Gambling Sleight of Hand Volume One (Steve Forte) [PDF]

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Ray Goulet was an extraordina~ygentleman, friend, and mentor Ray was a performer, builder of apparatus, dealer, manufacturer, producer/director of shows and conventions, magic shop owner, lecturer, historian, auctioneer, appraiser, publisher, and collector. Ray was also the proud owner of one the finest magic collections in the world, which he proudly shared with everyone. As a performer, he did it all: fire-eater, hypnotist, illusionist, ventriloquist, escape artist, comedy magic, mentalism, manipulation, and close-up. Ray's 40year, storied career as a professional magician started with worlcing the night-club circuit before the legal age of 21. Then there were hundreds of U S 0 shows for no compensation and dozens of trans-Atlantic crossings performing on luxury passenger liners. But the highlight of his career is when he teamed up with his lovely wife, Ann, to form The Raymonds. Their show, Classics in Deception, was one of the most respected, sought after magic acts throughout New England and they shared the stage with all the famous stars of that era. My most memorable experiences as a kid were the many visits to Ray magic shop, The Magic just ten minutes from my home. Ray was the consummate host, teacher, and Art Book Co~npany, inspiration, not just for me, but for many other young enthusiasts. He was the first person to share his time and knowledge with a shy, inquisitive kid interested in gambling moves. I still have vivid memories of walking into Ray's shop and watching him behind the counter do push-throughs, straddle bottom deals, and other gambling moves. It was Ray who brought me to Philadelphia to meet Frank Thompson, and to meet other great cardmen. He was also the sole inspiration for my passion to collect antiquarian gambling books and artifacts. When Ray was bestowed with the Magic Castle's Lifetime Achievement Award in 2013, it was one of my life's highest honors to present this deserving award to him.

I have always admired the way Ray lived his life, especially during the later stages. He was always around his wife, Ann, his friends, and his passions: magic and collecting. I aspire to go down the homestretch the same way. Just before his passing, he called to say goodbye. I knew it would be the last time we talked . . . and so did Ray. It was a very special moment that I'll always treasure! Thanks for everything, my friend. I dedicate this research to you.

C ~ A ~ T1 .E.R. GAMBLING SLEIGHT OF HAND Gambling Sleight of Hand as a Hobby Studying Gambling Sleight of Hand Technical Considerations Cheaters and Magicians Practice Last Thoughts

C ~ A ~ T2 E. .R. FALSE SHUFFLES False Table Riffle Shuffles Legitimate Table Cuts and Strips False Table Cuts and Strips Carrying Slugs Positioning Cuts and Strips Riffling Down, Riffling Up False Shuffling Procedures The Push-though The Pull-out Zarrow Shuffle False Overhand Shuffles Off-the-table False Riffles, Strips, and Cuts Wash/Scrainble

C~APTE 3R . . . STACKING & CULLING Overhand Shuffle Stacks Riffle Stacking Faro Stacking Culling

C ~ A P T4 ER . . . BEATING THE CUT Shifts Hops Drops False Cuts for Cutters Briefs

C~A~T 5 E . .R. FALSE DEALS Strike Seconds Pushoff Seconds One-handed Seconds New Theory Second Deals The Bottom Deal Stud Bottoms One-handed Bottoms Bottom Deal Ploys New Theory Bottoms Thirds, Greek Bottoms, and Centers

C~A~T 6E . .R. PEEKS AND PAPER Peeks Paper

I used to think I knew a lot about sleight of hand with playing cards. Then I met Steve Forte. And who is Steve Forte? Well, he's a man whose knowledge of gambling moves and ability to execute them borders on the impossible. Don't take my word for it, ask anyone who's ever had the opportunity to spend time with him. I've seen the "best of the best" sit down with Steve and walk away shocked by his knowledge and skill. Most people only know Steve through his Gambling Protectio~zSeries, or his books: Casino Game Protection, Poker Protection, and Rend the Dealer. From now on, however, many more will know him as the author of the best book ever written on gambling sleight-of-hand with cards. I know that's a bold statement to make ...but I'm sticking to it! This comprehensive treatise contains the most advanced, cutting edge gambling techniques I've ever seen. It would take someone a lifetime to accumulate the massive number of moves in this book let alone be able to flawlessly execute them. And yet, sleight of hand is only a tiny percentage of Steve's life-long study of gambling chicanery and his many other pursuits and accomplishments. He's dealt all casino games and served in all executive capacities including being the youngest casino manager in Nevada at the age of 28! He has a long, successful career as a professional high-stakes gambler that he won't let me talk about (you wouldn't believe it, anyway!). He's an inventor and holder of over a dozen patents on new games, playing card designs, shuffling machines, and security platforms. He was a game-protection consultant and owner of his own security firm with a client list second to none. I once asked Steve about the topics he lectured on around the world. They included everything from gambling scams and professional advantage strategies to the mathe~naticslstatisticsof games and gaming law. I had to stop him and ask, "What about sleight of hand?" He said, "Oh, I know a few gambling moves." It was in the early 1980s when I first met and heard the name Steve Forte. It was in Chicago when he stopped by to meet Ed Marlo. I happened to be there with Marlo and a few others. Steve introduced himself, and the usual magic conversation shifted gears to a discussion about cheaters, gambling moves, and stories about hustlers. Before long, the cards came out and Steve demonstrated a few gambling moves. Within seconds, he had our complete attention. I realized after watching just a couple of moves, this guy l~andled cards like I'd never seen before. He was on fire, showing us mucks, shifts, and deals. He even explained some of the techniques when asked (and I asked and asked and asked!).

His execution of the moves was flawless. Even when you were told what to look for, the moves were still undetectable in Steve's hands. At one point, when Steve was demonstrating a blackjack muck, Bill Dennis, an accomplished sleight-of-hand artist, reached over and grabbed Steve's hand to check if he actually switched out the card. He couldn't help himself! The look on his face when he saw the switch had been done was priceless. Afterward, I remember asking Marlo what he thought. He answered: "He's the real deal." My next exposure to Steve came through his Ganzbli~zgP~otectiolzSe~ies.The magic world was enamored with these tapes, and I'm sure many VHS machines broke down from playing these tapes over and over again. These four volumes proved to be an inspiration to card men everywhere, and magicians around the world started to emulate Steve's style and execution of moves. They changed the way they shuffled, cut, stripped, and dealt. As we all know, imitation isn't always the highest form of flattery, but in this case, Steve did indeed take it as the highest comnpliment. Our next encounter was during the taping of "Hidden Secrets of Magic," an NBC prime-time special. I was very excited to meet him again and couldn't wait to talk to him. Fortunately, we hit it off immediately and spent the next eight hours in the coffee shop that evening. He showed me one thing after another, each as good as the last. The next day he invited me to his home to see his unbelievable gambling collection. This began a special friendship that will last forever (or at least until he runs out of moves). I remember two sessions in particular that were truly remarkable. One was at the Paris Hotel & Casino in Las Vegas. I asked Steve if he could show me anything about the second deal that wasn't in the magic books. He smiled. The depth of information Steve shared with me that day was staggering, and a lot of this information can be found in the chapter on false deals. I guarantee you'll learn things about seconds you never knew before. At this session, we sat down at 10:OO am and left at midnight. When we asked for the check, our waiter told us we'd sat through so many shift changes, he wouldn't know where to look. He basically was saying ...j ust leave. The other session was when we discussed false shuffles for two days in a row. Again, it was a series of lessons I'll never forget. A11 my false shuffles were better after those sessions. A lot that information is in the chapter on false shuffles ... dam it. When exposed to a higher degree of sleight-of-hand mastery, you can't help trying to reach for it. For me, these were life-changing experiences that made me want to dramatically up my game. It's rare to meet someone so talented, approachable and huinble. And when you throw in Steve's deep generosity and willingness to share, you have someone who inspires in more ways than one. The material in the book that you now hold has changed the way I think about sleight of hand. Steve's thinking and attention to detail brings even the basic moves to new heights, and as far as

I'm concerned, you can pack away all your books and just keep this one on your desk for the rest of your life. Steve's conversational writing style wastes no words; every paragraph is loaded with information. Be prepared to take your time, read slowly, and absorb his wisdom. Gambling Sleight ofHand is not to be read in a week, a month, or even a year. It's a book you will revisit throughout your lifetime. I've been privileged to see and learn many of these moves firsthand, because whenever I get a chance to hangout with Steve, I take it. My favorite items in this book include false shuffles, stacking, culling, beating the cut, false deals, mucks, holding out, coolers, Erdnase, and pseudo gambling stunts. That's right, the whole book. I can't pick a favorite, I lilce them all (especially the foreword!). If I had to pick one chapter, though, that has a special place in my heart, it would definitely be Pseudo Gambling Stunts. I've seen these stunts blow away many cardman and magicians. Steve finds it funny how badly we can be fooled by his creations - and he has the nerve to call them "stunts." The thought process and problem solving ability behind these stunts are out of this world!

I believe that Gambling Sleight Of Hand will revolutionize sleight of hand with playing cards as we know it. Your skill will improve and the way you look at sleight of hand will change forever! All you have to do is pay attention and put in the work. I promise it'll be well worth the effort. Thank you, Steve, for sharing your knowledge, ideas, and passion with us! Bill Malone

I've only had a few hobbies in my life, but none has brought me more joy than the study of gambling sleight of hand, a pursuit that now spans over four decades. The catalyst for this journey was chance meetings with both a mechanic and a magician around the same time during my middle teens. The experiences blew me away. I couldn't fathom how this old-timer could shuffle and cut the deck while keeping the aces on top, or sneak an ace into his palm without me catching him, or pitch the cards around the table witl~outever dealing the top card. Equally baffling was how the magician changed the four aces into four kings. Then there was the Schaefer Beer coinmercial featuring John Scarne that aired during many Boston Red Sox games. Scarne performed some flourishes, changes, and a transposition where a jack placed under a mug of beer changed places with an ace on top of the mug. I was hooked! I stumbled into a Boston magic shop one day and ended up with my first markedlstripper deck and a couple of packet tricks (Wild Card and Color Monte). Like most kids, I loved magic. However, it was two books about the gambling rackets that set the wheels in motion for a career in the gambling world. They were Beat the Dealer (Edward Thorp, 1962) and The Complete Guide to Casino Gar~zblirzg(John Scarne, 1974). Both presented sections on cheating. Card games were part of my life for as long as I can remember. Poker, gin, cribbage, scopa, and other card games were routinely played in my home. I worked at an American Legion where veterans played cards every day. Even casino-style games were played during charity events where I had my first opportunity to deal blackjack and polcer ("Las Vegas Nights"). After my first junket to Las Vegas when I was 18-years old, I lcnew I would be back. I still vividly recall watching single-deck blackjack dealers at Caesars Palace wearing their signature gold ~nedallionsand pitching cards around the table like machines. I would eventually leave home when I was 20, move to Las Vegas, and start dealing craps two hours after my 21st birthday (Royal Inn Casino). A year later, thanks to some East Coast juice, I landed a job dealing craps on the Las Vegas Strip (Aladdin Hotel & Casino) where I sfayed gainfully employed for four years until the Aladdin closed down due to hidden mob ownership. I went downtown and worked as a boxman, floorman, shift manager, and eventually as a casino manager (Sundance Hotel & Casino). At different times during my casino career, I would talce shots at the gaming tables. I cut my teeth playing different card-counting systems and grinding out low-limit seven-card stud games with tourists until I met one of my life's biggest influences, Big JB, then a professional gambler for over 30 years. Having won a fortune playing blaclcjack, poker, gin, and other card games, it was JB who taught me how to scientifically and psychologically beat blackjack and poker. I would then meet Jinuny Payne, Jim Keller, Mike Dades, Murray Ehrenberg, and many other legendary casino executives-all experts on cheating. Through these friendships, I would meet

dozens of cheaters, both from the casino industry and the private world of gambling. Thanks to these early influences, a career in game-protection was in the cards. My gambling interests led to almost a decade of high-stakes gambling, which inevitably led to routinely crossing paths with cheaters-unfortunately, it also led to a few run-ins with the law. I was first exposed to holdout men and mechanics working the poker rooms. Then it was those 'playing the outside' (card benders, daubers, muckers, and more.). Over the next 30 years, I was fortunate to meet, befriend, and correspond with hundreds of hustlers. The following research is culled from these sources, although only a small group of these guys changed the way I think about gambling sleight of hand. I'm talking about the very best cheaters, those with long, successll careers plying their trades and those who possessed a special degree of wisdom and insight that you'll never find in books, videos, or on the internet. Today, sadly, most of my friends are gone, but their knowledge continues to inspire me. Admittedly, I'm only sharing a small part of my story, but the most critical point I wish to convey is that as a young man, I was fortunate to meet many legendary casino executives, game-protection experts, gamblers, cheaters, crossroaders, mechanics, and gambling thieves of all kinds, and many with a willingness to share, which is what this book is all about. The magic world has always been very kind to me; to say thanks, I wanted to follow the path of those who helped me and pass along some of my research. With some background out of the way, here's what you can expect. First and foremost, Gambling Sleight of Hand presents my research in the field of gambling sleight if hand. It describes some of the best gambling moves (and gambling-move concepts) I've ever witnessed. It also offers my opinions. After spending almost my entire adult life in the gambling business, I feel that I've earned the right to say what's on my mind, so 1don't hesitate to fire away and share my thoughts. Now in my early sixties, expect the content and commentary to be starkly different from what was presented in the original Gambling Protection Series in 1984. Back then I was just a kid who could demonstrate a few gambling moves; decades later . . . well, let's just say that I've picked up a few moves and ideas along the way, and I've had a little time to think about everything. You are undoubtedly familiar with the age-old argument that there are many similarities between hustlers and magicians, but I couldn't disagree more. My position is that the professions are worlds apart-no connection whatsoever. I didn't understand this irrefutable truth when I started, but I do now, and I'll do my best to opine the differences for your consideration. I like to include the occasional short story to provide context with the explanation of a move, and have refrained from using too much slang to avoid confusion. If an unusual term is used that may not be understood by everyone, I use single quotes on the term and immediately follow with a definition-eliminating the need for a glossary. Since the goal is not just to help improve your technical skill but expand your knowledge as well, the colorful stories and jargon are an integral part of this field.

To further inject some spal-k into a highly technical subject, three additional chaptei-shave been presented. The first introduces gambling sleight of hand as a hobby. The second offers my observations on the seminal work, The Expert at the Card Table (S. W . Erdnase, 1902)-warning: my conclusions may surprise you. Finally, thanks to many sessions with the world's best cardmen, a hybrid hobby of working out solutions to pseudo gambling stunts began to evolve. So, against my better judgment and at the request of many, Gambling Sleight of Hand ends with a chapter on my solutions to many classic gambling stunts. Incidentally, the gambling stunts are described from my perspective, which is demonstrating them for other cardmen, not laypeople, so expect a bias in this regard. The target market for this research is 'cardmen' (and cardwomen), which I define as the collective group of magicians and hobbyists, those who perform for a living and the enthusiasts who just love good sleight of hand, especially moves and techniques that stem from the card table. Moreover, when I use the term cardman or cardmen, I'm including all cardwomen too. Gambling Sleight of Hand does not overlook the ladies! I'm not a magician, but there was a time when I studied magic titles on card sleight of hand, so I have a basic understanding of the most common methods and plots. I once owned about 400 books on sleight of hand, along with dozens of magazines and videos. Although the time spent reading and watching this material was enjoyable, it eventually proved to be frustrating. As I began to meet cheaters and learn about their world up-close and personal, my interest in magic's perspective of gambling sleight of hand waned, and the magic book/video collection endedwp in storage for almost a decade until I traded everything for some very old and desirable decks of cards. Due to my love for magic (as a spectator), following the release of my Gambling Protection Series, it was no surprise that I would have an opportunity to meet many of the world's best magicians and cardmen-all with an insatiable appetite for gambling information-and I'm proud to say that many have become some of my dearest friends and confidants. In 2010, I was awarded a Special Fellowship from the Magic Castle for my willingness to share my research with the magic world, which I wish to continue with this project. I've been around enough cardmen to gauge their knowledge about the gambling world. I know what they like, how they think, and the kind of questions they ask. Based on these experiences, Gambling Sleight o m a n d presents the topics that I think will interest most of the cardmen I've met: authentic gambling moves, gambling stunts, and Erdnase. When you come across common moves like 'up-the-ladder' or the 'strike second,' many readers may ask, "Do I really need Forte to teach me these moves?'The answer is no, but I'm not teaching these moves. I'm trying to highlight the differences between the way cardmen and hustlers do these moves because it's my contention that the differences may surprise you, and that an understanding of these differences will immediately improve your knowledge and skill. My focus is on the novel attributes of many common moves that are not generally known to cardmen, which will help you sort through the published information surrounding many moves

to ensure that you're not mislead by the occasional hype, contradictory babble, or misinformation. So here's my proposition: If you're are willing to carefully study this research, I'll lay 1000 to 1 that your knowledge will expand and your skill will improve-and for many readers, dramatically so. You'll be qualified to assess if a move is artificial or genuine. You'll know if it makes sense to commit your time to practice a move. You'll be more open-minded and less inclined to be influenced by opinionated minutia. Whatever gambling move interests you, I believe that Gambling Sleight of Hand will open up your eyes for one simple reason: learning and thinking about a move from the perspective of skilled cheaters-those with the most to risk-is a highly effective learning process. One waming before we begin: Gambling Sleight of Hand is not a book about the gambling business, or game protection, or even cheating, per se. Gambling Sleight of Hand is about the pursuit of technical excellence for magicians and sleight-of-hand hobbyists. Gambling Sleight of Hand was written for all who enjoy sleight of hand with playing cards, especially gambling sleight of hand. In closing, my research is not presented to convince you that you should abandon your favorite methods for those presented. That's entirely up to you.

I tried to offer something for everyone. No assumptions were made about the reader's level of skill and knowledge, or if they were familiar with my books1DVDs. The only prerequisite needed to benefit from Gambling Sleight ofHarzd is an average grasp of sleight of hand with playing cards and a desire to improve your skill. I'm particularly hopefill that the research will be studied by thinkers, researchers, and practitioners with a genuine respect this specialized genre of sleight of hand. Moreover, I'm proud to offer Gambling Sleight of Hard as a modern starting point for cardmen and cardwomen to continue an exploratory journey where dedicated research, practice, and passion will forge ahead and advance the art. Steve Forte - 2020

An early draft was sent to a group of friends and elite cardmen for review. Each provided invaluable input and guidance. In alphabetical order, I pass along my respect, admiration, and gratitude to the following reviewers: Jarret Andrus, Norman Beck, Jack Carpenter, Ron Conley, Jason England, Charlie Frye, David Malelc, Bill Malone, AM, Sal Piacente, Gary Plants, Bruce Samboy, Paul Wilson There are also a few shadows who prefer to remain anonymous; thanks to you guys, too!

I would also lilce to thank everyone who helped in other ways, whether it was historical information, photos, credits, and more. In particular, my gratitude goes out to the following: 0 Mike Caveney (Magic Words) for sharing his encyclopedic publishing lcnowledge 0 Julie Eng (Magicana) for her guidance regarding the photographs 0 Richard Hatch for sharing his expertise and insight about Erdnase

0 Tony Cabral for his wonderful caricature 0 Greg Manwaring for his masterful Erdnase photoldrawing transformation Editors - Jason England, Charlie Flye, and Bruce Samboy A special thanlcs goes out to these three gentlemen. Jason England, in addition to being a tireless researcher and proofreader, acted as an unofficial project manager, lending his expertise in countless ways to every aspect of the project. Charlie Frye, juggler extraordinaire and all-around magic genius, took on the unenviable task of proofreading the pseudo stunts and his efforts were sensational. And I can always count on long-time friend and confidant, Bruce Samboy, to look over my shoulder with a lceen, investigator's eye; his no-nonsense, street-smart perspective is-and has always been-trnly appreciated. Photographs - Christopher Forte Cover Design and Logo - Nicholas Forte Finally, since I decided to self-publish and make this project a family affair, there's one more person to acknowledge and that's my wife and best friend, Cheryl. Thank you sweetie!

S O ~ H I S T I C A T E DG A M B L E R S

USE L E G A L T E C H N I Q U E S

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TO G A I N S M A L L A D V A N T A G E S AT

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CASINO GAMES hMirhdKmik

T ~ Hobby E Introduction The term 'sleight of hand' immediately evokes the secret maneuvers employed by magicians to fool and entertain us with their miracles. 'Gambling- sleight - of hand' is a specialized -genre comprising any manipulation designed to cheat at card games, dice games, and other gambling games. Gambling Sleight of Hand focuses on the manipulation of playing cards.

Terminology Throughout this research, I generally refer to cheaters as cheaters, but may occasionally use 'hustlers,' 'mechanics,' 'crossroaders,' and other names along with those that describe cheaters with a specialty: 'muckers,' 'painters,' and 'base dealers' to name a few. I collectively refer to magicians and hobbyists as 'cardmen,' although each group is uniquely different. Magicians are either part-time or career performers; hobbyists are students and practitioners. The terminology isn't perfect because cheaters often describe their brethren as "top-shelf cardmen." But after careful consideration, the key distinctions I wish to opine are those between cheaters and the collective category of cardmen: magicians and hobbyists. 1 also refer to cheaters' victims as 'squares,' 'targets,' and 'suckers,' with the latter being the most common moniker, although many other pejorative names exist: 'fish,' 'cukes' (cucumbers), 'pigeons,' 'eggs,' and 'blanks.'

Gambling Sleight of Hand as a Hobby Many assume that anyone who embarks on a study of cheaters' sleight of hand is one with larcenous intent, but they're wrong. A friend of mine says it best: "It's lilce the Mafia; people enjoy reading their autobiographies and watching their movies and documentaries, but they don't go out and kill people every day." Aside from a desire to cheat, there are many reasons for studying gambling sleight of hand.

Many card players study the methods of cheaters for protection. This is what initially attracted me to this field. With dreams of being a professional gambler, my mentor warned me, "If you want to get into this business, you better learn how to protect yourself." 0 detection

For those who work in gaming as a dealer, boss, or surveillance operator, a general understanding of gambling sleight of hand expands their game-protection knowledge and improves their capability to assess suspect play and detect scams.

One can study gambling sleight of hand with the goal of exposing it-the so-called 'game-protection experts.' Here the motive is to teach others how to protect themselves. 0 magic

The magic community has a long history of studying cheaters and many in that community have found opportunities to use cheating moves in their magic. Many magicians lilce to usesent cheaters' techniques as demonstrations of technical skill while others like to fake the techniques for entertainment purposes-'pseudo-gambling demonstrations.' Then there are the sleight-of-hand hobbyists who simply enjoy the challenges of trying to master the many difficult moves that pelmeate &field.

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0 general interest

Finally, anyone with interest in the gambling world will inevitably seek infomation about the dadc side. Whether it's poker or the ponies, there's always a backdrop of scams, hustles, and unscrupulous characters, and this dark side interest everyone. For those who gamble, interest may even lead to the occasional, innocent experimentation with sleight-of-hand. Novices will often pick up a deck of cards or a pair of dice and fool around with classic cheaters' moves, motivated by nothing more than their own curiosity.

