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The performer takes a deck of cards out of its box, and asks a spectator to
think of a card . He says that he w ill then use telepathy to announce the name
of the card . The spectator concentrates. The performer says, "Fred:' The au-
dience is confused , so the magician explains , "Fred is the name of your cardl''
This seems to be a silly joke; however, there is a surprise finish. The
spectator reveals the thought-of card. The performer shows that every card
has a person's name on its back ("Michael," "Jennifer." etc.), and the one
named "Fred" is the spectator's card l
The earliest version of this trick was Fred Lowe's "Christened Reverse,"
which dates back about 30 years . (The basic gag is much older, and can be
traced to a quip by Alexander Woollcott in the 19305). During the past several
decades, many methods have been devised . I created this method in the early
1980s . Recently, Trevor Duffy of South Africa reinvented and marketed this
same version , which (by ironic coincidence) he named ' The Phil Deck : We
discussed the situation , and made an equitable arrangement
The cards employed are unusually thin; although the pack Is the size of a
standard deck of 52 cards, there are actually more than 75 cards in the box.
To prepare, take one complete pack (52 different cards plus a joker). Use a
wide-tipped marking pen to write your force name on the back of each card . In
the example above, it was "Fred," but of course any name can be used. Now,
take abou t 25 more cards , and write a different name on the back of each.
Put the set of 25 differently named cards on top of the shuffled pack of 53
' Fred" cards . This combined se t will fit inside the card box properly.

o
To perform, begin by removing the deck from its box, holding it with the face of
the pack toward the audience. Have a spectator think of a card . Make the joke
of nami ng the chosen card "Fred.'
Ask the person to reveal whaf card was really thought of. Spread through
the face-up deck until you come to the chosen card. Of course , because it is
from the front portion of the deck , it will have "Fred- on Its back. Place this card
on the table . or put it part-way into your breast pocket.
Turn the pack face down. Spread the cards, showing the different names .
If some of the names are the same as for known audience members, or celeb-
rities or politicians, there are many opportunities for amusing comments. Dur-
ing this display, you can show the faces of some of these cards . Obviously,
you must not show the duplicate of the chosen card , if it is there. You can
avoid this prob lem by memorizing w hich cards have which names-or you can
simply peek befo re showing the face of any particular card .
Of cour se, you can only show about 25 cards , not the entire deck . If your
actions are casu al and your attitude is not guilty , the audience will believe that
atl of the cards have different names.
Put the deck away. Turn over the chosen card to show that on its back is
the correct name.

A pack of cards is shuffled by a member of the audience. This done, the per-
form er admits that one card has been held back in the card case : the joker.
The joker is removed from the box, and given to a spectat or, wh o inserts
It into a random position in the shuffled pack. Two peo ple are now asked to
note and remember the cards on either side of the joker-elearly, random se-
lections. The pack is squared and tabled. The performe r explains, "At the mo-
ment it would be easy for me to discover the identities of the chosen cards, as
the joker is marking their location . So, to be fair, I will remove the jo ker from
the pack. "
He pantomimes doing this, tossi ng the invisible joker back into the card
box. The deck is now spread face-up, and the participants can see and confi rm
that there is no longer a joker between the two selections.
The performer once more removes the joker from the card box , and holds
it to his ear. The joke r, so it is claimed, whispers the names of the chosen
cards to the perform er, who announces them to bn-ng the routine to a success -
ful resolution.
o
The idea of using an inserted "marker" card to designate random selections on
either side goes back to at least the 19305. The presentational angle of a
"whispering' card is even older; the earliest ent ry in Potter's Index is from
1922 , but I've found one from 1920 (Frank Sterling's ~ T h e Eye of the Joker : in
Modern Card Effects by DeLawrence and Thompson), and there are probably
references that go back further than that. The idea of having the marker card
van ish from between the selections just might be mine.
You will need a pack of cards with a j oker, plus a double-face r sho wing an
identical joker on one side, an indifferent card on the other. For thi s write-up.
we'll say that the indifferent face is the five of hearts. The actua l SH should be
removed from the pack, to preclu de it showing up during the routine.
Both jokers begin in the card case, j oker-side-up, with the doub le-facer on
top of the legitimate jo ker.
'v\Ihen it is time to perform, hand the pack out for shuffling. State that you
always keep the joker inside the case. Open the box toward yourself, and ex-
tract the double-facer, leaving the other card within . Set the box aside .
tion com es in: says the performer, inviting the spectator to designate one of
Retrieve the pac k. Hand the double-facer to a spectator . Spread the pac k
face down. Invite the pe rson to insert the face -up joker anywhere into the
spread .
