the following write-up is... out there...

Effect

This is my handling of the famous "Card At Any Number". This version has the advantage of being
entirely self working. It has no sleights, although you will have to do a bit of math in your
head and a bit of counting -- nothing you c o u l d t e a c h your monkey butler to do in an
afternoon. But most importantly, the routine is a little bit silly and lots of fun to perform.

Instead of having a card selected or named, a card is created. For this trick, "creating" a
card means taking two cards and using the suit of one card and the value of the other to
designate a third card. So the two of diamonds and the six of hearts would come together like a
Power Rangers Megazord to create the two of hearts• Of course it/s possible to go the other way
and create the six of diamonds. Remember that because it will turn out to be important!

9
l〇
 (CAANDY ~ CONTINUED)
(CAANDY — CONTINUED)

So that you remain in complete control during the trick, make one of the arrows distinctively ^aagh! The Math
different. You#Il see that on the back of the Card Creator, my right arrow is slightly convex
and that side has the word value underneath it, so that no matter how the card gets turned The math is actually not that hard. The first question is whether the number they name is
around, I always know where the words suit and value are on the face, so there are no larger than twelve or smaller than twelve. Of course, if they say twelve, you get to do a
surprises. little happy dance.
You could spend thousands of dollars to have cards like this custom printed, but the hand drawn If the number is smaller than twelve, you need to move cards from the top to the bottom,
arrows and words are important to keeping the routine fun and silly so the audience won't be bringing the card higher up in the deck. If it's a number larger than twelve, you need to move
prepared for the vicious fooling they're about to get. cards from the bottom to the top bringing it lower.
But wait, there's more! To figure out how many cards to move, we use our old friend subtraction. So with the example of
The Card Creator also doubles as a card selector. By inserting it into a deck of cards, it fifteen cards, the number of cards to move is 15 - 12 * 3. If it's a smaller number, like
chooses two cards: the one immediately above and below it. It's sort of like the "Business Card seven, the number of cards to move is 12 - 7 = 5.
Prophecy” but without the business card of the prophecy. Now if only there were a sneaky way to move that exact number of cards without the audience
The Card Creator starts out of sight. It could be in your pocket, your wallet (or your shoe if suspecting anything... Fear not!
you want to be interesting).

I have worked out a sneaky way for counting the cards and cutting them without the audience
The cards are perfectly ordinary, but you do need a complete deck and it needs to be stacked in suspecting anything.
Si Stebbins. For you snobby elitist hoity toity people who took the time to learn a memorized Start by having a spectator name a number, any number from one to fifty-two. Lock that number
stack, you’ll have to throw out your Aronson and Tamariz decks, get down off your high horses away in your brain-hole for later.
and use this lesser stack.
Take out the card creator showing only its back with the arrows. It's not the end of the world
Stewart James, Canadian postman and inventor of magic, discovered that if you cut anywhere in a if they see the face, but for the suspense it's better if they don't see it yet. Hand it to a
Si Stebbins pack, take the first two cards of the new packet, then take the value of the first spectator (if more than one person is willing to watch you do magic, awesome! Otherwise it can
card and the suit of the second card to create a card, the card you create will be exactly be the same spectator who named the number). Fan the cards in your hand and have them insert
twelve cards from the top of the new packet. It works no matter where you cut. So if you cut the card in the middle of the fan anywhere they like. It really can be anywhere, although if
the deck at the Jack of Hearts and Ace of Spades, the Jack of Spades will be exactly twelve it's near the middle, the sneaky move is a bit easier. You can square the card into the pack,
cards down. If you don't believe me, go get a deck and try it. I "Il wait... no need to control it or jam your little finger in there.

While the spectator is inserting the card, that/s a good time to take that number out of your
brain-hole and do the math to see how many cards need to move. Say it's the example from
before. They say fifteen so 15 - 12 * 3. And those three cards need to come from bottom to top.