You do not have to be a cheater to enjoy this hobby and reap the benejtsfi-on1 studying thisfield. Gambling sleight oflzand attracts d$fei-ent peoplefor dqfereizt reasons.

the rrroves Individual sleights, techniques, and methods are collectively called 'moves.' The term is also used as a verb, whicli means to cheat: "I watched a hustler move in this no-limit game." Depending on the cardman, each move may have dozens of interpretations, variants, or handlings, sometimes collectively known as the 'work,' which is nothing more than how one tliinks about and executes a move. This is where it gets interesting. One cheaterlcardman may have work on a move that makes it superior to what everyone else is doing, even though they are all doing essentially the same move. It might be a minor change in fingerlhand position, movement, timing, rhythm, or philosophy. Whatever the improvement happens to be, it can change everything. This is why the hobby is replete with praise for a particular move in the hands of a particular source: "Mr. A's push-through is the best." These are the gold nuggets that we find from time to time, and they're what keep the hobby interesting and exciting.

how gambling moves evolve Gambling moves evolve like many other disciplines. They start as ideas. After some trial and error-the school of hard knocks-good, old-fashion common sense kicks in. The most successful moves become staples, and the best methods become prized possessions of the best cheaters. These methods are then passed down from generation to generation with young liustlers being 'turned out' (taught) by older, more experienced hustlers. As with most fields and professions, the result is that each generation has the advantage of learning from its predecessors. Gambling moves also evolve out of necessity. As a researcher, this is one of the areas I most enjoy studying. In a recent paper I wrote about coolers, for example, it was eye-opening to document so many stages in the development of this classic scam as the gambling world has evolved over the years. This category now includes not just deck switches but faro-box switches, cold-deck machines, two-player switches (where one player reaches for the game-deck as the other introduces the cooler), multi-deck coolers, computer-derived cooler sequences, no-shuffle coolers, false-shuffle-based coolers, camera-coolers, and sophisticated marked-deck coolers where high-tech advances are used to secretly scan infrared marks along the sides of a slzzlfj'led deck in a fraction of a second to determine the shuffled order! Another example can be seen in the private game of poker. 'Holding out' is the favorite cheating technique for the game. Dealing bottoms is the favorite false deal. And marked cards have undoubtedly won more money than any other scam. Now consider changes to the modem game. To mimic poker as played on television, many high-stakes private games now employ shuffling

4 - Garnblirzg Sleight of Hand

machines that can verify the integrity of the deck after every hand, which makes it difficult to hold out. Plastic cut-cards are common in private games, which makes the bottom deal an impractical option. Have we reached a point where many traditional poker scams are obsolete? Have the second deal and 'Greek deal' (dealing the second card from the bottom) become more practical cheating options? Good questions. All we know for sure is that each time the game changes significantly, so do the priorities and methods of cheaters. new garitblirzg nzoves

What about new gambling moves? In truth, there are very few. What you're most likely to see is new harzdlirzgs or applicatioizs. For example, if you think about false deals, one can deal seconds, thirds, fourths, fifths, centers, Greeks, and bottoms, and these possibilities haven't changed since the invention of playing cards. But the collective 'work' (variations) on these moves and their applications is extensive. Moreover, each time a new game is invented, just one cheater thinking outside the box and the gambling world has a new cheater's move. Although I'm rarely surprised anymore, when I am, it's usually not a new move that shakes me; it's a new handling or application. the best garahling moves

Older cheaters are fond of saying, "There's no such thing as the perfect move." It's an interesting perspective, but is it true? For most cheaters, if a move goes undetected and makes money, it's perfect in the sense that it achieves its goal. While most hustlers scoff at the notion of a perfect move, they discuss perfection in other ways: the perfect move for a given situation, the perfect moment, the perfect game. But that's only part of the stoiy. When moves are perfectly constructed and executed, you can get very close to the notion of a perfect move. For example, there are many false cutslstrips, false deals, stacks, briefs, and other moves that can be 'burned' (watched closely) without observers even having an inkling that a move has occurred. That's about as close to perfection as you can get. But there's a big difference between having your fellow cardman say, "That's a hell of a push-through," versus him not having a clue that a false shuffle had occurred. Surprisingly, technical perfection often has nothing to do with success. If I've learned anything from a lifetime of studying cheaters is that the following statement is irrefutable. Any rnove can get the money given a speczfic set of co~zditioris,and it doesn't matter ifthe move is pool-ly constructed or ai~zateurishlyexecuted!

The Hobby - 5

Here are the two most important reasons why this is true. First, in Inany scams, moves are never attempted under scrutiny. Many moves are only a 'go' when the coast is clear and the target(s) is tired, preoccupied, loolcing the wrong way, or not paying attention. Second, sometimes the target is 'turned' (purposely distracted). The Derby was a gutsy dice-slider with poor technique. As his first finger and thumb slid one die, the other lobbed out of his hand a second later. The few times I watched the move under fire, it made me cringe, yet the Derby made a small fortune sliding dice. How? He played with a crew where eve~yone'sjob was to turn someone as he slid the die. One guy leaned over to make a bet and block the sticlcman. One 'tied up' the base dealer (kept him busy). One pulled the floorperson away from the game to ask a question. When the Derby slid a die and the turns did their jobs, no one ever had a chance to watch the move; they only saw the result. This is an unusual example of where the turn was better than the move. Cardmen tend to believe they would detect moves that they know and do, but never consider the possibility that they might never get the chance-card players don't have eyes in the back of their heads. Cheaters like to say, "Either they know the move or they don't," a truism highlighted by the following story. I was once invited to a country club to watch a top-shelf hustler. The game was 'flop gin' and the stakes were high. In flop formats, the winner is paid after every hand.-in this particular game, the winner was paid $4,000 for a knoclc and $8,000 for gins and undercuts. I watched as the hustler plucked two cards fiom the stock a few times. Playing with thirteen cards, not ten, he picked up a card that gave him gin and prepared for the cleanup, ~naneuveringthe extra cards behind his fanned cards and directly facing the sucker! He discarded, called "gin," and laid his entire hand face up on top of the discards! It was the rankest cleanup I had ever seen or heard about. I was shocked, but the victim was utterly clueless. All he saw was gin-which is why finding suckers is an art and trademark slcill of the most successf~~l hustlers I have ever met. When you're a fan of sleight of hand, these experiences can be a letdown, but every experience still contributes to our laowledge. The takeaway from these experiences is that the gameprotection laowledge of the suclcers is often all that matters, not the move or slcill of the cheaters. Technical perfection is a rarity and the reason is simple: It's not necessary! Once most hustlers attain the skill to get the money in a game, they consider their job to be done. I suspect the same is true with most cardmen; once they learn to fool laypeople, Inany never consider improving their card work. The adage, "If it's not brolcen, don't fix it," describes how Inany cheaters tbinlc.

6 - Gnr?~OIir~g Sleight of'Hnnd

The so-called 'story-moves' are moves that rarely surface at the card table, although stories about them continue to pervade the field. Consider the 'center deal.' After 40 years of research, I have yet to meet a single mechanic using the move or anyone with substantive, firsthand Itnowledge about a mechanic using the move. Aside from the coverage in magic, and one account from an expert who observed one mechanic boldly reaching into the middle of the deck to avoid dealing the top cards, the move does not exist-based on my research. Of course, this doesn't mean that the elusive center dealer is a complete fantasy, only that he never dropped by to say hello. I would be surprised, however, to discover evidence to the contrary because the move doesn't make sense at the card table. If the center deal was a proven money-maker, there would be more scuttlebutt, stories, and legends. And proof! Then again, just because a move appears to be a stretch doesn't mean that we should ignore it. On the contra~y,it's still worth our time to carefully study the move. Why? Because each time we learn a new maneuver or action, it expands our technical kcnowledge and the more we know about the manipulative possibilities, the better. Also, it doesn't mean that we can't have some fun with these kinds of moves-faking the center deal is one of my favorite pseudo stunts. When a move surfaces at the fringes of our technical capability, it inspires us to keep reaching for the stars, which is good. In most cases, however, the problem is that the only ones reaching for the stars are cardmen, not cheaters. As you'll see, there's a big difference between the pursuit of technical excellence (moves) and the pursuit of card-table authenticity (knowledge). Finally, it's impossible for any of us to know if we have just watched the best move of all time since we're always limited to our own experiences and knowledge. Even for the best moves, there may be several variants and handlings. For starters, don't try to conquer the inzpossible; simply strive for good, authentic, card-table competence!

story-slcill Sometimes it's not the move but the superlative skill and execution that elevates it to story-move status. Riffle stacking is a good example. Although most cardman are hip to the technique, very few have mastered it to a level where they could fool other cardmen. Riffle stacking as practiced by virtually all cheaters and cardmen is just a move, but it could be a story-move if perfectly executed. I have been fort~rnateto see many moves executed with story-slcill that would bring you to your knees. These experiences have been some of the biggest highlights of my career. In these rare instances, it's often stated that a hustler "owns the move" or that "he lives with the move," which is to say that he dedicated practice over a long period to achieve almost supernatural skill. No question about it: story-moves are not always about the moves; they are often about mastery of the moves.

The Hobby - 7

The world of cheating fosters many legends from both sides of the table-cheaters and experts Some are deserving; others are questionable. Each time you read a sensational s t o ~ yabout a legendary hustler, cardman, or gambling expert, proceed with caution. If you blindly accept a false or overblown narrative, it could take many years before you learn the truth, w11ich could negatively impact you it1 many ways. For me, it started with John Scarne, my teenage hero and a big reason why I pursued a career in gaming. Scarne publicly claimed that he invented the first 'ten-count,' an early card-counting strategy that traclts the ratio of ten-valued cards to all other cards. He also claimed to have published a monograph on the subject for servicemen called, Beware oftlie Ten-Card Count Blaclcjaclc Strategy. But his claims were challenged and proved to be a lie; today, not a single copy has ever surfaced. In Scarlze's New C0171pleteGuide to Ga~i~bli~ig (Scarne, 1961), there is a photograph of a casino blackjack dealer dealing a second in a game with a hand-muclcer who is 'out' (stolen) with a palmed card. Scarne claimed to have taken the photo himself and described the event as a "million-to-one shot." But the photo was staged, and it was obvious to experienced gamers. Players were acting out of turn. The dealer's deck-hand was too low in preparation for a scissors-second. And the dealer appears to be dealing a hit-card to the muclcer who wouldn't be drawing additional cards given the card combinations. Additionally, there was Scarne's phony explanation of how he dead cut the aces, boasting that he could peek an ace during a riffle shuffle, count the cards falling on top of the ace, and cut the exact number of cards required to dead cut the ace. Of course, none of this is true. In magic there was Dad Stevens, a.k.a. The Mysterious Kid. Stevens is best known for two moves: the Stevens Control and Stevens Cull. The control is poorly constructed and appears to lack any card-table purpose; besides, there are many better and more deceptive ways to riffle a slug down into the deck and bring it back to the top. The Stevens Cull was applauded by Vernon as the "most incredible system of card control" he had ever witnessed. But after seeing the drawings in Revelations (Vernon, 1984) that depicted an abnormally high, open, suspicious riffle, something was wrong in my view. I was also a big fan of Walter Scott's booklet, Tlze Pha~zto~ii at the Card Table (Eddie McGuire, 1931). After the publication, I recall hearing the scuttlebutt about Scott's 'edge work,' which first appeared in Pliarzto~iisofthe Card Table (Britland, Gazzo, 2003). It was described as Scott's "secret weapon." Many years back, however, I received a deck with Scott's edge work from this book's dedicatee, Ray Goulet, a friend of Scott. I immediately classified it as a 'demonstration deck' and, frankly, didn't take the work seriously for two reasons: (a) the work was dangerously easy to detect, and (b) there were better systems. And just wait until you read what I uncovered about Tlie Expert At the Card Table (S. W. Erdnase, 1902), according to many, the greatest book ever written about card-table artifice!

The point is that not all information is good or accurate. I believed everything as a young cardman. A decade later I began to ask questions. Decades later, I began to form opinions, often questioning the validity of gambling information from various sources, especially magic sources. Was the information spurious? Was it hyperbole? Was it innocently and unintentionally skewed to be spectacular-the goal of most writers? Or was the hype accurately presented and deserving? In the modern world, we are bombarded with information every day. Bad information can dramatically slow down t l ~ egoal of most cardmen who only wish to pursue the mastery of authentic gambling moves. No greater example of this influence has ever been presented like the research uncovered in chapter eight, Erd~zase.This is a big part of what Gambling Sleight of Hand is all about: helping you learn to reasonably and accurately evaluate information for yourself. I learned many things from the magic world about gambling moves, but after establishing a foundational understanding of the work at card table, it was as if I had to go back and learn eve~ythingagain. In fact, I lived it! Read everything, but keep your right hand high every time you read about an extraordinary move or hustler. Do your homework and consider the source. More importantly, consider the source's perspective. Is it magic or genuine knowledge and experience from the card table. Paraphrasing the words of Albert Einstein: It's not what you know, it's what you understa~idthat S i~nportant.

Some moves are challenging and difficult to do, but most of the best gambling moves are simple and easy to do. Difficult methods do not automatically translate into sophisticated sleight - of hand at the card table-more often than not, just the opposite is true. Take a minute to think about the basic shuffling, cutting, dealing, and handling of the cards in card games. Since the best cheaters' moves emulate these actions, it stands to reason that the best cheaters' moves must also be relatively basic.

card-table protocol Within every card game is an accepted protocol or code of behavior. It's generally not carved in stone, but it may be. It's more of an unwritten range of acceptable actions and as always, there are exceptions. In low-stakes games, almost anything goes. As a general rule, the higher the stakes, the tighter the protocol, although surprisingly, just the opposite can also be true. It's an interesting paradox that was explained to me by a colorful hustler:

The Hobby - 9

"Cheat soineorzejor $1,000 and he wants to hit you with a bat; cheat hitlzfor $1,000,000 and he wants to invite you over to his house for tea." If you're wondering what this perspective and gambling sleight of hand have to do with each other, it may not make any sense now, but it will when we explore the differences between cheaters and cardmen. Professional dealers deal their games according to strict procedures to ensure operational consistency. When every dealer is mandated to follow a set of procedures, there are no surprises. Bosses, surveillance operators, and players all know what to expect, which is a good thing. Violations of procedures are deemed suspect and immediately corrected. While magicians are only limited by their imagination, cheaters are generally restricted to acceptable protocols. Throughout Gainbling Sleight of Hand, I refer to the logic of card players as the driving force behind the way they shuffle, deal, and handle the cards. A finn understanding of this logic is essential to a better understanding of gambling moves from every perspective, whether it be motive, execution, or philosophy.

Suckers Whenever I would ask cheaters about specific moves and scams, it was common to get answers like "It depends on the game." But some of the most insightful answers were to a follow-up question I always asked: "How do you assess new players?" For an example of how sensitive the best mechanics are about the assessment of their opponents, one of the best used to talk about the importance of never attracting more than the normal amount of attention. He believed that the best way to beat someone with a false shuffle was to shuffle like him. The best way to beat someone with a false deal was to deal like him-if the player used a full grip and dealt slowly with little spin, the hustler used a similar grip and style of dealing. In his view, it was a mistake to handle the cards better or worse than suckers. His thinking was that if you look like a neophyte and consistently win, it will eventually bring 'heat' (attention). If you look like an adept card handler and always win, it will also eventually bring heat. But if you present a minor image of the sucker, familiarity breeds complacency, creates a false sense of security, and hicks the mind into believing that everything is okay because every player is shuffling, dealing, and handling the cards the same way. This is a glimpse into the diabolical thinking of a hustler with decades of experience. There's no shooting for the moon with perfect moves or trying to be famous with the story-moves. Rather, it's all about having just enough skill to get the money deceptively, convincingly, and safely. With experienced cheaters, you see believability. Their methods are acceptable, logical, and stripped of all superfluous actions, and it's not always about being direct; it's more of an uncanny ability to find the best move for a particular situation while remaining true to the actions of players and acceptable card-table protocol.

10 - Gambling Sleigl~fof H m d

For our purposes, envision a little boy warned by his mother, "No coolties before dinner," but each time his mother turns around, he reaches into the cookie jar and grabs a cookie. This is analogous to the way many cheaters operate, which is not a mindset that promotes technical excellence. Gambling Sleight of Hand focuses on the best moves for stealing the coolties while mom is watching! The lesson is invaluable and cannot be understated: At tlie card table, the quest,for techrzicalperfectioii is open a personal aspiration, not a professio~zalnecessity!

Gambling Devices Gmiblirzg Sleight of Hand focuses on pure sleight of hand. There are no discussions about holdouts, shiners, gaffed dealing shoes, or other cheating devices, even though the operation of these devices can require great skill. The one exception is a short section on a few basic cardmarking systems due to their inextricable link to the second deal.

Tlze Hobby - 1I

STUDYING GAMBLING SLEIGHT OF HAND

-

There's a big difference between doing sleight of hand and studying sleight of hand. Both are different phases in the learning cycle, although the truth is that many cardmen never really study the field; they just do moves and accun~ulateas many as they can. lenrning curve

Beginning sleight-of-hand enthusiasts are naturally overwhelmed when first exposed to so much new infornlation. They can't wait to start practicing every move they come across and will often stay in this phase for many years. I did the same thing. As a young cardman, I would see a photographldrawing in a book and never even read the explanation before picking up a deck and practicing, and my guess is that I'm not alone. Despite one's enthusiasm and sincere determination to learn, there's a steep learning curve in this field, and it's easy to get pulled in many directions. Here are a couple of examples. Early 011 I had read that the second deal was the most dangerous of all the false deals. I restated that opinion in the Gambling Protection Series, but I didn't have the knowledge at that time to warrant this conclusion. I later learned that false deals are game serzsitive. While it's true that some games are highly vulnerable to the second deal (blacljack, for example), it's not true of all games. Many of you probably recall the photographs in the Scarne books of the 'palm switch' with dice. The photographs suggest that the palmed, gaffed dice are dropped to the fingers as the 'squares' (legitimate dice) are picked up and palmed, transposing the pairs of dice before the toss. But Scame had it wrong. This is not the standard palm-switch employed by dice hustlers, which entails first throwing the gaffed dice from the pahn before the squares are palmed. While transposing two pairs of dice as Scarne described is a method, it's not a very good one and it's scoffed at by dice hustlers. Was Scarne aware of this fact? I don't know, but only hope to show how a few comments or photographs in a respected book can quickly lead us in the wrong direction if we're not careful. Patience is a difficult virtue to acquire when you're getting started, so it's essential to slow down. I learned dozens of moves as a kid, but it took me 20 years to appreciate many of them! Every effort has been made to meticulously document this research, so I encourage you to do the same. Caref~~lly digest the infonnation. Think about the information. Then pick up a deck of cards. doing moves versus studying moves

After many years of aimlessly enjoying the hobby, something happened. I don't remember exactly when or why, only that I started listening more carefully to what hustlers and gamblers had to say-especially the old-timers. I stopped just doing moves and began studying moves.

12 - Gambling Sleight o f f i n d

There was a time when I never stopped to question the authenticity of gamblers' moves that I read about in magic literalare. 1assumed that every false cut was a cheater's false cut, every card switch was a cheater's card switch, and so on. But after decades of struggling to find a deeper understanding of the dichotomy beiween cheaters and magicians, it finally started to make sense. After embracing the collective input, advice, and criticism from the experts around me, I began looking at every move through a different lens. Finally, there was a clear path to follow. I learned that the true action (default action) was just as important as the false action (move), and that the true action had to be reasonable relative to the normal actions of card players and card-table protocol. Most importantly, I learned that technical skill was not a substitute for violating these principles. And that was just the beginning Even ajlawlessly executed move can be apoor choice at the card table.

cardplayers' standards

Each time we see a gambling move, we immediately form an opinion of the move based on our experiences. I've been around card games my entire life so for me, it's automatic. 1 only lcnow one way to gauge whether a move is good or bad, authentic or artificial, acceptable or unacceptable, common or uncommon, and that's to compare it with the normal card-handling actions of most card players that I have encountered. Every technical observation offered in this research is driven from this perspective. explanations of rt~ethods

Initially, follow each explanation to the letter to learn the basics of a move. Bear in mind that I'm describing the move in my hands, which may not be best for you. Since our handslfingers vary in many ways, don't get locked into a one-size-fits-all mindset. Interpret my explanation as the basic explanation, but be flexible and ready to modify the method to better suit your hands and card-handling style, provided you maintain the essence of the move. execution versus npplicatiort

The application of cheaters' moves is a different discussion from the execution of moves. For our purposes, Gambling Sleight ofHand is exclusively about execution. Despite the fact that it's the applications (scams) that give the moves meaning, we'll be exploring the pure sleight-ofhand moves as practiced by cheaters, rather than the scams they perpetrate. To illustrate the difference, consider the casino scam known as 'playing the bend.' Anyone can bend a card as the dealer loolcs the other way-actually, the physical act still talces careful thought and practice. But what happens next? What are the best combinations? How many cards need to be 'hit' (marked) before play is profitable? What level of reading accuracy is

The Hobby - 13

required? How costly are mistakes? What are the mathematically optimal strategies for betting and making playing decisions? What strategies bring the most beat? Can certain dealers and their dealing styles facilitate the scam? Here's a simple scam where the move itself-bending the cards-isn't worth ten cents without the proper application. So, there's a big differencebetween, "This is how you do the move" and "This is how you make money with the move." More often than not, the real secrets are the applications. When I sit down with cheaters, more time is often spent discussing applications than demonstrating actual techniques. Sources I'm a sincere believer in the old wisdom that we can learn something from everyone we meet. But the truth remains: finding reliable sources in this hobby is a tricky proposition. books

My experiences with gambling and magic books have been both good and bad. As a young cardmen, most o f what I learned about gambling sleight o f hand came from books. Therefore, most of my early thoughts and opinions were limited to my irzterpl-etation o f what I read. Unfortunately,few books provide how-to-cheat details. Books on 'game protection' are even less detailed because their primary objective is to make the reader aware, which is why they are also the easiest books to write: "Watch out for the bottom deal." "Watch out for the holdout man." Even when there's an effortto describe a move in detail, the quality of infonnation can still be poor. Exacting detail has nothing to do with the authenticity of a gambling move; after all, bad moves can be described in detail too. At one time I was an advanced collector of gambling books including dozens of antiquarian titles. My library comprised approximately 3000 gambling books, pamphlets, manuscripts, and magazines. But once I began to meet casino executives, consultants, gamblers, and cheaters, it became difficult to find anything in books that was commensurate with the quality information I was learning firsthand. The same held true for magic titles. The magic literature is replete with gambling moves, but it's not the perfect source for researching gambling sleight o f hand. You have to accept the fact that i f everything you ever learned about gambling moves came from the magic world-and you have little or no exposure to the gambling world-your knowledge o f what constitutes good, authentic gambling moves is likely to be limited. This is even truer for discussions about context and applications. I'm gratefd for my early magic experiences because they ( a ) provided me with some foundational knowledge o f magic sleight o f hand, and (b)enabled me to offer some magic perspective in this research.

14 - Ganzblin~Sleight of H o d

video The video medium permeates our lives, which is great news for all of us. What could be a more helpful development for sleight-of-hand enthusiasts? Video is the quintessential truth-teller, and as we like to say in the casino indust~y,it's the eye that never blinks. Watching a video clip repeatedly, especially in slow motion, will promote higher levels of slcill in future generations. Video allows us to see a move demonstrated before committing the time to learn it. How many times have you read about or heard about a move only to be disappointed after seeing the original source demonstrate it? Video mitigates this problem. Despite the benefits derived from today's video technologies, there are also some negatives. Video empowers everyone with a worldwide platfonn to demonstrate their skill, or lack thereof. I do not spend any time searching the internet for gambling moves due to the negativity, cowardice, cruelness, and stupidity found in these sources, but I receive clips all the time. The quality of information and skill runs the gambit from pitiful to exceptional. I was recently sent a clip with the heading, "Best Zarrow of All Time." Unfortunately, just the opposite was true. From an overhead camera, a teenager demonstrated the false shuffle although it was painfully apparent that he couldn't have spent more than ten minutes practicing the move in his life.