Roughly draw the pack square. The right hand grasps all of the cards
above the joker, holding the m in a deep Dealer's Grip. Raise that hand, allow-
ing a spectator to view the lowermost card of that stock. The hand returns
palm-up, returni ng the half-pack to face-down condition. As this happen s, the
right forefinge r extends to contact the outer left corner of the just-shown card .
Pull back with the finger, causing a Buckle act ion at the inner left corn er of the
card .
The outjogged joker atop the left hand 's stock is taken by the right fingers
benea th that hand's portion It is actually inserted above the buckled card . As
soon as it is fed into that opening, you can release the pressure of the right
forefinger, letting the lowermost card snap up flat in alignment.
The left thumb pushes the top card of its stock toward the right , and the
hand is raised , to display that card to another person . Lower the hand , place
the right-hand portion onto the left, and square the entire deck.
The audience believ es that the Joker lies reversed between the two selec~
tions. In fact, it is now directly above those two card s,
Table the pac k, and recap the situation. Mime the action of removing the
joker and tossing it into the card case. To prove that the joker has gone, pick
up the deck, turn it face up, and make a wide ribbonspread on the table , The
participa nts will verify that there is no longer a card between the select ions; in
fact, there is no reversed joker anywhere.
As the spread is made , look for the 5H (the other side of the joker). Sight
and remem ber the two cards above that card: they are the chosen ones.
It remains only to remove the legitimate joker from the card box, hold it to
your ear , then call out the names of the sighted cards .
IECIJJRJ[]JIEIRJlIJrillEl[]J
A pack of cards is handed to a specta tor for shuffling As this is done , the per-
former inquires , "Have you ever tried predicting the future ? It's my hobby .
Lately , I've been rather consis ten t: Twenty-five percent of the time, I'm accu-
rate. However, 1 never seem to know which forecasts are the good ones . Per-
haps you can help me."
From his pocket he brings out four odd-bac ked cards that, he explains, are
predictions. ~ 1 am quite certain," he contends , "that one of these is correct."
The partici pant is invited to cut the pack into four portions One prediction
card is dea lt in front of each group, "Here's where your precognitive participa-
the four prediction cards.
The four odd-b ack ers are turned up. Each Is differen t. For examp le, we'll
say that they are the seven of clubs , jack of spades, king of hearts and five of
clubs. And, let's assume , the spectator has chosen the first card , the seven of
clubs
The top card of each pile is turned over, The one s atop the second, third
an d fourth groups are indifferent cards. The card atop the first group is the
seven of clu bs. The participant has determined the only succe ssful prognosti-
cation.
o
 This is a simplified outgrowth of a plot proposed by Jack Avis to MIlt Kart. The
latter's solution, entitled M atcho,~ appeared in the OCtober 1969 New Penta-
gram . and more recently In the Kart book publ ished last year. A charmingly
Byzantine Avis version , "Chance in Four: can be found In the Vis ~ Vis tome
released in 1998
For the approach to be described, you will need a normal deck, plus four
odd-backed cards. (These four can have identical backs, or each can be dif-
ferent: there are presentational advantages to both circumstances. The only
necessity is that their backs contras t that of the deck.)
To prepare, remove from the deck the four cards that match the odd-
backers . Arrange these cards in a face-down packet WIth the odd-backers on
top, in order from the top A, B, C, D. C. A, X, X. (The X cards are those that
match the odd-backed B and D, but their order is unimportant tn fact, the only
reason they are Included In the set-up is to keep them out of the way dunn g
the trick, but present at the conclu sion so that you end up w ith a complete
pack . Other than that, they serve no purpose here, and if you prefer they can
sImply be discarded in advance.) This eight-card group goes into your pocket.
The remainder of the pack is brought Into play. A specta tor is asked to mix
the cards, while you establish the premise as per the effect description above.
As you deliver this explanation , bring the packe t out from your pocket Hold the
packet with the right hand from above, Biddie fashion, and obtain a right thumb
break beneath the top four cards.
When the spectator has finished shuffling exte nd your palm-up left hand
for the return of the pack, (Don't ask for the card s; allow your gesture to
prompt this activity The lack of request serves to soften the focu s on this, so
that later many In the audience, deprived of an aud ial reminder, will forget that
you ever handled the cards after the participa nt's shuffle.)
State that you have four prediction cards, whose backs don't match the
deck . The hands come together as if to emphas ize th is point. The right hand
comes over the pack just long enough for the packet to "kiss the deck, unload-
ing the four cards beneath the break on top of the pack. The same back shows
atop the deck, so nothing appears to have changed.
As you explain that you feel that only one of the predictions is correct, set
the packet on the table, spreading the cards to drspiay that there are four
Say, "Now, I'm gOlRQ to have you cut the pack into severa l groups. To
illustrate ttns commenl you cut the pack a couple of times. (In fact, you exe-
cute a Double Undercut, th us bringing card C to the bo ttom , and card A to the
top.