Spread, not fan, the cards from hand to hand and stop when you see the Card Creator. The two
cards on either side of the creator are the selections. Out-jog the three cards. If you remove
them and cut the deck at that point, the card they would create is twelfth. But twelfth is not
what you want, you want fifteen!
Still waiting...
With your eyes, sight three cards above the first selection and split the deck at that point.
With the fingertips of the right hand, you remove the out-jogged cards and place them on the
table (Fig. 14). What's left in your left hand is the rest of the deck plus the three extra
cards. Cut that portion to the top and you're ready to count.

Obviously, the move works both ways. If you need to count cards in the other direction, you can
split the deck below the selections and use the left hand to remove the cards. Either way, the
right hand's cards always get cut below the left handfs cards.

If the number is larger, you can push cards off in groups of two and three, so you d o n ^ give
the impression of counting which some people can pick up on.
Impromptu Handling:

Oh good, you're back! To perform CAANDY with a borrowed shuffled deck is easy. Ask to borrow a
deck of cards, then as soon as you receive it, pretend to be a little bit sick. (Not "someone It's possible to let the spectator name any number from one to fifty two. Actually, that's
call an ambulance" sick, but rather "I think I ate a bad burrito. Can you just give me a almost true. Yourre removing two cards to create a card so they can only name a number from one
moment?" sick). Excuse yourself to go to the washroom and quickly arrange the deck in Si to fifty. If you get a number like thirty seven, the math is easy (37 - 12 = 25), but counting
Stebbins. Make sure the door is closed when you do this. twenty-five cards to cut them to the top would be a huge pain.
Of course, itrs necessary to also borrow a card creator. I always have a card creator in my
wallet, and I just assume most laypeople do too.
Fear not!

12
 (CAANDY -- CONTINUED)

If you create the card the other way (suit of the first card, value of the second) then that
card is thirty-nine cards from the top. Handling is the same. Math is the same. Okay, almost
the same: you have to subtract from thirty-nine instead of twelve.

In general, for numbers higher than twenty-five you want to choose the card lower down. If that It's finally done… What you now hold in your hands is eight years worth of planning,
sounds like too much remember (really, it's not) you can try to influence the audience to production, persistence, and no small amount of procrastination. I have no real idea why I have
choose a smaller number. You can say something like "Whoa, thatfs way too big. I canft count been so stupidly driven to run a periodical for all these years, but the ambition could never
that high. Could you make it a little easier?^ leave me, despite many things attempting to do so, including Richard Kaufman telling me
outright to quit and not suffer the agony he endured.

This project dates back to 2008 when I was just an acne-ridden teenager and wanted to express
Separate the three cards on the table into a row (Fig. 15). Once the cards are on the table and my enthusiasm for magic. Since then, there have been hundreds of changes to the magazine, from
the deck has been cut, you can play around with the audience. If your memory is good enough, its name, to its layout, its frequency, and so on. But for some inane reason, after all these
and your eyes are sharp enough, you can let them make some extra choices. They can take the two years, I have still been unable to shake the idea of running a magazine.
cards and change their places. They can do this as many times as they like, provided you’re
able to remember which one was the original top card. They can also spin the arrow card around I asked around for contributors to the project and a few magicians generously obliged.They
so the arrows point in opposite directions. You don’t care if they turn that one, because you graciously submitted their wonderful effects to a magazine run by a frivolous juvenile, whom
always know which side says suit and value underneath. knew as much about running a magazine as Gary Bettman does about the nature of ice. I greatly
thank those few who submitted their work all those years ago, and I also deeply apologize for
Actually, this routine is all about letting the audience make choices that don't matter; where not putting it in print sooner i
they insert the card, how they arrange the cards, and how they position the arrows. It all
makes you wonder if free will is just an illusion. ELIXIR was never intended to follow the same trail that most magazines that have come before
have travelled, as there is no such thing as a true subscription to this magazine. As you know,
or at least I hope you know, you paid a one-time fee for four issues. Unless there is a second
year, you are not to pay anymore. Being the sole editor and publisher of an independent
magazine, there are many things that I wish to avoid, and they are as follows:

- Due Dates; It is abundantly clear how much pain editors endured whilst trying to keep up with
their publishing schedule. It has taken me years to collect all of the material you see in
these pages, and to rush that seems like a death sentence. I have enjoyed taking my time and
writing multiple drafts of contributions (although I realize that this technically does not
make ELIXIR a true periodical). In the end, all I wish to accomplish is to share with the magic
community terrific effects by terrific contributors, and to not piss anyone off.

- Printing: Over-printing has seemed to plague magazines of old, and thus is another agony I do
not wish to suffer. Luckily for me, I do not have to print minimums at my printer's, and
therefore I do not have to stare at a stack of unsold issues cluttering up my office. Having a
cap for the number copies per issue, like Labyrinth, seems a much more intelligent route.

- Shipping: Being the sole editor and publisher also makes me the sole packer and shipper. I do
not want to inflict the monotonous task of packaging issue after issue once every month, or
four times a year, upon myself or my friends and family. I also do not wish to piss off the
fine folks at the post office and dropping by once every quarter with a truckload of envelopes.
I guess the whole reason for my methods of running ELIXIR the way I am, is to not piss anyone
off!

It's been a dream for many many years to publish this magazine, and I thank you for helping me
achieve it. Man, was that ever sappy?
Choices

After all the switching, you still remember which was the original top card. You have to turn
the card creator over so that the first card (value) winds up with the word value next to it.
You either have to turn the card over side-to-side, or end-for-end. If you had a large number
and decided to use the other card, you just flip the other way so value points to the second
card.

Revelation

Once the card has been created, you can count down to the chosen number, and do a second happy
dance. M. Helmer
June MMXVII
 CrtP^ts /\с^П ЈН (Т^^С ЈГш Љ

~ Hands off Reverse; Edward Marlons "Flourish To Reverse” (The New Tops - August, 1964) . I ’m
also sure that Jon would want me to reinforce Hideo Kato's credit. Other than that, I ’m not
certain of any other nods and credits for this effect, but if I do obtain any, they'll appear
in a second volume in the Errata section.

- The "Eh, Fuck Itw Ace Interlude: Ryan has told me that this effect was not actually based on
anything, but the "...feels like the magic is happening to the performer as opposed to him
deliberately causing the magic to happen" line was said by David Williamson, but probably a
little bit differently I reckon. So that's neat!

- Kings Over Queens: For this effect Peter uses the Hamman Two-as-four count/D.M. Count. This
count was published in Daryl Martinez，s SECRETS OF A "PUERTO RICAN GAMBLER" (1980) on pg.
109, which was written by Stephen Minch. See also, PALLBEARERS REVIEW FOLIO 7 (1972) on pg.
539. I myself learned the count fromSPECTACLE (1990) in the write-up for Color (Re)Set by
Louis Falanga and written by Stephen Minch. That'swhere I got the credits above too.

~ Caandy: Chris supplied me with a few credits along with the write-up. They are: Stewart
James, Allan Slaight, Business Card Prophecy, and Charles M Schultz for the creation of
Snoopy and the Happy Dance. Chris has also informed me that Caandy was inspired by The Spell
of Mystery by Stewart James, which I believe was published in SPELL OF MYSTERY (1929). The
following was quoted directed from the Conjuring Credits website regarding the Any Card at
Any Number plot -- "Edme-Gilles Guyot published a version of this effect using an incomplete
deck in Nouvelles Recreations Mathematiques et Physiques, 1769, p. 46 of the unpublished
Hugard translation." For further reading, please visit the full site. The Si Stebbins' Stack
was published in SI STEBBINSf CARD TRICKS AND THE WAY HE PERFORMS THEM (1898).

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