I have seen a few clips with exemplary skill that forced me to reconsider my reservations about surfing the web for quality information, and according to many, there are some gems out there. However, it has been my experience that the very best information is never posted on the web for the public; if it's shared, it's shared privately. personal iizstructioiz Despite the benefits of video, nothing beats personal instruction. You can learn while watching a move from evely conceivable angle (video can be limiting in this regard). You can break a move down into several components and stop to discuss each part in detail (audio can be limiting in this regard). Personal instruction allows you to experience a move without limitations. card players Opportunities to meet hustlers are rare, but card players are everywhere, and even players without knowledge of cheating can be a great source of information. E v e ~ ytime I meet a player, I'm quick to ask if they have ever run into cheaters or ever suspected anyone. Stories about unusual actions have enabled me to reconstruct many moves. For example, one player was able to show me the precise actions of a cutter sliding the deck off the table wit11 one hand to cut, which was likely part of a cold-deck sequence. I have heard stories about odd dealing styles, the same cards showing up in consecutive hands, players staring at the backs of cards, unusually long shuffling procedures, and many other suspicious events. I have always welcomed this lcind of input and have learned many things, which is to say that I have learned many things from

The Hobby - 15

squares.

Most of what I know about cheating, I learned from cheaters. Information was shared with me directly, indirectly through stories, from observations as a player, from surveillance footage of casino/cardroom cheaters, and other means. As stated in the preface, I was fortunate to be surrounded by friends who were bona fide experts, each with extensive networks of experts who were readily available to me. If I had a question, a reliable answer was always within my reach. "Jimmy, have you ever seen a mechanic use a one-handed second to whack out? "Sure, here's the only move I've seen." "Mike, have you ever seen this hop under fire?" "No, there are too many better, safer ways." "Paul, what's the best dealer-agent run-up you have ever seen?" "Let me show you something that got the money for years." You will undoubtedly ponder similar questions. Now imagine having a group of experts with centuries of collective expertise to answer your questions, demonstrate moves, provide technical guidance, and share their favorite stories. That's the spot I was in for decades. And when you couple this with my own career as a professional player where I ran into hustlers on a regular basis, and a successfi~lconsulting career where my network expanded worldwide, I've indeed enjoyed a privileged education and have always felt fortunate that so many steered me in the right direction. Once I got a taste of quality information, studying the field became an obsession, and there was a period in my life when I spent an extraordinary amount of time, energy, and resources to meet cheaters-every hustler knows a hustler who knows a hustler. I met most cheaters through introductions. My friends would introduce me as a young, street-smart kid who was not only beating the 'joints' (casinos) every day, but who had a mean set of 'chops.' This of course was back in the old days when 16-hour practice days were the norm and I was always 'in stroke.' What if accessibility to this world is not so easy? After all, these guys are not listed in the phone book nor can they easily be found on the internet. Moreover, they're a dying breed. So how do you find them? Unfortunately, I can't help. There are no easy answers. I probably know less than twenty mechanics working today, and most wouldn't give you the right time of day with ten watches. While I can't help you find cheaters, I can offer a little advice should you have an opportunity to meet one on your own. Meeting cheaters can be an adventure. Some of these guys are rough around the edges. Many have no respect for anyone who has never cheated-now that's a warped moral compass. Some even loathe magicians, just for being magicians. They see magic as disrespectful to their work, which is an arrogant, myopic sentiment in my view. Should you run into one of these characters and they are critical of your work, here's rule #1: Let their misguided egos go in one ear and out the other. Keep smiling, nod in approval, and learn what you can.

16 - Gambling Sleight ofHarld

Just before this book went to the printers, I was knocked by one of these sources and accused of being an exposer, a move-junkie, and a fan of magic. I'm proud to be an "exposer." Not only have I been able to help protect many card players, I have had the wonderful opportunity to travel around the world and make a boat-load of money as owner of my own consulting firm, specializing in game protection. I'm also proud to be a move-junkie. It's called research. It's not quality versus quantity, as this source proclaimed, it's quantity and then quality! Before you can home in on the best methods, you must be aware of your technical options. Finally, I'm proud to be a big fan of magic. I'm not a magician, but I have always enjoyed watching slcilled magicians, sessioning with magicians, and even trying to fool them. For me, it's a hobby that I will continue to enjoy. Here's what you need to understand: Cheaters don 't understand the magic hobby or profession any more than magicians understand the cheating profession.

I remember telling one guy, "I don't tell you how to cheat; don't tell me how to enjoy my hobby." Here's rule #2: don't try to con these guys. If you don't know anything about the gambling rackets, don't pretend to. You'll have a better chance to learn something. Finally, rule #3: show respect, which is more than just "Yes sir" and "Thank you sir." Don't let an insatiable desire to learn a few moves derail your goal. If you come on too strong, you'll end up with nothing. Take it one step at a time and be patient; it can be a grueling process. A few short stories may be instructive. After one meeting with a legendary crossroader, as was typical, he waited for me to do a few moves so he could gauge my knowledge and skill. I shared several successful 'advantage strategies' that were winning the money every day. They included playing hole-card, shuffle tracking, bottom-card steering, and others. But the crossroader just yawned-playing 'on the level' (legitimately) with a small edge didn't impress him. It was only after I did a few mucks that I got my first "George" (cheater's approval). After demonstrating a few dealer-agent scams, I got another "George." Then after demonstrating a sophisticated computer-generated cooler, I got a "Double George." I needed to show him that I knew something about his world. Then it was time to dummy up, listen, and learn. He would eventually open up and share his expertise. On another occasion, I was introduced to a top-shelf card and dice mechanic. All we did was talk. I didn't do any moves and he didn't offer to share any. He was being careful and I was

The Hobby - 17

being respectful. After about an hour, I thanked him for his time and told him that it was an honor to meet him. He later told the guy who introduced us, "That's a classy kid." The next time we met, it proved to be one of the best sessions of my life. He blew me away, and would later become an important mentor in my life, living with me after losing his wife. Finally, I recall getting an email from a magician who I had never met before. He asked if I would share some personal gambling stories. I responded, "How about if we meet and have a cup of coffee before I tell you where the bodies are buried." He apologized. No more emails for a while . . . although I eventually met and had a session with the young man, and I had a blast. As my exposure to cheaters grew and I began meeting them on a regular basis, there were countless opportunities to ask questions. And I did. Unfortunately, most fell on deaf ears. It was tough getting meaningful responses and puzzled expressions were common. Seasoned cheaters would quickly balk at technical theories, attempts to reinvent the wheel, or anything that over-complicated a move. On occasion, however, I would get an opinion from a cheater with genuine knowledge. Even when little was said, it was good stuff. At times even profound. It didn't take long before I realized that the moves weren't always going to be spectacular, only good enough to cheat and beat particular games. Also, just because a cheater's technical skill was average, it didn't mean that I couldn't learn something. If he was hustling and getting away with it, he was doing something right. From a purely technical standpoint, the truth is that most sessions with cheaters were disappointing-elite cardmen would not be impressed. Most cheaters are specialists with only a few 'working moves.' From a general knowledge standpoint, however, you have to embrace every encounter and try to learn something, even from the not-so-pleasant egomaniacs who claim to be the best, to know it all, and to have invented eve~ything. Fortunately for me, the majority of hustlers I have met were good guys with incredible knowledge and a willingness to share.

The importance of having a mentor cannot be overstated. Think of all the best cardmen from the West Coast and there's the inevitable connection to Dai Vernon and Charlie Miller. Around Chicago, it was Ed Marlo. Overseas you have Roy Walton, Alex Elmsley, and Juan Tamariz, to name a few. For me, it was Ray Goulet who lit the fire, although several people lcept it aflame. As mentioned, after moving to Las Vegas, I hit the jackpot and met several bona fide experts. They opened my eyes, inspired me, shared their experiences, and cultivated my technical understanding about gambling moves to a point where I was able to recognize the disconnect between book information and real-world information. In a moment, gambling sleight of hand was no longer a casual affair. There was an evaluation process with purpose. It was time to get serious.

18 - Gambling Sleight ofHar~d

If you're fortunate enough to have a mentor, embrace the opportunity now! What I wouldn't do to have many of my friends back so I could ask a few more questions, learn more, hear more stories, and enjoy a few more special moments. As a casino consultant on game security, one of your goals is to create awareness, which starts with proving to the skeptics that certain scams and strategies are possible. Once I opened the eyes of stubborn, set-in-their-ways bosses and surveillance operators, although they didn't always remember the details of the many strategies and scams, they began looking at game protection differently. This is what happened to me with gambling sleight of hand . . . and what I hope happens to you.

The Hobl?y - 19

TECHNICAL CONSIDERATIONS Before delving into the highly technical nature of this research, there are a few fundamental principles worthy of review. They're well known to most cheaters and cardmen, but they are widely taken for granted, which proves to be a colossal mistake. For most of the core moves, the explanations start by breaking down the move into its key technical components to facilitate the learning process. Several methods are then presented to show a range of solutions to a problem. For example, to cap the deck with one or more cards from a poker hand, there are the traditional right-hand caps, which are most common because the right hand can cap the deck as it's swept off the table into the left hand. But there are also nontraditional caps (left hand), no-palm caps, transfer-caps (from left hand to right hand), and esoteric caps. When you come across an esoteric method, it's often an exploratory method, which serves the purpose of preventing a myopic view of the problem. the ultimate goal One time I was false shuffling for a friend and said, "Let me show you something I'm working on." After a few shuffles and strips, he reached over and put his hand on the deck and said, "Please don't tell me you're carrying a slug?" His gut told him that I must be doing something, but his mind wouldn't let him believe it. Actually, I was carrying top and bottom slugs. It's extremely difficult to fool knowledgeable cheaters and cardman with a common move. Often the best you can do is keep them guessing. "Was that a legitimate strip or base-strip?" "Was that a top or a deuce?" Occasionally, however, deception is possible even when the observer knows a move and is expecting it. Imagine telling your fellow cardman to watch your push-through and after doing the false shuffle a few times, he looks at you puzzled, "Stop jolting, let me see your push-through." This is an example of deception at the highest level: fooling the enlightened mind under impossible conditions. I believe that inany of the moves presented in this research have ultimate-goal potential. But don't eauate technical excellence with technical sophistication. I have had cardmen call my work "sophisticated sleight of hand" when all I was employing was double-cuts and breaks. More often than not, if I fool someone, it's not with sophisticated sleight of hand, per se, it's with a careful sequencing of basic moves. Since I'm not a performer and my goal is to fool other cardmen, I always ask myself: Could this move, action, sequence, or stunt be done well enough to fool knowledgeable cardmen? Ricky Jay once said the following about fooling other magicians: "In my career that has not been tlze nzajorpassio~z,but itS been tlzepassion of a rzurnber of my mentors. The crowning aclzievelizerztfor tlzenz would be to cl-eate magic good E I Z O L I ~ Ito Z fool other magicians. "

20 - Gambling Sleiglzr ofHarld

Creating magic for the sole purpose of fooling magicians may not lead to good magic, but since I can't experience the joy of performing, fooling the world's best cardmen is the next best thing. detail We all know that paying attention to detail is a well-established precept in many fields, but how many practice it? When I started studying gambling sleight of hand, I was shocked to find so many moves that could be dramatically improved with only the slightest change in handlfinger position, movement, speed, or philosophy. Just minimal changes. I'm happy to say that hundreds of these subtle details are provided in this research. Also, I'm not just addressing this concept because it's expected. My exposure to this kind of detailed thinking came long before I started applying it to sleight of hand. In my early twenties, I was working on one of the most difficult card-counting systems ever developed, known as Revere's ICcount. Each value was counted as indicated in the parentheses: 2s, 3s, and 6s (+2), 4s (+3), 5s (+4), 7s (+I), 8s (O), 9s (-2), tens (-3), and aces (+I-4) for betting only. I was fast becoming good friends with Big JB, my closest friend and mentor. Big JB was a professional gambler who also played the 14-count. Little did I know that he was one of the most successful early blackjack players-and blackjack wasn't even his road-game, it was gin rummy. When he learned that we played the same count, he offered to critique my play. We met at my condo where I had a blackjack table. JB dealt to me. He said, "Okay, let's get to work; I want you to do everything exactly as you would in the casino." I was eager to show off my skill. I sat on 3" base, the position recommended by every expert. The thinking is that when you act last, you get to see more cards before making your decisions. JB said, "Stop, never sit on 3'* base." He explained that if a player joined the game, you needed to be in position to see the player's cards before acting, so the five-seat was better for this purpose; 31dbase was too far away. JB only played heads-up or with one other player, and only if he could see that player's cards. After I made my first bet, he admonished me again, "Don't ever do that again." He was referring to the way I gripped my 'checks' (chips), which was a 'tell' (visible sign) that I was either a dealer or poker player, not a rank sucker. I would later learn to amateurishly pick up stacks of checks with only my first finger and thumb and let the checks dribble off the bottom of the stack, never encircling the stack with all of my fingers like a crap dealer or poker dealerlplayer. He dealt the first hand. I began to pick the cards up with my right hand and he stopped me again: "Stop; always pick up the cards with your left hand. If a player joins the game, you want the player to see your cards." Big JB wanted to be in a position where he could casually say things like "The first twenty I've been dealt in an hour." He wanted to create an environment of it's you and me against the casino. By picking up the cards with the left hand, he encouraged the player to pick up his cards with his right hand, which made them easy to see.

I hadn't even picked up the first card dealt and I was already being exposed to the detail-oriented world of a master gambler. It didn't take long before I was looking at everything the same way. I'm only sharing a few details that JB taught me that day-he went on for hours! We often hear that if you want to stand out, pay attention to the things that don't stand out to others. I agree. To excel in this field, you must embrace the tiniest technical challenges. It's the difference between mediocrity and technical excellence. To hammer home the point, here's a modified quote credited to many motivational speakers. Technical excellence is not a slzill; it S an attitude.

Believe it. Live by it. being natuval

A common mantra in the field of sleight of hand is to "be natural," but what if your shuffling, dealing, or card-handling style is naturally different, uncommon, or even awkward? I have seen dozens of odd shuffling, dealing, and card-handling styles that initially grab your attention, but quiclcly become accepted idiosyncrasies for the particular player. In most instances, there is no nefarious motive for being different. Occasionally, however, just the opposite is true. A perfect example is the so-called Erdnase grip used for bottom dealing. It's an unusual and unnatural way to frame the deck that serves only oizepzupose: cheating with the bottom deal. There's nothing wrong with being different, especially if being different is natural for you. We all have 'default' styles for shuffling, dealing, and handling cards. Although it's okay to emulate others, as we proceed, don't stray too far from your normal shuffling, dealing, and card-handling style. You'll get the best results if you adopt methods and handlings that best match your default style.

artificial moves The word artificial is defined as something that is made, produced, or created to appear natural. A good example of an artificial gambling move is Erdnase's fancy three-way cut. Card players do not cut tlie deck in this manner. Another example is Marlo's no-touch second deal. Card players do not deal in this manner. (Both topics are addressed in their appropriate sections.) The magic world is famous for breeding artificial moves and variants, and altliougli there's nothing wrong with this in magic, artificial moves can stick out like a sore thumb to seasoned card players who are (a) tacitly familiar with shuffling, dealing, and handling cards, and (b) conditioned to expect a certain range of shuffling, dealing, and card-handling actions from their opponents. While it's true that any move can fly under certain conditions, some have a better chance of going undetected, and they are not artificial moves. Artificial moves get off to a bad start because they i~n~nediately register to card players as different, maybe even suspicious, and it doesn't make any difference if they are perfectly executed or not. Think about this. Everz ifperjectly executed, artijkial moves are still Iilcely to draw atterztiorzjkonz the average card pluyel:

Gambling expert, Ron Conley, likes to call artificial moves 'liead snappers,' a move/action that immediately registers as illogically constructed and executed. In other words, something is wrong. If you're not sure if a move is artificial or not, identify tlie 'default action' or true version of tlie action commonly seen at the card table. Every move has a matching default action. Stray too far away from the default action and you end up with artificiality. Think about the flexibility that magicians have with their actions and words to create the default actions that set up their moves. While their options are endless, cheaters are generally restricted to card-table protocol. If you find a particular gambling move and tlie default action strikes you as reasonable relative to the card table, you're probably on the right track. Here's a story to emphasize the point. While demonstrating a pseudo-gambling routine, one talented cardnian employed the following false cutlstrip. With the deck in table position, lie lifted the top half of the deck with his right second finger, stripped out a packet from the bottom of the lifted packet to the table, stripped the remaining lifted cards (original top of the deck), openly slapped tlie remaining cards on top about one inch to tlie left, dragged a single card off the left half and stripped it back to its original

The Hobby - 23

position, and ended by slapping the final packet on top. He did the move perfectly and credited it to a famous magician. But here's the issue. Card players don't open the deck from the front with the first finger. They don't strip from the bottom of an openly elevated packet or noticeably step paclcets to one side. They don't make two distinct movements of a single card. And they don't pick up the first stripped packet to the table during the same stripping action. Not a single action of this false cutlstrip emulates the true action. The result is an artificial false c u t h i p . In Ganzbli~zgSleight of Hand, we will try to keep the technical standards high and avoid artificial moves, which will give us the best chance to uncover the best moves.

During my research, one of the most significant revelations was the casualness by which many cardmen handle the so-called easy moves including jog-shuffles, holding breaks, adding one card during a riffle, and others. It's amazing how often the most basic sleights are butchered. It's my goal to help you avoid these mistakes, which is why Gambling Sleight ofHarzd devotes a great deal of time exposing the common flaws in many basic moves and offering solutions. Remember, adeptly doing an easy move is always better than poorly doing a difficult move, and even the simplest moves and actions require careful thought, study, and practice.

the lessons I've been aslced many times to give lessons on gambling sleight of hand but have never had any interest, instead choosing to share my research with friends. In situations where I could offer advice, it was usually nothing more than general advice that holds true for all good sleight of hand. But every once in a while, I would opine aprilzciple to help male my point. These principles are presented throughout the book, but before we get to the moves, I thought you might the lessons interesting in summary form.

When assessing the pros and cons of a gambling move, it's self-evident that the action with the fewest breaches from the true action is generally the best, but this starts with the assumption that one understands the true action, which is something one would expect to see in a card game. We need to start with an authentic action before it can be faked. If you've never been around card games, it's difficult to know what constitutes acceptable card-table actions-fortunately, Gambling Sleight of Hand will provide the necessary guidance. LESSON: Always start with good, authentic moves.

24 - Gamblir7g Sleight of Hard

2. slow-motion analysis One of the best tests for evaluating a move also happens to be the most obvious. How does the move look in slow motion? If a move flies in slow motion, there's a good chance that the move's foundation is strong and the potential for deception is excellent. LESSON: Slow-motion evaluations don't lie. 3. rizovenzerzt evaluation There are many ways to evaluate movement or the elements of a move.

0 Are there any ways to combine two or more actions into one movement? 0 Every movement has a direction; have they all been explored? 0 Is there logic to an action? 0 Is there redundancy?

0 Is there any unnecessary confusion or complexity in an attempt to hide something? 0 Is the move easy to reconstruct? 0 Are any movements unnecessary or exaggerated? 0 If a move employs cover, is it normal? 0 Are there any singular-card movements (for example, slip-cuts), which tend to be dangerous from a detection standpoint? 0 In a series of similar actions, does the move come first, in the middle, or last in the series? When possible, it's always best to start with the move followed by the tiue actions. If you start with the true action, you're setting a higher standard because the false action must be a perfect match.

0 Have you evaluated the perception of the move from different angles? 0 Is there any way to convert general movement into 'contact movement?' Contact movement occurs when an action is the result of force and contact, not independent finger movement. For example, consider the bottom palm. If the desired cards are stepped to the right, it's possible to hold the deck from above with the right hand, move the deck into the left hand, and have the front end of the stepped cards hit the left third finger and automatically swivel them into a bottom palm without additional finger

The Hobby - 25

movement from either hand. Contact movement is possible with many moves; when you find the opportunity, you probably have the foundation for a very good move because there's not much to see. LESSON: The only way to comprehensively evaluate a move is to break it down into its smallest components or actions and study each part from every angle.

4. movement transition This is another movement-evaluation principle, deserving of its own lesson. Over the years I have followed a 'stoplstart' theory. The idea is to use the instant an action stops as the starting point for the next action, a tip that ensures continuity and smoothness from movement to movement. Given that the hand is not quiclcer than the eye-it's quicker than the mind-the brain's visual motor system is always a step behind due to nei-ve-transmission time, so actions are always faster than reactions. When actions adhere to the stoplstart principle, the observer is always playing catch up, which is exactly the game you want them to be playing. LESSON: Apply the stoplstart principle to any move with multiple parts. When you accomplice this goal, you cannot improve on the smoothness or continuity of movements. The parts become whole-the goal of all great sleight of hand.

5 . pressure Experienced cardmen know that handling the cards as lightly as possible can reduce friction and sticking, the cause of many problems. But many moves require a mix of pressures and tensions; for example, one hand grabs the deck lightly while the other holds the deck tightly. Don't just experiment with different fingerlhand positions, experiment with different pressures and tensions. Work the problem. LESSON: Solving the puzzle of pressuresltensions could be the x-factor.

6. sound It's a good idea to evaluate every move from a sound standpoint-you by what you discover.

may be surprised

LESSON: Observers rely on two senses to evaluate our moves: sight and sound, so let's go the extra mile and evaluate moves from a sound perspective, too.

26 - Gambling Sleight oj'Hrri~d

7. optimal speed

I contend that there's an 'optimal speed' for every move, defined as the slowest speed a move can be done and still be deceptive. I prefer a slightly-faster-than-normalspeed for most moves, but have learned that a slightly-slower-than-normal speed is often the best choice. Handling cards at 100 mph can be impressive to lay audiences, but it's insanity at the card table. Card players don't like losing their money to a robo-dealer.

Another critical, related consideration is pace. Setting the wrong pace is a common mistake. For example, many cardmen riffletoo fast to start a series of rifflesand then slow down when adding cards to the top o f a slug/staclc. Or, they initially deal too fast and slow down to start dealing pushoff seconds. In both examples, the first riffle or first deal sets the pace, so make sure it's a pace at which your moves can be executed adeptly. I often advise cardinen to slow down a bit to better 'frame' (set up) a move. What's profound about this advice is that I'm not talking about the move; I'm talking about the legitimate actions and pace of the actions leading up to the move. LESSON: Faster isn't always better. Optimal speed has a better chance o f putting the observer's mind at ease and selling the move's legitimacy. Also, it's equally important to establish the optimal speed to set up your moves. 8. rhythm

A break in rhythm can be disastrous. It's one o f the easiest tip-offsthat something suspicious has occuned, and the reason is simple: you can catch it without concentrating. You can catch it out o f the corner of your eye. You can even catch it without watching. You canfeel a break in rhythm. LESSON: Rhythm is paramount, 9. three parts to evely move

Generally speaking, I like to follow the wisdom that most moves comprise a beginning, middle, and end. Most cheaters and cardinen are hip to the first two stages but often overlook the last stage. After the move, is there anything else that can be done to sell the move, such as moving the dealing thumb all the way to the left side of the deck after a second deal. I call these touches 'free actions'-simple ways to sell the legitimacy of inany moves. LESSON: Moves aren't over until they're over. Carefully consider any follow-up actions.

Tlie Hobby - 27

10. study and experi~~ze~itatio~i My research indicates that the best cheaters and cardmen are deep, logical, practical thinkers who are always open to reassessing their methods. They don't just do moves; they think about them. They understand the objective and key technical cllallenges. They experiment and remain flexible. LESSON: Don't just do moves; study them. Even after you reach that point where you're convinced that you have acquired proficiency with a particular move, I'm betting that there are still ways to make the move better. Admittedly, these lessons emphasize many concepts that the best cardmen do automatically, but they are important and worth emphasizing. I enjoy taking a move and testing it at the micro level. I also like to think about redundancy, exaggeration, directional options, etc. For me, it's the only way to feel comfortable about a particular solution. When a move passes most tests, I know I'm working towards a good variant; if a move fails most tests, I need to dig deeper. Finally, sometimes a move just doesn't fit! If after serious practice and experi~nentationyou find that the recommended action or grip or finger position is so uncomfortable that it flips your normal handling style upside down, move on and take a different approach. Don't force any move or action just because you want to follow a method to the letter. There are always other options.