Table the pack in front of the spectator. Instruct the person to cut off about
half the pack . gesturing towa rd a position a few inches to the right of the pack .
This done , tell the person to cut off about half of that stock, setting this new
porton a few inches further to the right Now , point to the original bottom half
of the deck, and tell the participant to cut off about half of this remainder, which
is placed a few inches to the left.
The result is that you have four piles. On top of the pile on the right end of
the raw is card A; on the bottom of the pile second from left is ca rd C.
The four odd-backed cards are pushed into posmons. one In front of each
pile. This should be done In a somewhat haphazard manner, uSIng both hands
to slide the cards so that there is no sense that they are being arranged from
left to right or vice versa .
, You 're probably way ahead of me now. The participant is asked to name a
, position from one to four, inclusive. If two or four IS named , count from the left
end of the row . If one or three , cou nt from the right.
Turn over the prediction card in the appropriate position. Tum up the other
prediction cards, showing that they are unrelated
If one or four has been named, the top cards of the piles are tumed over. If
two or three , each portion is tumed over to display Its lowermost card. Either
action seem s valid
The revelation of the desiqnated group is saved tor last, so that the spec-
tators can establi sh that none of the unchosen POSItIOnS match up Of course ,
the designated position does provide a match, for a Jollyconclusion
lERlIEJCC 16[l]L.JUlLlC I6
A predic tion is displayed . The performer brings out a box, explaining that It
contains sampling from his coin ccnecncn. A participant is asked to look inside
the box, and examine the coins carefully. The performer comments, "You can
see that there are coins from different countries around the world. Some are
from Europe; As ia; American. The coins are of different sizes. They are of dif-
ferent values. They are made out of different metals Not aU of them are round
At least one has a hole through its center. Obviously . there are many van-
ables-so many that it would be impossible for me to know which factors
would Influence you." The participant IS asked to look at the coins, and decce
on one. The prediction is revealed , and found to be accurate
, o
The patter leads the audience to believe that there are many coins In the box.
In fact , there are only four. (The set I have prepared for this lecture has:
France, 1 franc; United States, 1 cent; Japan, 5 yen; England, 50 pence . There
is a printed label identifying each coin, to guarantee that there will be no
confusion by the participa nt ) These are covered with a fourway out (for
exam ple, two doub le envelopes in either side of a Himber Wallet).
A gimmM;ked box can be used, with a hinged flap inside, allowing its inte-
rior to be displayed in two ways. The first, shown to the audience, has 30 or
mo re coins glUed in place. The second , seen only by the parttcipant, has just
the four coin s
 OUTSIDE INSIDE OUTS IDE INSIDE
1. circle circle 11. cross star
Twenty envelopes are involved. Each bears an ESP symbol on one side It is 2. square cross 12. circle star
further explained that there is an ESP card inside each, but these have been 3. weves star 13. waves star
shuffled so that the symbol on a given card may or may not ma tch that on its 4 cme star 14. square cross
envelope. 5. cross star 15 circle c;,de
With these materials the performer proposes a three-part tesl The first is a 6. star circle 16 wa ves star
demonstration of tefepathy. The envelopes are tabled symbo l-side-up. The 7. square cross 17. waves star
performe r tums his back and allows the spectator to choos e five envelopes. 6. square star 18. square star
Stili with his back turned, the performer reads the person's mind and co rrectly 9. waves star 19. square cross
reveals the chosen cluster of symbols. 10. waves star 20. star circle
Next comes a demonstratio n of clairvoyance . The spectator turns the enve-
lopes symbol-side-down and ag ain chooses five. Clearly this is a mor e difficu lt Beg in by spreading the envelope s 10 displa y the assorted desig ns. No pat-
test the spectator does not know WhICh symbols have been selected, so the tern w ill be discerned. Because of the appa rent fairness of the events to follow ,
performer has 00 conscous thoughts to read. Neve rthele ss, without turni ng it is not really nece ssary to false shuffle the envelopes at the outset Divide the
around the performer is able to call off the cho sen clu ster of symbols stack in half by open ly spreading off ten enve lope s (without changing their or-
The fina l demonstration IS of precognition. The performer spend s a moment der). Place the two ten-enve lope piles side by side and tum your back.
In silent rrecnaton , then Jots down som ething on a piece of paper, whic h IS Say to the spect ator, "You are now lookin g at two different symbols, on e on
then folded and tabled In full VIBW. From the ten remaining enve lopes the spec - top of each pile. Dec ide on one of them , remove that envelope and hold it in
tator chooses five . At this point the performer offers one extra choice ; as the your left hand."
target group for this final phase, the spectator ma y retain the five envel opes When told that this has been done, continue, Aga in, you are looking at two
Just selected, or those may be discarded in favor of the five remaining on the symbols, one on top of each pile . Take either one, and add it 10 the enve lope
table. in you r left hand .