I have always enjoyed sessions with cardmen. On several occasions I immediately thought to myself, "There's the magic influence." I would observe methods that were unnecessarily difficult and not as convincing as they could be with a few simple changes. Given my familiarity with gambling moves in the magic literature and my basic understanding of many magic sleights, I could often suggest easier, more deceptive methods, which usually prompted surprise: "Why didn't I think of that?" Here's a simple example. With the deck in table-position, cut half the deck forward, cany the cut, secure a break, and slide the deck back to its original position. When cardmen are presented with this challenge, most are obvious in their attempt. They either employ a step or bevel, or softly cany the cut with a horizontal sliding action to establish a break. Unfortunately, these methods look exactly as you would expect if the goal was to establish a break between the halves after the cut. The simplest method is to slide the deck backward a few inches before you cut. Now when you d 'car~y'(completing) the cut, you're doing so in the same space-sliding the deck before the cut, not after carrying the cut. Once in position, raise the bottom half directly above the top half and slap it directly down onto the top half with confidence and conviction as if you were genuinely carrying the cut, but don't let go! After carlying the cut, ilnmediately move your hands into the 'protected-position' (a safe, covered position discussed shortly), and establish a

28 - Gu~itbliilgSleight of'Hulzd

break. Only the sinallest bit of the flesh of the left thumb is needed to maintain separation and it happens automatically. This is a simple, direct, and deceptive method that features a moveless quality, and there are no departures from the true action. This example is not meant to imply that all inoves, actions, and sequences in magic are clumsy. I only want to note that many cardmen are often preconditioned to follow certain paths when solving technical problems. Here's another interesting observation. Why is it that in many sessions with cardmen who have great chops and a passion for gambling moves, the first few moves I typically see are always from the same lot: Erdnase's one-hand shift, the Stevens Control, the Stevens Cull, seconds and bottoms from the same grip, and the Kennedy center deal. After cardmen do two or three of these moves-often adeptly-and there's the anticipation for me to reciprocate with my handling of these moves, it's always awkward when I respond, "They look great, but I'm sorry, I don't do any of those moves," which always evolces a moment of puzzlement. Magic has somehow convinced many cardmen that mastery of these inoves is essential to becoming an expert on gambling sleight of hand. Is it the Vernon influence? Expert at the Card Table? Expert C a d Technique (Hugard and Braue, 1940). Or, is it just magic's incessant hyperbole and misunderstanding of inany gambling moves? I have always felt bad for these cardmen. They have passion and technical skill in spades, but no direction relative to card-table lcnowledge and authenticity. They rarely understand card-table protocol or the logic of card players, and aside from a few fringe moves, their repertoires are replete with artificial false cutslstrips, demonstration seconds, funky card switches, and other moves that are unlikely to ever surface at the card table. If they had good information, they would quiclcly transform from outstanding cardmen to outstanding experts on gambling sleight of hand. And finally, here's one of the most important observations in the book. I believe that a compelling argument can be made that the magic literature is replete with misinformation about many gambling moves. Why? One of the core problems is magic occurs when sources with no gambling experience or knowledge critiques the work of cheaters and presents their opinions as fact. It's amazing how fast a questionable source with a questionable move can become a "master mechanic" in the eyes of the magic world, and if the information happens to be a stretch, the hype can be perpetuated forever, literally. Without card-table experience, it's easy to fall into the trap that sleight-of-hand expertise automatically equates or even transcends card-table expertise. In most instances, it does not. It's more than just assessing whether a move is expertly executed. You also have to assess the quality of gambling moves in the context of a card game, which is difficult to do if you have never spent any time at the card table.

The Hobby - 29

I know several cardmen who have made ridiculous statements about cheaters and their moves, yet have never sat in a money-game. Even limited experience at the card table-like playing casino poker, for example-doesn't qualify cardmen to accurately and completely assess gambling moves, other than passing compliments or criticisms directed solely at technical execution.

expert status Mastery of dozens of moves is not necessary to be an expert. If you have good, solid knowledge of the core clzeating moves and their variants, along with the technical chops to execute many of them, you're an expert on gambling sleight of hand in my view. You may even know more about gambling sleight of hand than many cheaters. But there's a catch. An expert on gambling sleight of hand is not the same as an expert on clieating. To be an expert on cheating requires additional knowledge about the applications (scams), psychology, game management, and several other critical components in the field. And to be an expert on ganzeprotection is even more difficult because it includes many non-cheating topics. For example, a casino game-protection expert must also be well-versed in card counting, advantage strategies, employee theft, internal controls, procedures, surveillance, gaming law, and many other topics. Finally, I have met many talented cardmen who have mastered many of the moves in The Expert, and it's impressive to hear them cite important principles, recall certain sentences, and much more. Essentially, they have memorized The Expert from beginning to end. Unfortunately, their mastery and memorization of the information does not qualify them as experts on gambling sleight of hand, cheating, or game protection. Their passion merely qualifies them as experts on Tlze Expert-a book written over 100-years ago that has almost nothing to do with cheating at the card table. I know that many readers will reject this strong opinion, but it's absolutely true, and I look forward to the opportunity to prove my assertion in chapter eight, the Erdnase Factor.

I'm a big fan of autl~enticgambling de~nonstrations.I'm also a fan of pseudo-gambling demonstrations-faking cheaters' moves for entertainment. Where I draw the line is when game-protection experts are hired by casinos and cardrooms to teach game security, but present pseudo stunts as part of their game-protection lectures. Then it's all a sham. If an expert stacks four kings to a sucker and four aces to himself in a poker demonstration, it's okay, despite the unrealistic application. Whatever the stacking method happens to be, as long as it's authentic, it can be demonstrated to showcase the limits of a particular move. One of the most powerful pseudo stunts I have ever seen occurred a long time ago when cardman Richard Turner demonstrated his sense of touch, enabling him to distinguish the weight of the extra ink on court cards versus spot cards. I recall the scuttlebutt at work the day after Richard's

30 - Gajllbling Sleight of'Hc~nd

appearance on the television show, That's Incredible. The stunt blew people away! However, Richard wasn't hired to conduct game-protection training; he was on television to entertain. As presidentlowner of my own casino security finn, credibility was everything, so I lived by one rule: no pseudo demonstrations. That said, evely once in a while, outside the work that I was paid for, I found myself with executives in informal environments where I was presented a deck of cards and asked to "do something." In these situations, there were a handful of pseudogambling stunts that were appropriate for these situations because they helped me make points about topics that were presented in my lectures. For example, Ed Marlo's 'Estimation Aces' was an appropriate stunt given that 'estimationbased strategies' are practiced by many professional players and teams. Red-black false shuffles were occasionally presented to highlight the 'master high-low,' a method of shuffling that keeps the deck compositionally separated into high and low cards. 'These Cards Are Marked' is one of my favorite pseudo stunts, a self-working stunner that utilizes asymmetrical back designs, the weakness targeted by 'turn players' and 'edge sorters' (players who exploit asymmetries). 'Total Recall Scanning' is one of the most difficult stunts I do, but it addresses advanced card-counting strategies. Remember, these stunts were only occasionally presented to make a point, and the methods were often subsequently exposed-something that never happens with magicians. After all, I couldn't claim that a seemingly legitimate deck of cards was marked and then not expose the marks. This is one of the problems caused by presenting pseudo information: it sends mixed messages that can damage one's reputation regarding true knowledge about cheating, which is why knowing how to demonstrate the real deal allows you to have a little fun every once in a while. Finally, Ganzbling Sleight ofHand looks at the technical aspect of moves employed by cheaters, not the moves performed in gambling demonstrations. If you're looking to have fun, I'm all for it, as you'll see in chapter nine, Pseudo Gambling Stunts.

CHEATERS AND MAGICIANS

If you want to excel at gambling sleight of hand, it starts with respect for the field's authenticity, which in turn starts with understanding the differences between cheaters and magicians. To truly appreciate each group for who they are, how they think and operate, and what they strive to achieve, it starts with purging the common misconception that the two groups share similarities. They do not! sophisticated sleight of ltartd

Sooner or later you're likely to hear that gambling sleight of hand is more sophisticated than magic sleight of hand. You'll hear it, but it's not true! Is it technically more sophisticated to cany a bottom slug with lop-sided riffles, 'base strip' (strip a slug off the bottom), and deal a few cards off the bottom than it is to back palm packets of cards and produce several fans and individual cards while showing both sides of the hand empty before each production? Name any profession and you'll always find the good, bad, and ugly. There's also the elite. While it's undeniable that the best exponents of gambling sleight of hand are gerzerully cheaters-as only they can offer the most authentic perspective-I've seen superlative gambling sleight of hand from cardmen all over the world. But there's a catch: the work was always demonstrated in a non-gambling context, and that changes eve~ything!

Many point to the crossover from cheating to magic is because cheaters and magicians occasionally employ the same moves: false shuffles, false deals, and others. This is another myth. While it's true that cheaters and magicians may employ the same move, it's a specious comparison that completely ignores context, thieve~y,card players versus audiences, the dangers of detection, and several other factors. Simply stated, cheaters and magicians are fundamentally different in every regard. deceptive standards

If we directing our attention to the execution of gambling moves, here's a critical distinction between cheaters and cardmen that is rarely addressed: Gambling moves can be subject to higher deceptive standards for cheaters than for magicians. Why? Because it's harder to fool a card player with a poorly executed false shuffle or false deal than it is to fool a lay audience. What fools you may not fool me, and vice versa. When cheaters play in the toughest games with seasoned card players, technical ineptitude is unsustainable, so cheaters must be skillful. It's these conditions that foster the best gambling sleight of hand, and it's the reason why we'll spend most of our time exploring moves employed in tough games. That said, conditions can be tough for magicians, too. Ask yourself: Would you rather t ~ to y fool me when I expect it and won't take my eyes off your hands, or when there's no

32 - Gm~bli~zg Sleight of Hand

reason to suspect anything? Surprisingly, if you take guts out of the equation, one can make the argument that it's easier to cheat a card player than it is to fool an audience.

A cardmen once asked me to demonstrate some blackjack switches where the cheater plays two hands and switches cards from one hand to the other. I dealt a round and asked him to . play. the role of the dealer. "When I say go, peek your hole-card as fast as you can and tell me what it is." "But I just want to watch the switch," the cardman pleaded. Once I convinced him to play along, he peeked the hole-card and I made the switch, prompting him to respond, "I missed it." I said, "I know, that's the point." Cardmen want moves they can watch and enjoy, but this let-me-watch perspective is the anthesis of the way most cheaters operate. Finally, there's a principle of deception that exists in many fields. Cheaters exploit the principle in many ways (many short cons are built on the principle). It occurs when obsel-vers are led to believe that they have detected the method, only to be fooled anyway. Here's the principle. No one is more vulnerable to being,fooled or cheated than those who are corzvi~zcedthat they kcnow what's going on.

To better appreciate the stark differences between inagic and the ugly world of cheating and its shady, dangerous characters, here are dozens of distinctions.

0 Cheating is a crime-there

are victims; inagic is a performing art.

0 There's nothing fun about getting cheated and losing your money; watching magic and being entertained is all about having fun.

0 The detection of a device or gaff is evidence in a court of law; magic props are not cheating devices.

0 No card player wants to be cheated; in magic, everyone wants to be fooled. 0 When cheaters are caught, the consequences are unpredictable and often dangerous, and all it takes is one mistake; in magic, mistakes are infinitely more forgiving-seasoned performers can even make fun of a mistake and take advantage of it. 0 Card-table protocol can significantly reduce the number of options for cheaters; magicians are only limited by their imagination. 0 In cheating, the environment generally starts with the assun~ptionthat everything is on the square until some action or result raises suspicion, and it doesn't take much; in magic,

the environment is openly consumed by deception as evely spectator expects the magician to employ every trick in the book to fool and entertain them.

0 There are many natural 'turns' in card games that are exploited by cheaters. For example, every player has to peek their hole-cards sooner or later, which is to say that evely player will have to play with hislher eyes closed, if only for a second; this doesn't happen in magic unless one is misdirected.

0 Card players can risk fortunes on the turn of a card-not

applicable in magic.

0 Any player can be a cheater so card players don't always know who to watch; in magic, spectators only have to watch the magician. 0 Cheaters strive to be forgettable; magicians strive to be sensational.

0 Card players are familiar with shuffling, dealing, cutting, handling the cards, and general protocol; this is not true with most spectators.

0 Suspicious card players will often watch out of the comer of their eyes to give cheaters a chance to hang themselves; spectators will generally not take their eyes off the magician's hands.

0 Card players know what to expect and when to doubt unusual actions or results; in magic, audiences generally have no idea what to expect.

0 Extraordinary results almost always cause suspicion at the card table; in magic, extraordina~yresults are expected and lauded. 0 Poor execution can lead to disaster for cheaters, especially when coupled with an unusual result; magicians can poorly execute a false shuffle with indicators of manipulation followed by a miracle deal, and everyone forgets about the shuffle.

0 In most private games, cheaters know the players-mostly

untrue of magicians and

their audiences.

0 Cheaters often test the waters and 'splash' moves (fake them); magicians generally don't have time.

0 Cheaters can spend a great deal of time finding and cultivating suclters-not applicable to magic.

0 Most cheating is done by partnerships or crews; this is generally not true in magic. 0 In ring games, cheaters will often target one or two players; magicians must entertain

34 - Gn~nblingSleight o f H a d

their entire audience.

0 Hustlers can cheat without sleight of hand (or devices) by simply using signals between partners; with the exception of stooges, this is rare in magic. 0 The sophistication of players is a key factor for cheaters, and many moves/scams are a 'no-go' if the players are street smart; in magic, the show must go on despite the sophistication of the audience. 0 The cheater doing the

M)OI./~ is

often not the beneficiary-an exception being the classic single-o mechanic who works alone and generally cheats during the shuffle or deal; magicians always get the credit for their miracles.

0 Cheaters are often forced to use another person's equipment (cards and dice); magicians generally use their own stuff. Also, cheaters can gaff the game equipment, which is not applicable in magic.

0 Some hustlers will purposely shuffle and deal like the target(s) in an attempt to 'put players to sleep' with familiarity; magicians generally don't have time to set these traps. 0 Cheaters don't have to use words to cheat; in magic, patter often plays a huge role. 0 Cheaters can wait many hours before cheating. Magicians don't have these options;

open the curtain and it's showtime. 0 Cheaters can pick their spots, which is why so many get away with balky moves;

inagicians don't generally have this luxury.

0 You can cheat and still lose, which is not applicable in magic

0 You can get double-crossed in cheating, which is not applicable in magic 0 Cheaters can have extraordinary technical skill and still get caught, getting into serious trouble; this is not applicable in magic.

0 Most cheaters are not interested in inventing new moves, rather relying on time-tested money-inalers; magicians are inventing new moves and stunts all the time.

0 Hustlers can cheat friends and associates, so personal relationships can make it difficult to suspect that something is wrong. This 'trust factor' is not applicable in magic. 0 Depending on the sophistication of the players, false shuffles and deals generally have to look like real shuffles and deals; this is not true in magic.

The Hobby - 335

0 Many hustlers adopt the philosophy, "I'm not moving until you loolc the other way." Magicians don't have this luxury; in fact, they routinely direct attention to their hands.

0 Cheaters don't expose their methods; magicians often demonstrate and expose gamblers' moves.

0 Cheaters tend to be tecl~nicallyconservative, never showing off or exhibiting a greater-than-normal adeptness; magicians can be just the opposite and may employ flourishes to great effect.

0 Quality books and sources about authentic cheating techniques are scarce, especially regarding applications; quality books and sources about magic are abundant. The list goes on and on, and the conclusions are undeniable. When sleight of hand occurs in a card game, there is an explicit line in the sand that distinguisl~escheaters from magicians in every conceivable way. The sooner one accepts this truth, the sooner one will gain a deeper respect and appreciation for the way the better cheaters approach sleight of hand!

PRACTICE

.

For many cardmen, the most self-satisfying aspect of the hobby is the time spent practicing. My thoughts on the best way to practice have waffled over the years. At one time I was convinced that there were no shortcuts, that practice was all about putting in the time, and that every move required a certain number of practice hours before proficiency was attained. I still believe this, but I now better understand the complexities of the learning process. The speed at which we learn physical skills depends on many factors that can valy dramatically from person to person. Eye and hand coordination play a critical role. The physical characteristics of our hands including fingedhand size, fingerlhand strength, fingerlhand flexibility, skin texture and moisture are all contributing factors. Age can be another critical factor.

The Biggest Mistake You Can Make Aside from physicality, the most overlooked aspect of learning good, authentic gambling moves is starting with good information. Knowing what to practice is the real secret. We've all heard that practicing the wrong way can be costly. What you haven't heard is that this wisdom is the most understated truth in all of sleight of hand. Whether it was my lack of experience, limited knowledge, or poorly constructed moves, I've practiced moves for decades before learning the correct methods. Can you think of anything that could be a bigger waste of time? For those pursuing authentic ganzblirzg moves, practicing an artificial move or poorly constructed move is undoubtedly the most costly error you can nzalce.

I recall the argument that if cardman 'A' was willing to practice a move 10X as much as cardman 'B,' the move will look better in the hands of cardman 'A,' But this is untrue. What if cardman 'A' practices an inferior variant, or overlooks a key technical component, or misinterprets the optimal rhythm or timing? Now putting in 10X the practice time isn't a positive, it's a negative. Practice is a big part of the sleight-of-hand experience, but be warned: If you practice a bad move, you'll eventually master a bad move, and all the practice in the world isn't going to make the move better.

Practice Basics I have no practice secrets, per se-only what feels most comfortable to me, which is a straightforward approach for the most part. Here are a few ideas.

The Hobby - 37

technical aizalysis Once you have a move that interests you, don't be in a mad rush to practice. Raw, repetitive, hardcore practice without thinking about the technical factors can be counterproductive because bad habits form quickly in our muscle memory. Trying to emulate a true action is a difficult process that demands careful thinking and attention to details, so take some time to think about the move and its objective. The next step is to walk through the move in slow motion sevel-a1 times as you evaluate each part of the move to ensure that the hands/fingers are in the right positions and that everything is synchronized properly. Some moves require a lengthy slow-motion phase so be patient. Also, the longer the slow-motion phase, the longer the period of repeatable, perfect execution. Finally, slowly increase your speed until you're executing the move at regular speed. Once you're executing and practicing a move at regular speed, cardmen often ask, "How long do I have to continue practicing a move?" The theoretical answer is as long as it takes to execute the move at normal speed without tlzirzlcing about any aspect of the move. If you're mentally still going through the technical steps, the move is not ready to be demonstrated. More practice is required. You have achieved your practice goals when the mind and hands are effortlessly synchronized to execute a move adeptly with repeatability and without thinking!

alternating true and false moves Most cheaters and cardmen are familiar with this basic practice regiment, but few use it.

You will neverjhd a better way to bring the true and false actions closer togetlzer dative to action, rhythm, pace, and detail tlzalt alternating true andfalse moves.

This is my favorite practice regiment. It's the reason why most cheaters and cardmen can deal good strike seconds; practice naturally lends itself to alternating tops and seconds.

speed and rhythirt Once you're able to alternate a move with the true action at normal speed, it's time to hone in on the opti~nalspeed and rlzythnz. This is easier for cardmen because there are 110 rules, but for cheaters, it's about speed and rhythm relative to the game. I remember demonstrating some casino moves for two magic legends, Mike Skinner and Larry Jennings, when Larry whispered to Mike, "Why is he shuffling and dealing so fast?" Mike explained that the speed was normal for casino dealers.

38 - Gaiiibling Sleiglit ofHai7d

mirrors

Minors, especially three-way minors for checking side angles, are the perfect tool Tor real-time feedback, especially when you first start learning a move. Once a move begins to click, don't use the mirror as a crutch that guides you through its execution. Once I'm in this mode, I like to do a move a few times watching the minor and then loolc away or close my eyes as I continue. Also, when you loolc away, don't burn your hands; this can also be a crutch. Although it's perfectly naturally for card players to burn the deck during the shuffle, the best mechanics prefer a more casual body language. The same is true for the deal; it's most natural for card players to loolcforward when they are dealing to other players. The takeaway with mirrors is important. They are indispensable when learning a new move, but strive to practice under wor/cizg conditiorzs as soon as possible-no mirrors.

One hustler envisioned card players sitting around the table as he interacts with them, makes eye contact, carries a conversation, etc. He believes in practicing eve~ything. video recording

Videotape replay is unforgiving, and it's amazing how many times I've put a move on tape and thought to myself, "That really felt good," only to be disappointed after watching the playback. Video recording is one of the better ways to test your skill. objective criticisnz

When a buddy tells you that your bottom deal loolcs "pretty good," fire back, "Rate it on a scale of 1-10." You will quiclcly learn that not all compliments are created equal. I have found that the best person to ask for constructive criticism is me . . . and I have learned to be brutally honest. Honest criticism is the only way to make changes when necessary and guarantee steady progress. Kidding yourself will only appear to develop faster progress, but you won't be happy with the results. Put it all together and here are the basic steps in a practice regiment

0 Carefully digest the move's explanation and tllink about the move's actions and technical cl~allenges. 0 Close your eyes and imagine the move being executed perfectly, 0 Start by practicing in s1f.w motion, piclcing up speed as warranted.

The Hobby - 39

0 Be patient and progress slowly.

0 Alternate the true and false actions. 0 Hone in on the optimal speed and rhythm.

0 Choose a method for monitoring your progress and providing honest feedback. conditions and corzsistency I'm a big proponent of consistency and how it affects everything we do witli a deck of cards. Since the goal is to develop repeatable, highly technical sltills, it will be easier if the components that contribute to these goals, both internally (technical) and externally (environment), remain constant. Some factors may be beyond one's control, but for hobby purposes, here are some of the most important factors.

seated position Most gambling moves are done in the seated position-the exception is the professional casino dealer who stands to deal blackjack and other games. I like the top of the table in line witli my belly button. If the table is too high or low, or the chair is too tall or short, it's not only uncomfortable, but everything changes from a technical standpoint. Now you're approaching and manipulating the deck from an unfamiliar angle that changes the tactile sensations. In some ways, it's like trying to do a new move. For these reasons, I always have two cushions for each chair around my card table at home. I want to ensure that any cardman doing a move for nie finds his comfort zone so I get to see his best work. Once seated and comfortable, note tlie space between your belly and the edge of the table and t ~ to y maintain consistency. Many moves require some distance; others do not. Finally, when you riffle, do your elbows rest on the table or are they raised off tlie table? Whatever position is normal, maintain it for your table work. You want to avoid shuffling on the square witli a casual posture (elbows in and resting on the table) and faking tlie shuffle with a contrived posture (elbows out and raised). These factors relate to all moves.

I was witli two cardmen recently. One was demonstrating impressive pitch strike seconds, but when he started doing pushoff hit-seconds like a blackjack dealer (dealt face up, end for end), he raised his right elbow off the table to deal and almost knocked out the cardman sitting to his right.

40 - Gambling Sleight ofHa11d

table surface As a kid, I shuffled on close-up pads, but for the last four decades I have shuffled almost exclusively on card tables covered with felticloth, which generally included a thin layer of sponge underneath. When you get used to how a certain surface feels to your fingertips, a change in the surface's smoothness or softness can present challenges. There have been situations with casino blackjack tables, for example, where the padding under the felt was so spongy, I couldn't even riffle shuffle. When I meet cardmen away from my home, they always bring closeup pads, but some had pronounced textures, some were too soft, and some grabbed the cards creating more friction. Although I have seen several cheaters and cardmen who don't seem to be affected by the surface, and have always marveled at the guy who can do a push-through, for example, on a hard surface, the surface is a big deal for me. My preference is a relatively smooth surface with a little give. When conditions valy, I'm never at my best. angles The closeness of players to the cheater is a key factor. Moves can change depending on this distance, especially when actions are directed at the observer's eyes; for example, second deals, base-strips, and many other moves. The best cheaters are acutely aware of angles; in fact, many moves have been solely designed to target the viewing angle of the sucker. In the casino industry, there is an entire genre of moves called 'sky moves,' which are designed to specifically target overhead cameras because the moves only look good if viewed from above. playing cards Finally, playing cards are the star of the show. I'm partial to a broken-in deck of Bees. I know many cardmen who prefer new decks, but I've never been fond of their stiffness, thinness, and slich~ess.During one of my earliest casino lectures, I opened six new decks and stacked them into one pile. I went to put the cases aside and inadvertently bumped the table, sending the decks all over the floor. That was the last time that ever happened-I never used new decks again! Also, we all know that 'all-over backs' (designs that run off the edges) facilitate the false deals. It may surprise you to learn that the same is true for white-bordered cards! Consider a second deal where you want the observer to see the top card pushed off the deck or a false shuffle where you want it to be easy to see what appears to be the top half getting riffled down into the deck. A white-bordered deck can better sell these moves. When someone hands me a deck of cards, I immediately correlate the deck's condition with certain moves. Decks in new or almost-new conditions are best for many false deals. After the first fifty riffles or so, the edges become smoother, consistent, and more compact, which makes

The Hobby - 41

riffle-stacking and related table work more reliable. Just as a deck reaches that broken-in condition, all moves are a go. And when the deck starts to get beat up, even a little sticky, I'm thinking shifts, hops, mucks, and coolers, not delicate moves like pushoff seconds.

clzullengiizg pi.actice techniques

If you practice a move in a more difficult-than-normal context and gain proficiency, the move can become easier to do in a normal setting. At least that's the theory. If you believe it-and I do for some moves-there are several ways to make your practice regiment more challenging. Obvious examples are practicing the shift with two decks, peeking two cards instead of one, and triple-dealing to make 'double-dealing' easier (dealing two cards as one). Another way to employ this principle is by combining moves. As you practice carrying bottom slugs, try holding back three cards on top. The hold-back has no purpose, but tlie combination of moves is harder, which in theory should make the execution of only canying the bottom slug easier. One of my favorites methods is practicing a move as fast as possible. I mean ridiculously fast. Again, the logic is that when the move is done at normal speed, it should be easier and more comfo~-table.

I also like to exaggerate actions by doing them ultra-aggressively. Consider the strike second used by blackjack mechanics to deal hit-cards, I lift the right hand about 10" above the deck and forcefully strike tlie brief and roll the card face up in the right hand. By comparison, with the normal deal, I move the right hand slightly above tlie deck and softly strike tlie second card. Try extending a sequence longer than usual, such as dealing 20 co~isecutivepush-off seconds. Since this sequence is longer than required under any conditions, dealing a single push-off second, or a few consecutive push-off seconds should be a breeze. You can also use less control than what is required. This is how I learned some bottom deals, initially framing the deck with only one finger and the base of the thumb, extending the other fingers to get them out of tlie way. This helped develop a secure grip independent of the other fingers. Another common tip is to practice shuffling on a hard surface like wood, marble, or glass. This helps develop a more secure grip for many table moves after moving to a cloth-covered table. Try the regiment with legitimate shuffles first, then false shuffles. The improved sensation is immediate and tlie results may surprise you. Restricting movement is another way to create a more difficult challenge, for example, doing tlie shift with the back of the deck-hand on the table.

42 - Gonlblblg Sleight of Hotid

Cardman Bill Kalusli has seen benefits from practicing moves with both hands. It's impressive to watch Bill deal bottoms with the deck in his left hand, then put the deck in his right hand and deal bottoms. The theoly is that working with the weak hand automatically makes the dominant hand stronger. I've never tried this regiment, but I know the theory is sound. As a kid, I fractured my right leg playing soccer. With my leg in a cast, I continued to kick the ball every day with my weak foot. After the cast was removed, my right leg was stronger and more accurate than ever before, even though I hadn't kicked a ball with the right leg in three months! arti$icialpractice techniques We have all seen baseball players swing weighted bats or athletes run with weighted vests. As a young crap dealer, instead ofjust practicing with checks, I often practiced with silver dollars, half dollars, and even quarters, all particularly grueling regiments that taught my fingers to securely grip an entire stack of checks for 'sizing into bets' and 'drop-cutting' (cutting from one to five checks). To deal craps, it's mandatoly that dealers learn to adeptly handle checks with both hands, so a great deal of time was spent simnultaneously practicing with both hands. The same principle spilled over to my practice with cards and there was a period where I experimented with several artificial techniques. First, I altered the standard deck by adding ten cards. Later, after double-deck blackjack became popular, I began practicing push-throughs, shifts, bottom deals, and many other moves with d o ~ ~ bdecks-if le you have never riffled two decks together, t ~ it; y it's a bear! Although there's no doubt that practicing with two decks strengthens the fingers, I didn't like the sensation when returning to the standard deck because it felt too thin. With moves like cold-deck switches, however, you want complete decks to feel thin, so practicing with two declts, each with extra cards, may help achieve the desired goal. I have practiced with new and used decks, doing a move ten times with the old deck and then ten times with the new deck. I have even practiced with decks consisting of old and new cards, which force the handslfingers to constantly make mini-adjustments to account for differences in slip, flex, flatness, and thickness. Now when you handle the normal deck, in theo~y,it should be easier and more comfortable to handle the normal variances because the handslfingers act more confidently. I have also alternately practiced with bridge-size decks and poker declts, paper and plastic declts, quality and poor-quality decks. I recall practicing the shift with metal plates, but they beat up my fingers. For a short time, I even experimented with dealing seconds and bottoms around the table to the ticks of a metrono~neto help with rhythm. Did any of these regi~nentswork? It's difficult to say because I never adopted any of them long term, just short periods of experimentation. I did, however, adopt what could be a breakthrough regarding practice and that is what I refer to as 'practice lists.'

practice lists As a young practice fanatic, it finally hit me that my practice was unorganized and there was no clear sense of progress. So, I developed 'lists.' These were short lists of categorized moves based on difficulty. Consider the following condensed list of table cutslstrips: gamblers' cut up-the-ladder center-top-bottom cutlstrip base-cutslstrips Erdnase three-pile cuts positioning cutslstrips boxing the deck poker cuts (cutting to the cut-card) riffling down, riffling up full-deck cutslstrips I would start by alternating one riffle with one gamblers' cut, repeating the combination three times. I would then do the same with base-cutslstrips, positioning cutslstrips (explained in the false shuffle section), and so on. For most cutslstrips there were several variants, so when I would reach "Erdnase," for example, there was the standard method, improved variants, related break-based cutslstrips, and the fancy three- and four-way cuts. When I reached the more difficult moves at the end of the list, I just kept practicing u~ltilI consecutively hit the move five times. This way, I was spending most of my time on the most difficult moves, while quickly refreshing my muscle memory for the easier moves. Each time I picked up a new move or variant, I added it to the list. As I acquired more skill, I began alternating each cutlstrip with its true or default action. With each move, there was always one or more technical goals that I repeated in my mind. If 1 was base stripping the entire deck, for example, the key was to aim the edge of each stripped packet at the observer's eyes. Strip too high and the bottom card was exposed; strip too low and the top of the deck remains a visual constant, which can make the action easy to detect. Using this same format and logic, I have used lists with most other gamblers' moves, and I'm convinced that this approach ensures more organized and effective practice sessions . . . not to mention a great way to expand your repertoire.

44 - Gambling Sleight of Hand

Practice needs to be efficient; after all, there's only so much time. In my early days working in the casino industry, I was exposed to its fanatical obsession with time and motion, hands per hour, dealing speed, and other factors contributing to productivity. As a consultant, I would later conduct time-and-motion studies for clients. It eventually occurred to me that the same kind of thinking could be applied to sleight of hand. Here's how to think about getting the most out of your practice sessions. Let's say you have an hour to sit down and work on a new bottom deal that's dealt to the dealer's position. Pick up the deck and deal consecutive bottoms into a pile. After about 20 bottoms, slap the remaining cards on top, pick up the deck and do it again. Don't waste time pitching cards around the table, or dealing bottoms with only a few remaining cards-if you can deal them from a full deck, you can deal them from a 'stub' (partial dcck). With new moves, the goal is to develop a feel for the technical fundamentals in the fastest possible time. Once you start to feel comfortable, begin modifying the regiment by alternating tops and bottoms. Make adjustments if necessary to emulate the true deal. This will force you to compare the two actions while helping with the transition from dealing tops to dealing bottoms. When you're ready to start pitching cards to the players, don't pitch around the table yet. Pitch to one imaginary player and deal bottoms to yourself. After ten deals, repeat the exercise dealing to two players, one on your left and one on your right, which covers the range of player positions without actually dealing to every player. You've now reached the final phase of this practice regiment, so start pitching cards around the table. Since the fundamentals of the deal are no longer the focus, it's time to start working on good rhythm and pace. Since the goal is to cram as many bottoms into your one-hour practice session as possible, here's the time-and-motion angle. Consider a cardman dealing to four imaginary players and dealing the aces to himself. To deal a complete hand to all players (25 individual hands) and gather up the pitchedldealt cards takes about 20 seconds, resulting in about 12 bottoms per minute or about 720 bottoms per one-hour session (12 x 60 = 720). If you pick up a deck and alternate tops and bottoms for about 40 cards before starting over, it takes about the same amount of time, but instead of dealing 720 bottoms per one-hour session, you're dealing about 3,600 bottoms (60 x 60 = 3,600). This is five times as many! When you start thinking about months, even years, the co~lclusionsare stunning. What it takes a cardman with inefficient practice standards to technically achieve can be accomplished by another cardman with efficient practice standards in only 115 the time! And I haven't even factored in dealing nothing but bottoms in the first phase of the practice session-overall, the gain is even greater. Here's another tip. I used to start with a giant stack of cards consisting of as many as a dozen decks. I would grab about 40 cards and start dealing bottoms. After about 20 bottoms, I would grab another 20 cards and repeat, and so on. My thinking is that if I extend each phase with without interruption (wasting time picking up cards), I can create lorzgerperiods of apositive,

stronger rei~zforcementof theproper technique. Although it takes a few more minutes to piclc up and square all the cards after dealing all of the decks, it's my belief that this unusual angle is highly effective. Malce the effort to think about practice efficiency and you will gain technical proficiency in the shortest time possible. Initially, eliminate any unnecessary action that does not contribute to the core technical challenge, then progress in stages, eventually ending with practicing the move within the complete, normal sequence. Virtually evely move can be practiced similarly, even moves that are over in a flash, like a shift. For phase one, do consecutive shifts without ever tabling the deck. For phase two, create the brief in the hands Gust lift the top half and slap it onto a break) and start doing shifts. It probably doesn't sound like much, but you're still saving time because you're not going through the entire cutting phase. Finally, practice the complete sequence: place the declc on the table, cut, carry, establish a break, pick up the deck, and do the shift as you swing from right to left. With just a little thought, it's easy to make your practice sessions more efficient and effective. I recently met casino operators who were evaluating a simple procedure known as the 'kill' (spinning half the deck 180 degrees during each shuffle). Although the procedure only takes three seconds, it occurs about forty times an hour-two minutes of downtime evely hour on every game. When we multiplied the numbers out annually, the cost was about $300,000. The best part, however, was demonstrating why the kill didn't provide the casino with any of the intended protection . . . it was a complete waste of time! hustlers andpractice Some hustlers have adopted a unique practice regiment: they move without moving! Some will make a 'false move' the first time they get their hands on the declc. They throw in a false shuffle before legitimately shuffling, or deal a second for no reason. They practice tl~iderjire,which may be the ultimate approach. The first time cheaters get away with a move, something strange happens. The response is so positive that it reinforces the correct action, both physically and mentally. The brain remembers positive actions and muscle memory accelerates; the result is the equivalent of months of practice at home in front of your three-way mirrors. Conceptually, the premise is tricky to grasp, but there's no doubt that from a physiological standpoint, much more is going on than my short explanation. How many times have you practiced a move, attempted to fool someone, and it was a disaster, sending you right back to the drawing board as if all of your practice was a waste of time? Compare this experience to successf~~lly fooling someone with a move on your first attempt; from that point on, the move always seems to works as if it was always part of your working repertoire. If you believe in the physiological benefits of a successfuljirst nttenzpt of any move, consider experimenting with the move in the described no-pressure context. It works for some cheaters

Finally, it's also possible to practice card moves without a deck of cards. The technique is called 'visualization.' I first read about this science with bowlers who practiced with visualization and achieved better results than those who practiced without visualization. There were also athletes who were combining physical training with mental training and having more success than those who spent 100% of their time in the gym. Today, visualization is a critical component in most professional training programs, so why would it be different with card moves? When I was in serious practice mode and worlting on a move, I would often go to sleep visualizing the move being done perfectly. The benefits are difficult to assess, but studies support the notion that visualization is an effective training technique. The logic is that visualization actually creates a neuro-pathway to the brain where a database of positive actions (perfectly executed moves) can be recalled when it's time to execute a move. Here's what I know for sure. It can't cost you anything to try. The best-case scenario is that your sltill improves; worst case scenario is that the exercise will help put you to sleep!

LAST THOUGHTS how to read Garnbli~zgSleight of Hartd

I f your primary interest is Erdnase or pseudo-gambling stunts and you decide to jump into volume two before reading and digesting volume one, you will run into many references to moves without explanations because they were addressed in volume one. To avoid any confusion, it's recoininended that you read volume one first. You don't have to study everything, but you should have a sense o f what's covered. Then when you come across a reference to a inove in the chapters on Erdnase and pseudo-gambling stunts, you will know that the move has been explained, and you'll know where to find it. researcher I consider myself more o f a researcher than a practitioner-and definitely not a performer. Although there have been times in my life when I was practicing 16 hours a day, most o f my career has been dedicated to being well-versed in all facets of casino game protection, o f which sleight o f hand is only a tiny part.

I have never made the effortto master the majority o f the inoves presented in this research. In fact, for almost every gambling move presented, I know someone who does the inove better than I do-although I don't know anyone who does 500+ gambling moves! I like to reach a point where I can tactilely grasp a inove and demonstrate it for cardman, then move on.

Although beyond the scope of this research, I have pursued the mastery of some gambling moves and believe that I achieved these goals. Some are skill-based; others are application-based. Should we meet some day, ask me about these moves and I'll be happy to demonstrate a few. Most are million-dollar moves that I have done with rnultiple cameras, surveillance operators, and pit bosses burning me from just a few feet away . . . and don't autoinatically assume that I'm talking about cheating. autlior's perspective

Gnlizbli~zgSleight of Hand is presented from the perspective of a hobbyist for hobbyists. I can't stress this point more strongly. It was not written for hustlers, gamblers, casinos, players tlying to protect themselves, or experts on cheating. This book was written about a hobby for hobbyists. And we're all in pursuit of the same goal: exeinplaly gambling sleight of hand. credits

I f you study the history of playing cards and card games, it's an undeniable truth that as a generation, we are a little late to the party. Generations o f hustlers from Asia, Europe, and other places abroad were inventing and developing gambling moves for centuries before anyone ever heard of Jonathan Green, infamously lcnown as the "Reformed Gambler" and author o f the first

book written about cheating in America: An Exposure oftlze Arts and Miseries of Ganzblirzg (Green, 1843). Furthermore, hustlers were plying their trade long before the earliest written references. We'll never know, for example, who invented the bottom deal. Right? Not exactly. I can state with reasonable certainty that the bottom deal was independently created by several na~neless hustlers around the same time playing cards were first used to play games for money, and the same is true for other gambling moves. Although I offer my viewpoint in jest (which doesn't always sit well with serious researchers), it doesn't make my statement any less accurate. For this reason, I'll never understand how any source, particularly a magic source, can take credit for inventing a gambling move or variant that is virtually guaranteed to be a case of reinventing the wheel. "The first to appear in print" is phrasing often used to credit sources, but it doesn't speak to the true inventor, just to the first person who stole the move or independently invented the move and wrote about it. Crediting sources in magic is entirely different. The best methods and effects are deserving of credit, and I understand and respect the importance. The creative process should be appreciated and protected, but it's not the same with gambling moves. While I can name many who deserve credit for 17zode1.nadvances in cheating, such as the inventor of the first infrared inWcarnera systems, this is a different discussio~lfrom the inventors of moves with playing cards that have been around for over 500 years.

obvious solutiorzs Throughout the book, I refer to methods as "obvious solutions." This refers to the expected solution you would get from a group of cardmen if they were asked to solve a particular problem. Cardmen independently converge on the same methods, handlings, and subtleties all the time-it's part of the hobby. In some cases, the concept can even be extended to include laypeople! For example, take 100 card players who know how to overhand shuffle and have them place the ace of spades 5th down from the top. Ask if they can come up with a way to get the ace to the top with the overhand shuffle. How many do you think would stumble on the idea of running four cards and throwing the remaining cards on top? Probably all of them. Now put the ace on top and see if they can come up with a way to shuffle the ace into the middle of the deck and bring it back to the top. How many would stumble on the jog-shuffle? Probably many of them! If some action is exceptionally clever, I have no problem with crediting the source, but let's not get crazy and try to credit obvious solutions.

The Hobby - 49

Given the historical realities, my position on crediting sources is unequivocal. I stay away from the credits game, opting to let the historians interpret the printed word. With few exceptions, anyone who has ever shared a move with me learned it from others and openly stated so. When I say that "MD was the first to share this move with me," I'm not crediting MD with inventing the move; I'm merely expressing gratitude to the person who educated me. I will also be using the initials of many hustlers in this research for another reason-I may write about them one day.

I do not expect or desire credit for anything. If I use my last name's initial "f' in the name of a move, it's only for convenience. Although I have independently developed dozens of the ideas in this research-as all cardrnen do-coming up with an idea doesn't mean that I was the first. If I have unlcnowingly described something that already exists in print, my apologies up-front.

secrets Several moves have not been tipped because they were shared with me in confidence. There are also variants of moves that I passed on-many from cardmen who may write their own book someday. For the record, however, my most treasured secrets have little to do with moves and almost everything to do with people, places, and scores. Evelyone is different when it comes to protecting secrets. I've been told that I have a reputation for being generous with information but have never understood why. I can't recall a single encounter with a cardman where I was asked to reveal a secret that was so sensitive it forced me to say, "Sorry, but I can't tip that." Instead, I'm comfortable responding to almost any question with sincerity and without crossing any lines. Why? Because I can share hours of information without ever getting remotely close to sensitive issues. And then there is the 'bragging-rights' paradox There are things that some can't brag about, so they don't; others with nothing to brag about, often do.

Welcome to the hobby. Secrets can also lead to a few unpleasantries in the hobby: the teasers, takers, and no-tippers. Some cardman like to tease, "I know a mechanic with great work on that move, but I can't talk about it." Then why bring it up in the first place? Some are the so-called 'takers.' They may share a move or idea, but it's all a game; their sole motive is to get the good stuff for fluff. Then there are the no-tippers, the few who are neurotically secretive, and many were fortunate to acquire knowledge from legenda~ysources, but still refuse to share.

50 - Gambling Sleight of Hand

Here's my position on givers and takers. Not evelyone can be a giver. One may he a beginner, an unknown, or lack any knowledge about gambling. So what? If a cardman is a good guy (or gal), respectful, and has a genuine interest in gambling moves, that's good enough for me. It's never about deserving and undeserving. It's never about a payoff. For evely card~nanI've ever met, there was always a reward, whether it was the individual's effort, enthusias~n,a novel idea, favorite stuntlmove, or the beginning of a friendship. As for the other guys-those driven solely by ego-don't let them be a distraction. For some without real lcnowledge, the facade of secrecy is often a defense mechanism, so you're not missing anything. Besides, why would you want to session with a guy who doesn't want to share anything? Frankly, I personally haven't run into many of these issues, but I have met many who have expressed frustration in their failed efforts to meet and learn from prominent cardmen. If you've ever experienced this kind of disappointment, here's a s t o ~ ythat I had to share. One of the people in magic that I always wanted to meet was Charlie Miller. Like many of you, I bad read about his expertise with gambling moves. Many years back, I pick up the phone and it's Charlie. After hearing his trademark hello, "This is Charlie Miller, Charlie Miller, Charlie Miller," I tell him that I'm a huge fan. He immediately asks, "I understand that you're a mechanic?" I respond, "Where did you hear that?" Charlie then asked me what I did for a living. After explaining that I owned my own security firm and traveled around the world lecturing on casino game protection, he says, "Listen, I have to go." He hung up the phone and I never talked with him again. Given what I knew about Charlie at that tirne-beyond the scope of this research-I was taken aback. But as they say, it is what it is. My point is that there was a time when Charlie Miller was the gentleman I n~ostwanted to meet, but 20 seconds on the phone was the best I could do. Was I disappointed? Sure, but it was only temporary. Here's the good news. There are plenty of givers with genuine knowledge and a willingness to share. Many were kind to me, and I have made evely effort to reciprocate. Besides, let's lighten up a bit. Ganzblirzg Sleight ofHaizd is not about the details of scheming casinos for millions. It's not about mechanics taking off mob guys and risking their lives. It's not about the biggest games on the planet. Gar7zbliizg Sleight of Hand is about a hobby, and at its core is the common goal of advancing the art, and there can be no advancement without a willingness to share. Enough said

The Hobby - 51

opinions One of the problems in this field is the opinions of some who refuse to be more objective, or maybe they just don't know any better. I remember a talented magician demonstrating a false shuffle for a well-known hustler who immediately spouted, "That won't get the money." However, when it comes to gambling moves, any move will get the money under certain conditions. If someone wants to make the statement, "That move won't fly in nzy game," that's fine, but no one can make the statement, "That move won't fly" as if he had a crystal ball into every game in every home, bar, baclcroom, club, and casino. To voice opinions in such absolute tenns is the epitome of arrogance and ignorance. Should you come across these statements, consider the sources. In this world, it's never wise to speak in absolutes. Depending on the game, it could be the case that anytlzing goes!

My mission statement is two-fold: First, if you pick up a new move or two, or a new stunt or two, or learn something about Erdnase, or most importantly, start having more fun with gambling sleight of hand as a bobby because Ganzbli~zgSleight of Hand helped expand your knowledge and improve your skill, I've succeeded. Second, if the research causes you to thirzlc dijfel-erztly about the hobby of gambling sleight of hand, I've succeeded. Only time will tell.

52 - Ga~iiblingSleight of Hand

SUMMARY 1. Gambling sleight of hand attracts different people for different reasons, and they don't all have to he nefarious. I wrote Ganzbling Sleight of Hand for cardmen and cardwomen, which I define as magicians and hobbyists. 2. Gambling Sleight of Hand offers my research during a life-long pursuit of technical excellence. It loolcs at gambling moves as executed by cheaters, compares them to methods employed by cardmen, and presents the differences. The core moves are broken down in exacting detail, generally starting with several technical observations. Variants and exploratory ideas presented next to show technical scope. The goal is to conduct a comprehensive evaluation of each genre, loolcing at everything from both a macro and micro perspective, which should lead to the best methods, handlings, and variants. 3. Moves don't have to be good or adeptly executed by cheaters to be successful. It depends on many factors, especially the knowledge of the players. To cheat rank suckers, almost anything goes. To cheat the average player, cheaters have to be technically adept. To cheat seasoned players, cheaters generally have to be technically andpsyclzologically adept.