The spectator makes this choice. The performer explains, "This time I Direct the spectator to repeat this procedure three more limes. This done,
wanted 10 make the conditio ns even more stringent, so I've attempted 10 pre- the spectator is as ked to concentrate on the five symbol s being held.
dict which symbols are hidden inside the enve lopes you've chose n." Concentrate, then tell the specta tor that the chosen gro up contains two cir-
The envelopes are ope ned and the cards within remov ed. When this set of cles, one cross, one waves and one squa re. (Thi s outcom e is guaranteed.)
symbols is compared WIth the perform er's written forecast they prove to be \NtIen the spectator ackn owledges the success of your telepathic demonstra-
identca l tion , have the five chosen envelopes discarded
o For the second phase. tell the specta tor to turn both of the tabled piles of
env elopes over, so tha t their blank sides are uppermost
Some years ago I wondered if It might be possible to develop an approach to Have the spectator repea t the same proced ure as before to select five en-
the Gilbreath Pnnci ple using cards WIth three sides. The solution to this curious velopes. Of co urse, thiS time the spectator does not know which symbols are
conce pt is to use envelopes . (Technically this could allow for four Sides , but drawn on the undersides of the chosen envelopes-but you do There will be
enough is enoughl) two waves, two squa res, and one star. Have the spec tator tum over the ch0-
You will need to prepare twent y envelopes, wh ich should be mad e from an sen enve lopes to verify your clairvoyant calls. Those envelopes are then dis-
opaque paper. Each has a symbol drawn on its front side, and a single ESP carded .
card inside. The starting arrangement. from the top, is shown in the chart on For the third pha se, take a piece of paper and write a predict ion of one cir-
the following page. cle, one cross and three stars. Fold the predlctlon and place it onto the table .
Have the spectator repeat the selection procedure, choosing five of the re-
maining face-down enve lopes. When the spectator has completed the proce-
dure, offer the additional option of keeping the ch ose n five, or discarding them
and usi ng the five left on the table . In either ca se, when the cont ents of the five
enve lopes are exa mined they will match your written pred iction.
The performer shows a pack of cards with a hole dnlled through one end . A
spectator shuffles the pack and picks a card The chosen card is s)gned across
Its face, then mixed back into the pack. A cord is threaded through the pack.
The ends of the cord are held by spectators; the hanging dec k is cov ered with
a handkerchief The magician reaches under the cloth , and remo ves the
signed card-without tearin g it.
The card is replaced benea th the cloth. When the clo th is taken awa y, the
signed ca rd is found back on the co rd at the center of the pack-but it is now
facing in the opposite direction from the other cardsl
o
I devised this routine in late 1979 Since then, I have tracked down quite a few
antecedents. A recent add ition to that list is both the earliest and the most simi-
lar: Watter Gibson 's ' The Escaping Cards" in Two Dozen Effective Pra ctical
Card Tricks. published in 1927.
You will need a drilled pack. One card is trimmed to be a comer- abort. Th is
must be a court card (for example, the king of hearts) . You will also need a
duplicate KH. On the face of thIS duplicate card, use a wide-tipped marki ng
pen to sign a fake signature.
At the start, the dup licate card is hidden in your left sleeve . Allow a specta-
tor to shuffle the pack . When you get it back , loca te the KH by its short corner.
Force the KH on the specta tor. Ha ve the selec ted card signed , and shuffled
back into the pack . W hen you are given the pac k, give the cord to a spectator
for examination, During this, locate the corner-short KH. Bring it 10 Ihe bott om .
and do a Half-Pass to secretly reverse the card . Cut it to the ce nter.
Thread the cord through the hole in the pack . Have a spectator hold each
end or Itle cord Cover the pack with a handkerc hief. Reach under the cloth...
and take the dcprcate ca rd from your sleeve. Bring It'llS card out from the
handkerchief. Keep the card In motion The spectators' eyes cannot truly focu s
on the moving sIQnature (partlcularly as it IS on the "busy" face of a cou rt ca rd) .
The duphcate will be accepted as the real signed selected card.
Return the card bene ath the cloth, as you sa y, "The dIfficult part is 10 put it
back 4 Under the handkerchief, return the dupl icate ca rd to your sleeve.
Pull the cloth awa y. TeU the
spectators not to let go of the ends
of the co rd, as you fan the pack ,
shOWing t hat the selection is now
reversed- "provlng" that you really
took It off and put it back on aga in.