4. There's no reason why cardmen should be restricted to card-table protocol unless gambling authenticity is the goal in a gambling demonstration. An understanding of card-table protocol is necessary, however, if you want to follow the logic, construction, and objectives of authentic gambling moves.

5 . Gatidding Sleight of Hand is ahnost exclusively about execution, not application. The research explores the sleight of hand practiced by cheaters, not the s c a m they perpetrate.

6. I was privileged to be around many experts as a young cardman. If you don't have a mentor or find it difficult to track down those 'in the know' or those 'with it,' Gambling Sleight ofHand attempts to fill this void. 7. If you want to advance your thinking and understanding of this field from a technical perspective, learn to identify and avoid artificial moves. Also, don't be lazy and take the simple moves for granted; eveything requires careful thought and practice. Think about every component in a move, and even after you learn to do a move adeptly, continue to dig deeper for ways to improve your skill. If you take the time to evaluate handlfinger position, actionslmovements, speed, rhythm, cover, and all other factors addressed in the lessons presented earlier, it's the best you can do.

8. Don't get misled by specious arguments that just because cheaters and magicians employ similar moves, there are similarities in the fields. This is like comparing a brain surgeon to a chef because they both use sharp instruments! When it comes to gambling moves, strive to clearly understand why cheaters and cardmen think and act differently about moves . . . it's one of the most important factors separating the knowledgeable cardman from the enthusiast. 9. Nothing will cost you more time than practicing a bad move. Of all the practice regiments, none will help improve your skill faster and more effectively than alternating the true action with the false action. This is also the most effective way to 'match up' moves with their default actions, which is the goal with any gambling move. Strive to reach a point where it's difficult to tell the false action from the true action. Before practicing, take a second to think about the most efficient way to practice. The more repetitions you can squeeze into each practice session, the faster you'll achieve your goals 10. Be reasonable and respectful about secrets, credits, and opinions.

B ~ c kRow: J ~ MK E ~ ~ ESA[ R , P~ACENTE, M i k ~Phillips, JARRET A N ~ R U S k ,~D A ~ ESTEVE S , FORTE,J ~ MPAYNE FRONTROW: DANC A M ~ ~M~i O

False Shuffles - 55

INTRODUCTION False shuffles represent a prominent portion of the field of gambling sleight of hand. For every style of legitimate shuffle, there's a corresponding false shuffle, so there are plenty of methods and a wide range of diversity. False shuffles can be devised to control a single card, slugs, half decks, near-full decks, and full decks. Also, control doesn't always mean to retain desired cards in their original position. The goal may be to re-position a slug to another part of the deck so it's cut into or out of play, or control it compositionally by retaining high cards in one half and low cards in the other half, or to reverse the position of the cards relative to the opposite end of the deck. A common application for many false shuffles is that after carrying a slugistack on top or bottom, it's positioned in the center of the deck marked by some form of brief (job, bevel, crimp, etc.). The brief may be set for the dealer's partner or an unsuspecting player. When this is the goal, it's the cuttingphase that carries the slugistack back to the top or bottom, not the shuffle. There are two basic genres of shuffles: table work and off-the-table work. Table work includes false table riffles, cuts, strips, boxes, and more. Off-the-table work includes the same subsets along with the overhand shuffle, only the methods are more informal.

56 - Ga~nblblgSleight of Hard

To help simplify the explanations, here are a few t e r m before we get started.

A 'slug' is a group of cards, To 'carly a slug' means to control the slug, and to 'carry a cut' means to complete the cut.

A 'procedure' or 'shuffling procedure' is a complete sequence of riffles and cutslstrips. To 'split' the deck means to divide it into halves for a riffle. A 'partial split' means to split the deck but stop short of separating the halves, allowing one half to rest on the other momentarily before riffling. To 'box' the declc means to cut the deck but it in a specific way. Boxing refers to undercutting about one-quarter to one-third of the deck, carlying the cut, and then splitting the deck into Izalves for a riffle. The t e r m 'heavy' and 'light' pertain to splitting the deck. Splitting lzenvy to the right means splitting a little more than one-half deck to the right (about 30 cards); splitting light to the right means splitting a little less than one-half deck to the right (about 20 cards). When the deck is in 'table-position,' it rests on the table directly in front of you in the standard starting position for the professional riffle shuffle. When the declc is in the 'protected-position,' the declc is in table-position with both hands on the deck; the first fingers are on top, second fingers touching each other at front center, and the little fingers at the end. The 'one-hand protection position' refers to only one hand in the protectedposition-usually describes the position of one hand on the deck while the other hand pusheslsquares the halves together after a riffle. Other t e r m will be defined as needed

FALSE TABLE RIFFLE SHUFFLES

--

The table riffle shuffle is the professional riffle shuffle seen in casinos, cardrooms, and most private games played for meaningful stakes. Before we delve into false riffles, let's briefly overview the legitimate shuffle. Despite the shuffle's well-known fundamentals, the styles, nuances, and habits of the shuffle can vary from card player to card player, dealer to dealer, and mechanic to mechanic, often forming the foundation for different false shuffles. As we proceed, it will be helpful to establish a standard. Professional Table Riffle Shuffle Having once owned The Las Vegas School of Dealing, here's how we instructed dealers to riffle shuffle. The process comprises four steps. 1. Split Split the top half to the right. Both halves should be approximately the same size. Butt the halves end to end, not inner corner to inner comer. The assumption was that students had never shuffled a deck of cards, so butting the ends was an easier, unambiguous procedure to teach, versus butting the comers at some stated angle. 2. Riffle Rest the fingers of each hand flat on top of their respective halves with the thumbs positioned at the back sides near the inner ends. Lift the halves with the thumbs and riffle off the inner ends, allowing the cards to spring off the balls of the thumbs. Riffle the halves slightly inward, causing the cards to interlace. Students were instructed to riffle low, quietly, and reasonably soft to avoid bending corners. 3. Pushing The Halves Together

Following the riffle, move the hands to the outer ends and begin pushing the halves together with help from the third and little fingers. Push the halves together to within about one inch from being squared. 4. Squaring Action Move the fingers to the ends and push the halves together in a final squaring action, sliding the first fingers from front to back along the ends-often described as a 'squeezing/squaring' action in this research.

58 - Gamblin~Sleight of Nand

In addition to these steps, there are advanced considerations, althougb these principles are not taught to dealers at this early juncture in their careers. Dealing schools are in the business of teaching the basics and moving on to the next student; the business is all about turnover. The most important principle governing a proper riffle shuffle is that for evely riffle, every card should change To accomplish this goal, - position. . the top card must be riffled down into the declc and the bottom card riffled up into ;he declc, eliminating the ubiquitous 'lop' or lop-sided riffle where dealers t~rzirztentionallyriffle the bottom cards first and/or top cards last and unknowingly carry top and/or bottom slugs. Another consideration is 'drop frequency' or purity of the riffle. How many cards should riffle from one half before being interlaced with cards from the other half? My riffle, for example, exhibits one- and two-card drops almost all of the time with the occasional three-card drop near the top or bottom. For an adequate riffle, about 70% of the cards should be singles with the remaining cards mostly doubles-only the occasional drop of three or more cards. If the top three cards are the AH, 2H, and 3H (preshuffle order), and postshuffle order is QD, AH, 6S, the AH is a 'single.' If the shuffled order is QD, AH, 2H, 6S, for example, the AH-2H is a 'double.' The 70% rule ensures that after three rifJles, most doubles are eliminated. To test the pureness of your riffle, take a new deck and riffle three times. Spread the deck and check for doubles, triples, quads, and more. If you count five or more doubles, trips, quads, or more, the thoroughness of your riffle would be considered poor in the casino industry. These are just some of the traits found in a proper riffle shuffle, although they're commonly absent in the riffles practiced by card players, dealers, cheaters, and cardmen. Uneven splits, excessive clumping, and lop-sided riffles are the norm. Why? Most don't know that there's a right and wrong way to riffle. Everyone does their best not to flash cards. They sense that three to five riffles is the norm. They learn that some form of cutlstrip should be included, but never at the end of a shuffling procedure, which always ends with a riffle. For professionally trained dealers, once they enter the workplace, they must immediately conform to the procedural guidelines mandated by the philosophies of the casino manager. One casino manager may mandate dealers to split one-third by two-thirds versus splitting the declc into halves, believing that a lop-sided split better randomizes the shuffle. Others mandate a strip to start the shuffling procedure as a safety-measure. Some require the dealers to spin one half of the deck 180 degrees during the shuffle to mix the alignment of the cards for protection against 'asymmetries,' which are poorly printed, cut, or punched cards during the manufacturing process. These flaws can be exploited by professional 'advantage players' (legitimate, skilled players) with strategies known as 'playing the turn' and 'edge-sorting.' Dealers are also pressured to deal reasonably fast-paced games-without running over customers. The productivity mantra, "Keep the cards and dice in the air," permeates the industry.

As dealers develop the required speed, the riffle's basic steps often amalgamate into one or two actions. The riffle and first squaring action often become one continuous action. The final squeezinglsquaring action is often omitted, as dealers let the first squaring action do all the work witli one or two pushes; allowing the hands to stay on the deck during the entire shuffle is an important factor with many false shuffles. In short, departures from the four basic steps are common. Variation in riffle-shuffle style is markedly greater in private games where there are no standards. Riffles may be excessively clumpy, skewed, high, loud, and aggressive. They may be wholly inconsistent from riffle to riffle, and it's not unusual to see card players riffle differently in an attempt to change their luck. But variety is good from a sleight-of-hand perspective: the wider the range of acceptable shuffling actions at the card table, tlie greater the opportunity to match up the different legitimate shuffles witli false shuffles. Put another way, the more default shuffles there are, the more false shuffles there can be. These factors play an important role in the following methods.

Carrying Top Slugs Consider the following challenge. You must riffle the deck three times and carry a four-ace slug on top, but you cannot cut, strip, or riffle the slug down into the deck. Are there any options for adding deception to this basic three-riffle shuffling procedure? This is one of those questions I like to pose to cardmen. Most initially draw a blank, although splitting the top half to different sides eventually becomes an obvious solution. Here are a few technical observations to consider. splitting nnd switckirtg sides Alternating the direction of the splits is the simplest way to add deception to the three-riffle procedure. Splitting the top lialf to the right for the riffle is most common and natural, since this is the dominant-hand direction for the vast majority of card players. Some card players not only consistently split the top half to the right, they split to the right and slightly forward, then slide the lialf back for the riffle. This appears to be a dominant-hand idiosyncrasy. To employ this ruse, many hustlers like to mix it up; they first split the top half to the right, then left, then right. Do the same, but when you split the top half to the left for tlie second riffle, the left half riffles last, selling the notion that the top cards are riffled down into the deck. For the dominant-hand falce, split the top lialf to the right and slightly forward for the first and third riffles, but split the bottom half to the right and slightly forward for the second riffle. Again, riffle the left half last during this riffle, sllowing what appears to be the top cards riffled down into the deck during the second riffle.

60 - Gambling Sleight offland

riffling off the thumbs The most salient trait of a legitimate riffle shuffle is the cards riffling off the thumbs, but surprisingly, this is not the norm with most hustlers and cardmen. Typically, when manipulation occurs, as the riffle ends, the slug does not riffle off the thumb; instead, the thumbs never let go and merely lower the slug. When most of the cards spring off the thumbs except the last cards, the visual credibility of the riffle is compromised. When the cards legitimately springlriffle off the thumbs, there's that moment where space is visible between the thumbs and the top of the deck that sells the no-manipulation casualness of the normal riffle. To avoid bringing attention to the top cards during the riffle and emulate a true riffle, springlriffle the cards off the thumbs.

photo 1 - 1

photo

ng the cards, not rLJllng

L-

r q p z g off the tnumos

split-cover When both hands grab thc dcck in the protected-position as depicted and briskly split the deck, it's difficult to see if the top halfwas split to thc right or left. Since the split only takes a sccond, hand-cover only exists for a second. This is an easy ruse to incorporate into the three-riffle challenge.

I photo 3 - thepn

d-position

one-handprotected-position With most methods for carrying top slugs, immediately following the riffle and first pushing action, the goal is to get the inner end bf the slug behind the second finger of the opposite hand as fast as possible for cover. This is the 'one-hand protected-position.

-

False Shuffles 61

The deceptiveness and cover depicted in the following two photographs are starkly different. Photo 4 features the one-hand protected position with the left hand on the left end for cover, while photo 5 depicts a two-hand squaring action that exposes the unriffled slug. This is a good example of how finger positioning can change everything.

photo 4 - one-handprotected-position

photo 5 -pushing/squaring the halves with noprotection

overprotecting slugs As a general rule, avoid overprotecting slugs by more than three cards. There's no need to count or 'hold back' a specific number of cards when you're carrying slugs. (To hold back three cards, for example, means to end the riffle with dropping exactly three cards on top, an essential part of riffle stacking.) A three-card leeway is more than enough to riffle without hesitation, yet carry a small slug.

tap fake Card players will occasionally split and tap the inner ends of the halves to facilitate riffling. Cardman Frank Thompson is credited with the idea of tapping the inner ends and then letting the bottom halfrest on top of the top half for a split second before riffling. Now when observers watch the top cards of the upper half during the riffle, they see what appears to be the top cards getting riffled down into the deck. Here a tap fake is combined with a partial split. Incidently, I use partial splits all the time. As you can see, there are many technical considerations for even a simple goal. These ideas also apply to carrying bottom slugs.

62 - Gambling Sleight of Hand

Carrying Bottom Slugs shadowing Whether you split the top half to the right or left, an excellent subtlety for providing cover for a bottom slug is to split the bottom half about one-quarter inch back from the other half. Riffle, carry the slug, push the halves together in the same uneven alignment until they are in the protected-position, and square the deck normally. When you carry a bottom slug, splitting the halves in perfect end-to-end alignment gives observers a chance to visually compare the halves, which can lead to the detection of an unshuffled slug. However, if the bottom half is slightly back relative to the top half during the riffle, only a shadow is visible, which is visually more difficult to interpret.

t/'l"1"

V

- "W

.""'UWW

splitting end to end versus corner to corner Spitting end-to-end provides more cover for carrying bottom slugs during the rilile than splitting comer-to-comcr, especially with large slugs, say ten or morc cards. For a morc advanced concept, assumc that you like to split comer to comer (photo 9). As you rifflc, riftlc one or both halves slightly fbntwrd to create a subtle bevel, which can really make it difficult to detect riffling order and unriffled slugs.

I

photo 8 -splitting end-to-end

False Shuffles - 63

photo 9 - splitting corner-to-corner

photo 10 - rzffling right halffornard

Photo 10 depicts several ruses. A tight comer-to-comer split is employed with shadowing. Note that the right half is stepped back, but riffled forward. This is a powerful combination. Also, one can clearly see that the cards were riffled off the thumbs. Side note: As a professional blackjack player, one of my specialties was 'playing location' (visually tracking cards during the shuffle). When the deck was split comer-to-comer, depending on the speed and skill of the dealer, the order of the riffle was 'naked' (exposed) from the front. Conversely, dealers who split end-to-end were always more difficult to track relative to bottom slugs. There are many situations where the splitting orientation is not a critical factor, so these subtlctics arc offcrcd as conceptual considerations, not hard-and-fast rules. My goal is to introduce the evaluation process at a micro level, looking at every conceivable nuance of the riffle to ensure that we're maximizing deception. All cardman can split, riffle, and pushlsquare the halves together, but how many have reasons for executing each task in a particular way? lift or leave

After the split, should you lift both halves off the table and riffle the slug first, or only lift cards above the slug, letting the slug remain on the table, and riffling from this position? This is a question that has persisted since Erdnase. Although there's always a timing discrepancy when you riffle a slug before the cards start interlacing, I'm taking my chances with this discrepancy every time-and it's supported by most mechanics. If both halves are not naturally lifted off the table to start the riffle, detection can occur before thejrst card is even rifJled. Besides, with practice, timing discrepancies are minor.

64 - Gnntinbling Sleight ofHand

photo 12 - l$i~ting both hnlves

don't ignore the top slug

This is important advice when carrying bottom slugs, although it's colnlnonly overlooked by all but the best. When carrying a bottom slug, ensure that the top cards are riffled down into the deck during the riffles; otherwise, a riffle that unintentionally carries a top slug can attract attention for all the wrong reasons. splits

A partial split directs attention to the top half, which is often intentional when a mechanic wants you to unequivocally see the top cards riffled down into the deck. But it works for bottom slugs, too. I like to split the bottom half to the right, let the top half rest on the other half for a split second, then start and end the riffle with the right half. The sequence shows what appears to be the entire top half getting riffled and 'sandwiched' into the deck. In suinmaly, there are several technical considerations for carrying slugs even when the only tool at your disposal is the riffle. This leads to an important conclusion. When complete false shuffling procedures include one or more false cutslstrips, the riffles are still key components. In the standard riffle-riffle-strip-riffle procedure, don't rely exclusively on the false cutlstrip to provide all the deception. Three properly executed false riffles and one good false cutlstrip are always better than three poorly executed riffles and one good false cutlstrip. In a complete shuffling procedure, the moves should cornplin~enteach other, not clash or detract from each other. Here's the takeaway:

Strive to deceptively fake the entire slzz(fli~zgproced~~~*e and izotjust one part. Ifyou capitalize on eve1-y deceptive angle during each part of the procedzlre, the riffles can be used to set up tlzefalse cut/strip, coinplenzerzt it, and better sell the authenticity of tlze erztirepl-ocedure. This is the philosophy of the best nzeclzarzics.

Carrying Big Slugs I define a 'big slug' as about ten or more cards. building slugs Hustlers are often in positions where one or more x-cards must be added to a slug/stack on top of the deck. This requirement is not a negative and is often intentional. When you 'kill' the top cards by riffling them down into the deck under one or more x-cards, you add another level of deception to the riffle. Consider a slug of AxxxAxxxA picked up from a previous round in a four-handed poker game. To stack the aces for the dealer, three x-cards must be added on top of the slugistack. Riffling one x-card on top of the sluglstack during each riffle provides the procedure with three visual convincers. Building slugs as described is elementary. Let's kick it up a notch. split, intinediate rijpe, nndpz~slz- top slzrgs (SZRP) The acronym, SIRP, is used for a false shuffle that comprises three distinct actions: split, immediate riffle, and push the halves together. The method will probably be considered ballsy by many cardmen-maybe all cardmen-but that's only because they have never seen the move done well. I never had a chance to read about SIRP; I first saw it under fire. The only thing that caught my eye was the odd timing of the riffle. It loolced as if the deck was split, riffled, and squared in one continuous action. It even loolted like the halves were pushed together openly and convincingly. Or so it seemed. The work was later tipped to me. I was startled. I wasn't surprised to learn that the mechanic (FOF) was carrying slugs, but was shocked to learn that he was carlying 20-card slugs! Traditionally, when cardmen need to control 20+ cards, most immediately start thinking pushthrough, pull-out, Zarrow. This method allows you to carry a 20-card slug as if the slug was only a few cards and without 'cover-cards' (x-cards riffled on top of a slugistack). When covercards are employed, the shuffle is even better.

66 - Gambling Sleight of Hand

When SIRP is done adeptly, the results will surprise you. You may even question everything you've ever learned about more difficult, complex methods for achieving this goal. Split a heavy top half to the right. Don't let go of the right harand don 'tplace it on the table; instead, split and riffle in one continuous action, carrying the 20-card slug. Let the cards in the right half spring off the thumb and just before the rij'j'le ends, push the halves together into the one-hand protected-position. Note that the right halfs outer comer lands behind the left second finger (photo 15). With the right hand, continue to cleanly make one final, fluid pushinglsquaring action to end.

photo 15 - top slugpushed behind left secondfinger

-

pnoro I o square-up

Experiment with tilting the light half slightly downward during the split to better hide the lopsided split. Also, try letting the cards spring off the thumbs, rifflinglspringing the halves slightly forward for cover.

When I'm in stroke with this move, it feels like the instant the top cards of the right half spring to the left and forward, I'm safely in the one-hand protected-position. SIRP's default shuffle must adopt the same handling and rhythm to lay the foundation for the move. The mechanic would throw in the false shuffle from time to time to test the waters. When he was in position to safely cull desirable cards, he could bang three false riffles in a row with a short base-strip after the second riffle, carrying a 20-card slug without having to resort to more movey, difficult, or traditional methods. 'l'he timing of SIRP has always intrigued me. Think about how many times we have watched a riffle shuffle. The moment the deck is split into two halves, there's an anticipated timing of the riffle and the square-up. With this method, the riffle is immediate and occurs before it's expected. By the time our brains catch up, the halves are already pushed into the one-hand protected-position, which leads to a final, clean, normal-paced pushinglsquaring action. The method introduces several interesting concepts: 0 combining the split and riffle into one action-the

'immediate riffle'

0 combining the split, riffle, and initial pushing together of the halves into one action

0 instantly riffling the right half into the one-hand protected-position 0 tilting the light bottom half forward to hide split-size discrepancy

0 riffling the top cards slightly forward-a

common action with the Zarrow

Regarding the last bullet, think of splitting the top half to the right and zarrowing under three x-cards. Now compare this action to SIRP. With the Zarrow, the interlaced halves must be separated-the move's most vulnerable step. With SIRP, they do not. SIRP has some similarities to the 'Shank shuffle' (Frank Shank's false shuffle fiom the 1970s), but the timing, cover, and subtlety of the false shuffle better represent the normal riffle, albeit at a slightly faster pace with a more aggressive shuffling style. Before you decide if the SIRP is a notable step forward, get the timing down. SIRP is all about rhythm and cover. I used to routinely practice this move by carrying half-deck slugs, then 20-card slugs, then 15-card slugs. Once I got to 10-card slugs, it didn't even feel like I was carrying a slug.

68 - Gambling Sleight ofHand

split, immediate riffle, and push - bottom slugs

This method also carries a big bottom slug of approximately 20 cards. Like SIRF', it introduces another novel concept. Partially split a light top half to the left and let it momentarily rest on the bottom half. Riffle the 20-card slug followed by legitimately riffling the remaining cards. Immediately start the initial pushinglsquaring action by beveling the bottom of left half slightly forward with the left thumb as the left second finger presses down on these beveled cards-this is the move's novel action. The illusion of the halves riffled together is very good (photo 18). Keep the right hand relatively motionless as the left hand pushes its half into the right half. Loosen up on your grip as the halves are pushedisquared together.

Beveling the top half is not a natural movement so keep the action to a minimum. The lowermost beveled cards should not protrude forward by more than one-half inch, just enough to allow the left second finger to softly bend them down and hold them on the table to provide cover for the slug. With practice, the actions will flow together. You'll know you're getting close to mastery when the bevel stops registering as an extra movement during the riffle.

False Shuffles - 69

LEGITIMATE TABLE CUTS and STRIPS -We've addressed false table riffles and briefly touched on the riffle with cover-cards. We've also looked at an example of an immediate riffle with immediate cover (SIRF') to cany 20-card top and bottom slugs, all without false cuts andlor strips. It's time to start incorporating false cuts and strips. I've been collecting false cuts and strips for decades. I don't know how many of these moves can be documented in gambling and magic literature, but I'm willing to bet that over 100 false cutslstrips could be quickly referenced with little effort and that the counting wouldn't stop there. Since the best false cuts and strips are designed to imitate true cuts and strips, have you ever stopped to think about how many true table cuts and strips are possible? I have. For all practical purposes, there are only three!

1. Cut You can undercut or table cut: cut the top half to the table and cany the cut. 2. Strip To 'strip the deck' consists of holding the deck above the table and shipping an upper packet to the table, and then shipping a second packet onto the first stripped packet, and throwing the remaining cards on top. This is a three-part strip or 'quick strip.' The action inverts three packets of cards-the shortest possible strip. Stripping the deck can be extended to more packets.

Pull a packet from the center of the deck and throw on top. This is an open action (not hidden) that can end as a cut or continue as a strip. The definitions for these basic actions can be expanded. The standard table-cut can be expanded by cutting into three or more piles. Repeat an undercut and you have a double-cut. Undercut three times and you have a triple-cut or the standard 'gamblers' cut.' Undercut four or more times and you have what some hustlers call a 'circle,' 'loop,' 'or 'round-n-round' cut. In the casino industry, undercutting one-quarter to one-third of the deck to the top before splitting at center for the riffle is called 'boxing the deck.' In many poker circles, boxing is synonymous with stripping. Stripping more than five packets is generally called a 'thin strip,' and when the first packet stripped is about half the deck followed by a thin strip, it's a 'half strip.' Some card players believe that cuttinglstripping from the center to the top better protects their shuffles. Cutting from the center was promoted by John Scame and called the 'Scarne Cut.' The purpose was protection against various scams, in particular stacking. Scame recommended that cutters in pass-the-deal formats cut from the center a few times before cutting the top half to the

table in the traditional fashion. By definition, a center-cut is a,fnlse cut because it carries a bottom slug. For what it's worth, the recommendation is ill-advised. At best, the Scarne Cut offers only limited protection; more importantly, it can create a dangerous false sense of security. Since there are only a few true cutsistrips, how can there be so many false cutslstrips? How many of these moves do a good job at closely emulating true cuts and strips? In hustling, when it comes to false cutslstrips, there's no creative process, per se. Moves are not invented for the sake of inventing. Moves evolve in an attempt to emulate everyday card players. Conversely, in magic, there's a creative process that results in countless false cuts/strips that may be deceptive, cool, and even desirable for achieving specific goals, despite the fact that they don't look like the normal cutsistrips of card players. A good example is the Erdnase's well-known, fancy three-way cut. I love the move. It's different. I've worked out variations. I enjoy demonstrating it for fellow cardmen. I just don't expect to see the move in any card game, anytime soon. Artificial false cutlstrips are commonplace in magic and because they fool laypeople, there's no reason why these moves shouldn't be used by cardmen. But this research is not about finding the best techniques employed by cardmen; it's about finding the best cheaters' techniques. If that's your goal too, don't be in a mad rush to start practicing the next false cutistrip you headread about without first thinking about the true cutting and stripping actions along with the gamblers' logic and psychology that drives the construction of these moves. An understanding of these factors lead to the best false cutsistrips. Here's are few introductory observations to think about:

0 There are very few true cuts and strips. 0 There are only so many reasonable ways to fake true cuts and strips 0 The best false cutsistrips are designed to emulate the normal actions of card players. 0 The best false cutsistrips are surprisingly simple and easy to learn.

0 Artificial moves do not exhibit the traits found in normal cuts and strips, 0 These principles apply to all forms and styles of cutting and stripping, 0 The goals of cheaters and cardmen may be markedly different relative to these moves. 0 Even with the standard false cutsistrips, expect a stark difference in methods between

cheaters and cardmen..

FALSE TABLE CUTS and STRIPS The simplest way to mix a deck of cards is to cut the declc-more accurately stated, cutting the deck is the simplest way to reorder the deck. This process consists of either an 'undercut' (undercutting about half the deck and carrying the cut) or 'table-cut' (cutting the top half to the table and carrying the cut).

As a young cardman, I included a move called the 'scrape-cut' in my Gnnzblirzg Protectior~ Series. This is my monilcer due to the top half scraping the bottom half during the move. The false cut emulated an undercut and entailed moving the top IznEfforward, tilting it backward and sliglitly off the deck, and slapping it back on top. The seed for this move was my interpretation of a cut I heard about in magic. But I exaggerated the action and exposed the lowermost card of the top half, which appears to be the bottom card. Although my execution was poor relative to the card table, it's one of the moves I'm most asked to demonstrate for cardmen. Years later I had the opportunity to sit down with professional crews that were using a variation of this move to beat the cut. I demonstrated the scrape-cut but the hustlers were not impressed. I11 their view, the action was too showy, and it blatantly flashed the bottom card-a definite nono with experienced card players. The harsh criticism led to some valuable lessons. You often wrestle with a move for a long time before you realize that you can't have it both ways. Some moves are only deceptive when presented in a certain way, or from a certain angle, or under certain conditions. If a move doesn't fly according to standard card-table protocol, that's okay. Simply accept the fact that it's not a practical move at the card table. There's a reason why I have never met a hustler who faked an undercut as described: there are too many better, safer ways to get the job done. Hustlers and cardmen live by two completely different sets of standards and challenges that determine which moves become part of their trade. While gamblers' moves can be restrictive due to game protocol, there are no limitations for magicians, which is why you don't want to underestimate the value of this move. With the flash, the scrape-cut remains a very good, direct, deceptive false cut for magic. After slightly modifying tlie action to eliminate the flash, it's a good move at the card table, too. tccltrticnl obscrvatiorts

The key to a deceptive scrape-cut is quiclcly moving the top half forward and tilted slightly backward; after the halves clear, tlie move is all show.

72 - Gaillbling Sleight of Hnnd

-observer's

perspective

During the initial action, aim the front side of the top half at the observer's eyes, making it more difficult to distinguish one half from the other.

photo 19 - ai~ilblgcut at observer's eyes

Tilt the top half backward to a point where if it were tilted any farther, the bottom card would be flashed. In other words, the tilting of the original scrape-cut must be subdued to better match the actions of the nonnal undercut

-lifting the bottom half During the initial scraping action, lift the bottom halfsligl~tlyoffthe table to create space-exactly what happens with a genuine undercut-and then drop the bottom half to the table before slapping the original top half on top. -imtantaneozis action The instant the hands grab the deck should be the instant the false cut begins. No fiddling. I like to take both hands off the deck to square it at the ends, regrab the deck and instantly do the move (recall the stop-start principle). I've watched many interpretations of the scrape-cut and although the results were often convincing illusions of a cut, something wasn't right. The actions were either unusual, awkward, unnecessarily exaggerated, or had an intermittent break in rhythm. Strive for one smooth action. Faking the undercut as described is about as good as you're going to get for accomplishing this simple maneuver.

False Sl~uj'JIes- 73

Table-cut (poker) In the professional poker game with a house dealer, the standard procedure for cutting the cards is to square the deck after the last riffle, take both Izntzds oofftlze deck, and use only one hand to cut about half the cards to a cut-card (plastic card) and carry the cut. The steps in this procedure often innocently overlap and it's not uncommon to see the hands linger on the deck for the cut (instead of releasing the deck), creating the opportunity for manipulation. From a method standpoint, there are several general approaches for faking the standard table-cut. Examples include the following: 1. After a slug/stack is shuffledlpositioned at about center and marked with a brief, the deck can be cleanly cut with one hand, carrying the slug/stack back to the top.

2. The push-through, pull-out, or Zarrow can be used for the last riffle to set up the cut. 3. The cut can be faked with a slip-cut, but it's a poor choice. Slip-cuts are discussed later.

4. Gaffed cards are another option. One mechanic used a single 'in-stripper' or 'n-stripper' (negative stripper: concavely cut at the sides) positioned above the slugistack; this allowed the deck to be perfectly squared and cut with one hand.

5. The last option is to boldly fake the cutting action. My favorite option for faking a table-cut is with a base-cut, cutting the bottom half forward to the table followed by carrying the cut. Sometimes the most basic actions require the most thought and analysis, which in hum leads to some of the most profound lessons in sleight of hand. Both Vernon and Marlo had touches on this cut. Vernon offered a swiveling action of the bottom half. Marlo tilted the top half before making the cut-to bring attention to the top half. Although I'm always open to any effort to rethink, dissect, and tweak a move, both touches stray away from the true action. When you start with the deck in table-position and must cut the top half to the table with one hand, the rigid protocol doesn't allow any time to be creative. Since card players have watched the deck get cut thousands of times, any superfluous movement that deviates from the immediacy and directness of such a well known, anticipated, simple, routine procedure will get noticed. The cut has to match the default cut in terms of space and time. According to the best mechanics, the best methods all incorporate one or more of the following details. They are all designed to 'sell' or 'frame' the move, meaning to present the cut in the most acceptable, yet convincingly deceptive manner.

74 - Gambling Sleight of Hand

technical obsewations -hand

cover

Without good hand cover, too much of the deck is exposed, which can leave the base-cut vulnerable to detection. Generally, above-average speed is a practical option. A fast pace also happens to be the norm for many professional dealers who tend to shuffle, cut, and deal fastpaced games initially, but slow down as the hand is played. This is a welcome combination for players who want to play as many hands as possible. Also, dealers are always on the soft hustle for tips; the more hands they deal, the more money they make. After the final riffle and square-up, grab the top half at the left end with the left second finger, third finger, and thumb; let the index finger rest naturally curled on top. With the right hand, grab about 75% of the bottom half with the first finger resting on top in front of the left first finger. The grip is skewed with the middle fingers contacting each other in a kind of protected-position. Almost the entire deck is covered but only for an instant. Once in this position, immediately cut the bottom half forward with the right hand. The moment the bottom half clears the top half it's lifted slightly and placed on the table in a normal cutting action. The right hand comes back to the original top half and carries the cut. Some believe that moving the top half backward with the left hand as the right hand base cuts forward is the optimal action. The thinking is that both hands moving in opposite directions expedites the cutting action. I'm not sure about this. During the normal default cut, there's no reason to slide the bottom half backward. For your best shot at emulating the true action, the most natural action of the left hand is to simply release its grip on the deck and slide backwards, directing all ofthe attention to the right hand cutting and carrying the cut.

False Shuffles - 75

Execute the base-cut briskly with slightly-faster-than-normal speed. -lifting

the initial halj

As soon as the bottom half clears the top half, lift it to a plane just above the top half to emulate the true a c t i o n 4 0 not just slide the bottom half forward on the table. There has to be some lift to emulate the true action. -cutting

with one hand

As the right hand cuts the bottom half forward, the instant the half clears the top half, slide the left hand back off the deck, which occurs before the right handfinishes cutting the bottom hayto the table. This sells the notion that the cut is done entirely with one hand. -carrying

cut with one hand

When you pick up the original top half with the right hand to carry the cut, grab the half at about center, not at the end as you did for the base-cut. Since there's nothing to hide at this point, it's okay to open up and expose more of the deck. Recall that the right hand covered about 75% of the bottom half for the base-cut, but it's unnatural to grab 75% of the original top half to cany the cut. -squaring

action

To create the strongest impression of hoth hands being off the deck before the cut, practice the move with a squeezinglsquaring action before and after the cut. This makes the move only slightly more difficult because the hands must grab the deck as described and base cut in one motion, but it's an important step that allows players to see hoth hands off the deck, even if for only a moment. It's all about rhythm and attitude. It's possible to base cut a tabled deck with one hand, but it's not a practical option within the confines of a mechanic working as a house-dealer in poker. Tnterestingly, one-handed base-cuts are authentic cheaters' moves that were developed by crossroaders to beat the cut in 'dealeragent' scams in blackjack (an agent is the dealer's partner). The dealer would carry a sluglstack, present the deck for the cut, and the agent would base cut with a move called the 'pop-cut' (discussed later in chapter four), allowing the dealer to carry the cut. Note that in dealer-agent scams, the players are generally part of the scam, so from technical and scrutiny standpoints, conditions are dramatically softer than those for the poker mechanic, especially in the professional game.

76 - Gambling Sleight of Hand

Table Double-Cuts A false cut consisting of two cuts is a tricky technical challenge. After cutting the deck once and securing a brief, how many options are there for the second cut? Aside from something funky like consecutive scrape-cuts, the second cut is limited to reversing the actions of the first cut. With this in mind, here are two solutions to the problem. The first offers a practical solution for emulating two consecutive undercuts; the second offers a solution for emulating two consecutive center-cuts. This following cut is probably is likely to be an early version of the gamblers triple-cut, which is described shortly. It consists of two undercuts, back-to-back. The first cut is secured with a break, step, or other brief; the second cut is made from the same brief. But to give the move any chance of being deceptive, the idea is to change the action of the two cuts. Undercut about one-third of the deck and keep the packet level as it comes over the top onto a left-thumb break, then immediately undercut the remaining two-thirds at the break to the top in a slightly tilted, upward motion that ends with firmly slapping the packet on top. That's it. The fnst cut remains relatively level and quiet; the second cut is lifted above the deck and off its horizontal plane before it's slapped on top. Always undercut less than half for contrast; otherwise, you'll end up with two movements of half decks. Also, for the second undercut, instead of slapping the cards on top, simply toss the last packet with a little air, or step the packet to the right before squaring. These actions all sell this simple maneuver, but in different ways. Pick one that best suits your style.

center-center cut One of the earliest false cuts recorded in American literature can be found in How Gamblers Win (Evans, 1865). With the deck in table-position, here's the description: 'The 'double cut' is executed by drawing the middle of the pack out at the end with the middlefinger and thumb, and then, as they are brought to the top of the deck, catching the cards which were originally uppermost with the thirdfinger and lowerpart of the thumb, drawing them out at the end and placing them on the top again." Essentially, the false cut consists of stripping a packet from the center and exchanging it with the original top packet. The action is supposed to look like two consecutive center-cuts, but the technique is poorly constructed. Stripping the first packet from the center with the right middle finger and thumb, followed by stripping the original top packet back to the top with the right third fmger and thumb, tends to create a gap between the packets from the front, which makes the exchange difficult to hide. A better method for this cut is to use a right handlleft hand cutting action, a style of cutting most often seen in the hands of older card players and hustlers.

False Shuffles - 77

Barely lift about two-thirds of the deck with the right hand while gripping the upper half of this packet with the left hand. Center cut about half the cards in the right hand and slap them on top, but just before this packet hits the deck, move the left-hand packet slightly to the left (photo 22). After the first center-cut, the original top packet protrudes from the left end of the deck, so with the left hand, cut the center packet out of the deck and slap on top. The second center-cut is easy because the left second finger and thumb never let go of their packet. Both center-cuts can be slapped on top of the tabled cards, leaving no doubt that the packets landed flush with the other cards. The subtle slapping sound also adds a deceptive element.

c

photo 22 -stepping topportion to 1eff:first center-cut

photo 23 - second center-cut with left hand

Incidentally, the concept of never letting go of a slug during a false cutlsbip is a favorite ruse that has never been explored to my knowledge. When applied properly, it can result in 'no-miss' moves, which is not something you hear very often. Expect to find several references to the 'don't-let-go' principle throughout the book, including its colorful history.

Gamblers' Cut The 'gamblers' cut' is a full-deck control that consists of a three consecutive undercuts. Undercut about one-third of the deck onto a break, undercut another one-third while retaining the break, and undercut to the break to end. More packets can be undercut for a four- or five-part gamblers' cut. The move is never called a "gamblers's cut" by hustlers; this is an outsider's term that refers to the cut's commonality among card players. The standard method is straightforward, but there's one glaring error made by many hustlers and cardmen.

78 - Gambling Sleight ofHand

Undercut half the deck, hold a break with either thumb, and look at the front of the deck in a mirror. Notice anything?

photo 24 - visible break discrepancj~

The break creates a subtle bevel-break discrepancy at the front. When a brealc is held close to the top or bottom, it's not as noticeable, but in the center-especially with new cards-you can't miss it. And here's the kicker: the only time the discrepancy disappears is when the deck is cut at this point!

When I share this flaw with cardmen, they start fiddling, re-adjusting, and experimenting with different pressures before finally conceding that it's difficult to hide. When this flaw in my card-work was first pointed out to me, I was taken aback. I started watching others and sure enough, the flaw was ubiquitous. How could such a simple flaw go unnoticed on a grand scale? Some cardmen have suggested that after a cut and securing a brealc, squaring up loosely allows the discrepancy to blend in better than with a perfectly squared deck. Others feel that beveling the top of the deck forward will hide the discrepancy. But there's a better solution. To eliminate the visual-break discrepancy without fiddling or superfluous actions, the obvious solution is cover. After each undercut, let the hands re-grab the deck in the protection-position. Avoid cutting the packets too far to the right; instead, undercut forward to always take advantage of the fo~wardmosthand for cover. Also, strive for a tight cutting action, which means to undercut within the least amount of space, only undercutting to clear the deck, but no farther. Finally, be extra careful with new decks and breaks held at center. The following false cutslstrips often start with double-cuts that position a top slug near the bottom. While you won't be holding breaks at center, it's still izot,foolplvof without hand cover, only a step in the right direction.

teclznical observations

For most card players, whether it be a double- or triple-cut, the cutting actions are reasonably consistent, although many accentuate the final cut in different ways.

A common tell is to undercut the first paclcet and place it onto the thumb to secure a break, but slap the next two undercuts on top with zest. To make the cut look better and sound better, either softly place all three packets with little noise, or slap all three packets. If you could see the best mechanics do this move, you would immediately be struck by their casualness and rhythm. You don't want exactness, carefully cutting one-third to the top, followed by carefully cutting another one-third to the top, followed by completing the cut with the last one-third of the deck. Be bold and slightly aggressive, and strive to create an apparent series of random cuts. Also, reverting back to the protected-position and keeping all cutslstrips tight is also recommended. It's a common trait with the best mechanics and generally sound advice for most false cuts. -cutting

direction

To incorporate an action practiced by many old-timers, alternate the undercuts: make the first undercut with the right hand, the second with the left hand, and the last with the right hand. These actions make the cut look more informal, but the right-left-right action is not common with today's card players who tend to consistently cut and strip with their dominant hand. For a really different look, alternate the undercuts and leave each undercut stepped to the side (right hand undercuts are stepped to the right, left hand undercuts to the left). You'll end with three stepped packets, which can be openly squared. -break

size

The soft cuts make it easy to establish a small left-thumb break, which should be adequate to ensure control yet not cause the top half to tilt noticeably.

If you never relinquish their grip of the deck during the cuts, the deck will creep up in the fingers and create space below the deck. In the true action, the deck always rests flatly on the table following each cut, so don't forget to let the deck fall to the table after each undercut.

When undercutting to a break to complete a cut, feel free to accentuate the last cut, which is common with many card players. As previously mentioned, you can slap the last paclcet on top, toss the packet with air, or step the packet to the right before squaring. If your goal is to only carry a top slug and you want to throw cardmen a curveball, as you grab the last paclcet, grab a few cards above the break, undercut, strip to the break, and throw the remaing cards on top. Now the sequence is undercut, undercut, three-part strip.

80 - Gambling Sleight of Hand

Up The Ladder Up-the-ladder (UTL) is usually a full-deck control. It's the most popular false strip employed by cardmen. Although the standard method is not common with mechanics, UTL can still shine in the hands of elite mechanics who understand and appreciate the move's technical subtleties, extracting the best parts of the move and modifying others to avoid tells. The basic method for this move is well known and generally emulates a five-part strip as follows. Undercut about half the deck to the Lop and step the packet to the left. Undercut all cards below the step to the top, stepping this packet to the right. Undercut about half of this stepped packet to the top so they are aligned with the bottom cards. To end, cut/strip the jogged cards protruding from the right end to the top. Instead of stripping the last packet to the top and completing a five-part strip, the packet can be stepped to the right and another two-part strip can be added to emulate a thinner, longer stripping action. This is one of those moves that is easy to learn, but even easier to do poorly. Here are a few of the possible pitfalls. The stripping action of the first two packets requires an exchange-the first stripped packet to the table must be exchanged with the remaining cards in the right hand. Even when the exchange is done smoothly, the action is unnatural and can be obvious.

photo 25 - exposed strippedpacket

There's a moment with UTLs when a packet juts out from the center of the deck but is not hcld by the right hand. This is normal until the right hand regrabs thispacket and strips it to the top. In the true strip, the right hand never releases its grip on one packet to grab another. This tell is exacerbated when the stripping action is high, too far forward, or too far to the right. This is also true when stripping and stepping packets to the left, then right, or in any combination, especially when the steps are excessive, say one inch or larger.

Last, stripping the deck results in an inverse relationship between the number of cards stripped to the table and those held in the right hand: the tabled packet builds as the number of cards in the right hand gets smaller. With some UTLs, just the opposite occurs-happens whenever the first undercut is less than half the deck. As you can see, this standard false strip can exhibit many tells.

False Shu@es - 81

technical observations -starting grip

A common error is to grab the deck at the ends, which makes it almost impossible to hide the stepped packets. Start with the hands in the protected-position with the middle fingers touching or almost touching, allowing you to start the move with the most cover or with reasonable cover. -&st

undercut

Always start by undercutting more than halfthe deck to ensure that the move gets off to a good, logical start. Now after the first exchange, there are more tabled cards than those in the right hand, as there should be naturally. -eliminate the$rst stepped packet Instead of stepping the second stripped packet to the right, come directly over the top, re-grab the first stripped packet, and continue. This is a superior option for starting any UTL.

For cover, keep the hands close to the table during the strip. The left hand rests naturally ana remains relatively motionless during the strip. The cards in the right hand barely touch the layout as they glide in a slightly diagonal forward and backward motion. -stripping

direction and angle

Do not strip to the side or too far forward. Both actions increase the risk of exposing the stepping action. Strip forward just enough to clear the deck and slightly to the right, keeping the stripping action tight to provide the most cover. --only one stepped packet per strip If you come over the top for the second stripped packet, the third stripped packet is the only stepped packet in the entire move! Step the third stripped packet to the right about one-half inch or less-no reason why the step should be bigger than the width of the ball of the thumb. -last

stripped packet

As with other false cutsistrips, the final packet is stripped to the top, it can be gently slapped on top, tossed with air for a casual action, or softly placed on top about one inch off to the side before squaring slowly.

82 - Gambling Sleight of Hand

-number

of strips

Never extend the UTL sequence past five strips. If a five-part UTL-adeptly executed4oesn't fool them, additional stripping actions won't help; in fact, they will only make the move more transparent.

Strive to keep the pace of each stripped packet reasonably consistent; remember, UTL emulates a single stripping action, not a multi-phase or combination cutlstrip.

automatic break A novel attribute of UTL is that it naturally creates a gap above the top half during a modificd four-part strip.

break (exposed)

Undercut about half the deck and cany the cut, stepping it to the right with good hand cover. Strip about half the stepped packet to the top, aligned with the lowermost packet, creating a gap on the left side that makes it easy for the left thumb to secure a break as the center packet is stripped to the top. Split to the break and proceed with a false shuffle.

Note that this sequence cuts the deck. Also, it does not require the exchange of the first two stripped packets, eliminating one of the move's biggest tip-offs. Now the move emulates a fourpart strip, not a five-part strip. no steppedpackets

UTL can actually be done without any stepped packets. A clever, unpublished solution was devised by Marlo where each stripped packet was pivoted backward and diagonally by the left fingers to facilitate grabbing the packet as the next packet was stripped. It's also possible to 'come over the top' more than once (exchanging packets without steps orpivots). Despite a move known to every cardman and with a traditional method that has been carved in stone for decades, there's apparently still room for innovation and technical improvement.

False Shufles - 83

carrying halfdecks with UTL For maximum deceptiveness with half-deck controls, here's a good rule to follow.

Never use a jull-deckjalse cut/strip jor a halfdeck control because it misses the opportunity to legitimately strip halfthe deck. Save full-deck false cuts/stripsfor carving full decks.

For an example, assume that you want to do UTL followed by a push-through for a full-deck control. You could start with the traditional, five-part UTL (full-deck control) followed by a push-through and undercut. Or, do the shorter four-part strip just described and split the top half to the right at the break followed by a push-through and undercut. In both sequences, the result is the same, but the shorter UTL is superior because it eliminates the 'pickup' (exchange of the first two packets). In short, there's no reason for the traditional UTL if the goal is to carry half the deck

CTB CutIStrip "CTB" stands for center, top, bottom. After any single-, double-, or triple-cut where a break is held during theJrst cut and where one final cut to the break would restore the deck's order, the CTB cutistrip replaces this final cut with a three-part strip. While holding a break near the bottom of the deck, instead of cutting to the break, strip a packet from the bottom of the upper half above the break (center), followed by stripping the remaining cards in the upper half (top), followed by throwing the remaining cards on top (bottom) to restore the deck's order. This move is almost universally done by stepping the first undercut packet as follows: Undercut about three-quarters of the deck to the top, stepping the packet over the left side. Strip a packet from the bottom of the stepped packet (center), followed by stripping the remaining cards in the stepped packet (top), followed by throwing the remaining cards on top (bottom). The final CTB action is generally a three-part strip, although many cardmen extend the second center phase by stripping more than one packet off the bottom of tlic stcppcd packct. The CTB cutistrip is popular with cardmen, probably ranking third behind the gamblers' cut and up-the-ladder. One author praised this false cut as "one of the most deceptive and naturallooking of the numerous false triple-cuts in existence." As described in magic, this false cutistrip does not deserve these accolades. The CTB cutistrip is a favorite with hustlers, probably ranking second to the standard gamblers' cut, but there seems to be a misunderstanding about the hustler's approach to this move.

84 - Gambling Sleigl~tof l-lnrld

The CTB cutlstrip has a serious flaw and that's the initial steppilzg action.

photo 27 - nr.tificia1stepperlpaclret

I have watched dozens of hustlers and cardmen do the move and almost invariably think, there's the step and there's the CTB. Once the first packet is undercut and stepped to the left, stripping from the bottom of the stepped paclcet exposes the stepped condition, which is nalied as the right hand moves these cards forward and diagonally away from the safety of the hands.

When multiple packets are stripped off the bottom of the stepped packet, the stepped condition is exposed longer, making it even more obvious that some fonn of manipulation is occurring, and you don't have to be an experienced card player to spot the discrepancy and sense that something is wrong. Here's how the best mechanics eliminate the move's core weakness and turn it into a stellar false cutlstrip. First, instead of setting up the CTB phase with one undercut, a double-cut is more logical and deceptive. Setting up the move with one undercut requires a pick-up of the first stripped packet that must be done in one continuous action to emulate a true strip. Setting up the move with a double-cut presents the move in two distinct actions: (a) a double-cut, followed by (b) a quick strip. No pick-up is required to mesh the two actions and attempt to represent a single strip. Second, center stripping from a break instead of center stripping from an exposed stepped packet is a superior option. I have demonstrated this move for many cardmen who always ask, "What is that?'Even after I explain that it's the old "center-top-bottom cut," they are still surprised. teclzaicnl observntioizs

Double cut, holding a brealc after the first cut; the brealc should be near the bottom to help hide f r o n t - o f - t i - d l discrepancy. Transfer the brealc to the right thumb before the CTB action.

To strip the center packet, slide the left thumb along the break until it bumps into the right thumb and strip out a center packet off the bottom of the cards above the break. The right hands strips folward and slightly diagonal as the left hand grips the center packet and strips it to the table.

Stripping a packet fiom the center leaves a gap that can be spotted from the front so maintain a tiny break with the right thumb. Also, strip a tliin packet from the center (tlie thinner the packet the smaller the break). These tips will help provide cover for any discrepancy. -two

distinct phases

This move looks best when the setup cuts look lilce cuts and the CTB action looks like a strip. To present the distinct phases, keep the setup cuts relatively level, but for the stripping action, raise the right end o f the deck slightly while pointing the left end downward. This angling o f the deck is nah~ralfor many stripping actions and better sells the distinction between the double-cut and three-part strip. The CTB cutistrip is a good example o f a common move that looks better in the hands o f the best hustlers than it does in the hands o f the best cardmen. Somewhere along the line, some mechanic realized that during a norn~alstrip, there can ~zeverbe a reason for tlie cards in the right hand to be in a stepped condition. This can't occur naturally-if the deck is squared to start, the cards in the right hand have to remain squared throughout the strip. So this led to the obvious solution: get rid o f the stepped packet. Yet look at all o f the false cutsistrips that require stepped packets. Also, picking up the first stripped packet with the right hand can be obvious as it violates the true stripping action. Breaking up the move into two distinct phases, a double-cut and three-part strip, offers a simple, acceptable solution.

I f you happen to use a false cutistrip that requires a stepped packet, it's time to review the move. Simply ask yourself, "Is the stepped condition exposed at any time during tlie move?" I f the answer is yes, review your angles, think about hand cover, and determine whether the stepped packet can be replaced with a brealc. Remember, it's impossible to nail thepeiject imitation o f two undercuts and a quick strip i f a stepped condition is left exposed at anytime during the move. Eliminate the stepping action, make the minor changes suggested, and add this standard false cut to your repertoire.

CARRYING SLUGS -The false strips and cuts described to this point are the standards and all are fi~ll-deckcontrols. Here we focus on carrying slugs.

Erdnase False Strips Most cardmen are familiar with the Erdnase false strips by name, so I will do the same for convenience. For the basic method to carry a top slug, undercut, carry, secure a break, strip to the break, and throw the final paclcet on top. Here's another one of those questions I like to pose to cardmen. I don't recall a single cardman ever correctly answering the question, then one day I asked the question to gambling expert, Ron Conley . . . he correctly responded so fast that it made me laugh. Okay, here's the question. Assume the Erdnase strip is done perfectly: perfect technique (invisible break), perfect rhythm and pace. Why is it that the move can still be detected across the cardroom? As Ron responded, "The setup cut." The Erdnase cuts are poorly constructed and the reason is important. If I hand a deck to 1,000 card players and ask them to strip the deck, not a single player will start by undercutting a small paclcet from top to bottom before str.@ping. There's no logical reason to start a strip with a cut. Also, the move ends with stripping the initially cut paclcet to the top, a completely redundant action. The flawed logic is even more transparent when carrying bottom slugs. Why would anyone start a strip by undercutting a packet of 20 cards to the top, for example, and then start a strip by essentially stripping the same 20 cards to the table. Again, complete redundancy. The most common shuffling sequences are built on the logic of card players. There are no firm standards in most games, but there are ranges of common and acceptable actions. You might see players strip the deck followed by two undercuts as if saying, "Here's a strip and a couple of cuts for good measure." Or, you might see two undercuts followed by a strip as if saying, "Here's a couple of cuts to get started and a strip to really mix up the deck." But you're unlilcely to see sequences like a three-part strip followed by a three-part strip. It looks and feels redundant, which is why certain shuffling and cutting sequences are favored by experienced card players-and novices alike-while other sequences are perceived to be counterproductive to the goal of thoroughly mixing the cards. The easiest way to improve the Erdnase Strips is to start with a double- or triple-cut instead of a single cut. This may seem like an inco~lsequentialchange, but it's not. The sequences creates two acceptable, independent cuttinglstripping phases. A single undercut does not. Also, the two-phase move better mimics the actions of card players.

Undercut about one-quarter of the deck and hold a brealc. Undercut about one-half, positioning the slug near the bottom. Begin stripping to the break with a packet that is smaller than the last undercutpacket (halfthe declc)). This is a subtle tip, but it adds deception. If the first two undercuts were one-third and one-third of the declc, you wouldn't want to start the strip with onethird of the declc because it looks like your previous cut. This important principle is rarely followed, but it's definitely understood by the best mechanics. To better disguise many false cuts and strips, here's the rule:

Wlzenever twofalse cutting/str-@ping actions are conzbimd, the second action sho~dd always startj?onz a different position in the deck than where the first action ended

Several cardmen have remarked that they were having trouble following a false strippingicutting sequence even after the method was exposed. It's often the simple, aforementioned principle that pushes a false cutistrip closer to the perfect imitation of a true, random action. bottoriz slug

The following false cutistrip is a common move in the repertoires of the best mechanics. To carry a bottom slug, undercut onequarter to the top and hold a break. Undercut another onequarter to the top. Undercut at the break and strip legitimately to end. Again, we set up the strip with a double-cut, and wit11 each action starting and stopping at a different point in the deck. The move is near-perfect because of its simplicity and deceptiveness, but its most important feature is that legitimate card players cutistrip in tlie same way to add a little spice to their shuffles. You can eliminate the break and add a subtle squaring action for more deception. Undercut about one-quarter of the declc and slap it on top with a bevel-brief off the right side. Without squaring, undercut another one-quarter of the deck and carry the cut with the same action. Squeezeisquare the right end sending the bevels to the back left corner. Undercut at the lowermost bevel and legitimately strip to end. You can even square up with the right fingers, secure a brealc with tlie left thumb, transfer the brealc to the right thumb and fake a square-up with tlie left fingers at the left end before stripping . . . reminds me of the following gag. After a cut or double-cut, while holding the break with the left t l ~ u ~ nsqueezelsquare b, the right end with the riglit fingers, transfer the break to the right liand, squeezeisquare the left end with the left fingers, transfer the brealc to the right liand, and repeat. After repeating the squaring sequence a few times, cardmen eventually realize that I'm just having some fun. Hustlers generally frown on any attempt topmve the squareness of the deck; the concept, however, if used sparingly, can be very effective.

88 - Gumbling Sleigh1 oJHund

Here's the takeaway from this section: A true strip consists of a series of running cuts in one continuous action from beginning to end. There are no extraneous cuts needed to start a ship. The Erdnase ships are not true strips due to the required setup cut. Whether you're carrying a top or bottom slug, a two-phase cuttingistripping sequence cleans up the mess. delaying the strip Here's a method for delaying the Erdnase strip by holding a break during a rqfle, then stripping to the break. With this handling, thepre-cut is no longerpart of the Erdnase strip. It's a false riffle and strip combination that mimics a true riffle and strip. Double cut the top slug near the bottom secured by a break. Split the top half to the right as the left hand retains the break. Start the riffle by riffling cards from the right half onto the break. Begin pushing the halves together, reestablish a break as the deck is apparently squared, and strip to the break. Now, not only does the strip perfectly imitate a legitimate strip, it follows a r@e, not an illogical, setup cut. This is a notable improvement.

L

photo 28 - r i f f l g onto slug

phom

iu

- secunng ureaK aoove me slug

photo 29 -squaring up

pnoro

iI

- srrippzng 10

ureaK

False Shufles - 89

pick-up strip (top slug) There are other methods for faking the strip in a single action, but they are inferior to the modified Erdnase strips described. After the first packet (slug) is stripped to the table, pick it up as the second packet is stripped and continue stripping to the break, throwing the remaining cards on top. The move doesn't actually eliminate Erdnase's setup cut, it only attempts to hide it as part of the stripping action. If the right hand grips the deck normally to begin the strip, after stripping the first packet, you'll immediately see that there's no way to pick up the slug because the tips of the right fingers align with the bottom of the deck. So the deck must be gripped deeper than normal with the tip of the right thumb extending past the bottom of the deck. One way to get into this position is to let the ball of the right thumb contact the deck at an angle and as it rotates vertically, the tip of the thumb will naturally pivot past the bottom of the deck. The 'pick-up strip' is for small slugs since you can only pick up so many cards with the tip of the right thumb. For cover, keep the action tight, and tilt the cards in the right hand downward to provide cover for the pick up. I like to let the front-left comer of the cards in the right hand graze the table during each strip. To nail this move, the pick-up must be done in the same rhythm as the normal strip. For an interesting variation, let the right hand grip the cards between the thumb and middle finger only, maintaining an open grip throughout the move. The first finger stays curled on top; the third and fourth fingers curl back. The finger-thumb grip can be disarming as it seems to support a ~nanipulation-freehandling. This is an example of a false cut/strip best suited for twohanded games where there are no vulnerable side angles.

over-the-top (bottom slug) To carry a bottom slug, strip a few packets normally, come over the top in a continuous stripping action, drop the remaining cards in the right hand to the table as you pick up the stripped packets and legitimately strip them a few times to end. Again, tilt the cards in the right hand downward for cover. Both the 'pick-up strip' and 'over-the-top strips' are presented to show other solutions, but from a practical standpoint, a double-cut followed by a strip, or a double-cut followed by a riffle and strip are your best options.

90 - Gambling Sleiglzf of H m d

Base-Strip

A base-strip entails stripping one or more packets off the bottom of the deck. There are three variants: 1. Strip the first packet off the bottom followed by legitimate strips to cany a small bottom slug. 2. Strip two or more consecutive packets off the bottom followed by legitimate strips to cany larger bottom slugs.

3. Strip all packets off the bottom to carry the entire deck. The base-strip is nothing more than one or more refined scrape-cuts, generally followed by legitimate strips unless the goal is to carry the entire deck. To carry a small slug, strip the top three-quarters of the declc forward and rotate the packet slightly upwards as the remaining cards are lifted off the table about one-half inch. Drop the small packet in the left hand to the table to represent the first stripped packet, and legitimately strip to end. teclznical observations

-illstant

start

Begin the sequence the instant the hands touch the deck. This is a fine point, but it makes a difference. Since there's no hesitation with the true stripping action, there shouldn't be any hesitation with the false action.

-clearing

the bottom half

Strive for the top half to clear the bottom half quickly, aiming the side of the top packet at the observers' eyes-do not flash the face of the lowennost card.

-1iftiizg

the bottom halj

As the first action occurs, simultaneously lift the declc about one-half inch off the table with the left hand. Drop the packet in the left hand and strip normally to end. After the top half clears the bottom half, as with the scrape-cut, the move is essentially over.

The biggest mistake you can make with base-strips is over-exaggerating the first action!

You need some tilting movement of the right hand as each packet is stripped. Do not strip the deck on a flat, horizontal plane (parallel to the table)-the move is too easy to detect. The best way to master this move down is with aprogressive practice regiment. Start by base stripping the first paclcet in a five-part strip. After a few minutes of practice, start base stripping the first two packets. After more practice, base strip the first three packets. Finally, end the regiment with base stripping four packets and throwing the remaining cards on top.

Hidden Secrets -False StripICut I'm often asked about a false striplcut I did on the television show, The Hidden Secrets ofMagic (1996). As demonstrated, the move carried a top slug, but it can easily be converted to carry a fill1 deck. The false cutlstrip is a minor extension of the double center-cut explained on page 76, featuring a left-handlright-hand cutting action that is popular with many old-timers. The left-second finger and thumb grip the top one-third of the deck; the right-second finger and thumb grip the middle one-third. Both hands moves their packets outward in an open centercutting action. The left hand moves its packet about one-half inch to the left of the tabled packet as the right hand slaps its packet on top and strips one packet before throwing the remaining cards on top. From the front, the deck appears squared, but the original top third still protrudes from the left side; moreover, the left second finger and thumb never idease their grip on this packet. From here there are two options. Either strip out the protr~tdingpacket with the left hand and slap on top, or the instant the right hand completes its two-part strip, grip the right end of the deck and cut all cards forward except the protruding packet held by the left hand, then carry the cut to end. To carry the entire deck, instead of legitimately stripping with the right hand, base strip one packet, throw the remaining cards on top, and proceed with either option. This move features the don't-let-go principle, which results in a 'no-miss' move and is the reason I used it in the show.

Boxing the Deck 'Boxing the deck' was the key component in every shuffle employed by Binion's Horseshoe Casino in downtown Las Vegas for decades. What makes this relevant is that Binion's dealt single-deck blackjack with the highest limits in the world! Whether the player bet $1 or $1,000,000, the shuffling procedure was always the same: box, riffle, box, riffle, box, riffle. Boxing the deck is synonymous with cutting the deck, although cut size is from one-quarter to one-third of the deck, never one-half. The primary benefit of boxing the deck is that it cleans up lopsided shuffles. According to some operators, it also offers another curious attribute: it

displays less dexterity. This is a vely interesting philosophy. Some dealers can strip like a machine, which prompts some players to wonder: If he can do that, what else can he do? To avoid this possibility lingering in the minds of players, the box was implemented. Now-according to operators-the cards are being shuffled like they would at home on the kitchen table. I don't buy the justification, but I understand the logic.

We often take our teckizical slcills,forgraizted, not realizing that even a basic professional, fast-paced stril, can look like an inzpressive exhibition of skill to many laypeople. The same is true for many cardplayers.

The rule for boxing the deck is simple: Never box lzalfdeclcs; otherwise, boxing half the deck followed by splitting at center accomplishes nothing. Boxing one-quarter to one-third of the deck, however, following by splitting at about center adds an asynznzetrical aspect to box-riffle combinations. From a manipulative standpoint, ponder the challenge of having to box one-third of the deck before splitting at center for each riffle. How would you cany a slug? How would you stack the deck? The obvious solution is to undercut about lzalf'tlze deck, come over the top, maintain separation between the halves, and split at the separation in one fluid action. In the casino indust~y,this is exactly how it was done to fool overhead sulveillance cameras that struggle with the perception of depth. Another option is to undercut with the right hand, come over the top, and inmediately go into a partial split with the bottom half resting on the other half. To carly a top slug, end the riffle with the right half. To carry a bottom slug, start the riffle with the left half and riffle the top cards down into the deck for maximum deceptiveness. For an advanced solution, consider the following sequence for carlying a top slug. Undercut a small packet to the top, secure a break, and split the top half to the left while holding the break. Start the riffle by dropping the slug below the break; riffle a few cards fro111 the right half into the break and continue riffling normally. Square up, establish a break, box to the break, and carry the slug on top with the next riffle. Continue to alternate the two methods.

POSITIONING FALSE CUTS and STRIPS A 'positioning false cutlstrip' controls a slug to the center, secured by a break, bevel, or other brief. While there's control, it's not the traditional control that cardmen expect from their false cuts/strips. Since the slugs don't start and end in the same position on top or bottom, these false cutslstrips are not true false cutslstrips, which is why they are called 'positioning false cuts' and 'positioning false strips.' What's the purpose for controlling a slug to the center? Since it's customary for all shuffling procedures to end with a riffle, the final split and riffle can be used to cany the slug instead of relying exclusively on the false cutlstrip. Put another way, why use a false cutlstrip that retains a slug on top or bottom when you can cutlstrip a slug to the center, establish a brief, split the deck at the brief, and let the final riffle carry the slug? The following principle is a perfect example of how the objectives of hustlers and cardmen are polar opposites. Hustlers are looking for the most spot-on imitation of the true shuffling procedure, and since shuffling procedures consist of several steps, they utilize several steps to achieve their goal. For a cardmen cutting the aces, however, it's clearly more spectacular to make a single, showy cutlstrip and reveal an ace, than to first cutlstrip the ace to the center followed by a riffle before revealing an ace. Two different goals. Two different methods for achieving these goals. Conceptually, when a slug only needs to be controlled to the center, it opens up a whole new range of techizicalpossibilities tlzat can make false cuts/strips easier, truel: shorter, and more deceptive. The best nzeclzanics have found tlzat this approach is the most efjcient and natural way to interject a false cut/strip into conzplete, traditional slzzEfflirzgp~~oced~~res.

Combining a positioning cutlstrip with the final riffle to carry slugs is a powerful combination. To help get your attention, let me say that the best false cuts/strips I have ever seen at the card table adopt this logic. This is a landmark principle for cariying slugs that should be studied carefully by all cardmen. Double- and Triple-cuts (top or bottom slugs) For a basic sequence, undercut about one-quarter of the deck and hold a break. Undercut another quarter and throw to the top (while holding the break). Split at the break and riffle to carry a top slug andlor bottom slug. Since the second undercut is about one-quarter of the deck and the split is around center, the two actions start and stop at different positions. For a positioning triple-cut, each undercut should be about eight or nine cards, followed by a split around center and a riffle to carly a top andlor bottom slug.

94 - Gambling Sleight ofHand

Three-part Positioning Strip (top slug) This is my one of my all-time favorite false strip, and it couldn't be simpler or more deceptive. Each time T demonstrate this move for cardmen, it instantly becomes their favorite. In fact, I recall sharing the move with a magic icon. He loved it, but the method evaded him. He asked for a video clip so he could try to work out the method, which I obliged. Sometime later he proudly demonstrated what he believed to be the method, but he was way off, unnecessarily complicating the move beyond recognition. When I finally tipped the method, he shook his head in disbelief and said, "Why haven't I been using this false cut my entire career?" All I could say is, "I don't know; I really don't know." Incidentally, around the same time, this cardman made another profound comment. As I completed a sequence of false riffles and cuts, he said, "I'm still waiting for the move." It was then that I realized how preconditioned the minds of cardmen can be as they anticipate a step, break, exaggerated brief, or other artificial cuttinglstripping sequence. If I had to pick one false cut/strip that every cardman should be using to carry small top slugs, this would be it. The fact that it's not popular with cardmen has always baffled me. This three-part strip features a few subtleties that transcend the move into a near-perfect imitation of a three-part strip followed by a convincing riffle that kills the top cards. Undercut a little less than half the deck and strip half of these cards onto a left thumb break, followed by gently slapping the remaining cards on top. Split the top half at the break to the right and riffle the slug last. That's it! The strip and riffle are as legitimate as they can be. The only breach in the move is a tiny left-thumb break held momentarily at the back, which is completely hidden. After the strip, instead of the traditional split, I prefer a partial split, splitting the top half to the right and resting it on the left half at the inner ends for a second before riffling. This ruse directs all attention to what appears to be the top cards (actually the bottom half) as they are cleanly riffled down into the deck, when just the opposite is true. If you're looking for an almost perfect move, avoid the temptation to extend the stripping action. First, after the left thumb retains its break, stripping more than once at this point can expose the motionless left hand for longer than is necessary. Second, extending the stripping action necessitates stripping thinner packets and you do not want to give observers a chance to say, "He only stripped half the deck." If you do the move as described, observers see a legitimate three-part strip where each stripped packet is roughly the same size. The deck is split at a different part of the deck than where the last shipped packet landed on the remaining cards. Add the partial-split subtlety and observers also see the top cards (of the bottom half) getting riffled down into the deck to end the sequence. What else could you ask for? Even if someone knows the method, it's almost impossible to tell when the slug is being carried and when it is not. It took decades before I appreciated the directness and naturalness of this positioning strip.

False Shuffles - 95

Three-part Positioning Strip (bottom slug) If you follow the same procedure for carrying a bottom slug, you will immediately see that the last packet must be stripped onto a left thumb break (versus the first packet), which necessitates splitting the deck from the samepoint as where the last strippedpacket hits the remaining cards. Although the move can be done this way, it's not as clean as the method for carrying a top slug. This method addresses the issue and transforms a good move into a dynamite move! You may have to play with the move a few times before the strategy hits home. While there are definitely easier methods for carrying a bottom slug to the center, none will match the truer strip than the following. Even from an overhead camera in slow motion, both the true strip and the false strip look the same! Undercut a little less than half the deck as you strip the f i s t packet, drop the slug plus a few cards onto a left-thumb break and undercut ahove these cards ns you strip thc second packet. Finish by gently slapping the remaining cards on top. split at the break and riffl~.the slug first. I hope cardmcn appreciate the thinking, construction, and objective of this false cut. It's all about the quest for maximum deception. A

A

+

photo 32 - base stripping centei-packet

The 'f-strip' is the expanded version of the previous false strips. Although primarily used for small to medium-size slugs, the f-strip can be used to carry up to two-thirds of the deck. The move has found its way into more spots than I care to reveal and has proven to be as good a false stripping action as you will come across. It's not my intention to claim credit for this move because I believe'it to be an obvious solution that has undoubtedly occurred to many cardmen. The strip is, after all, essentially an overhand jog-shuffle in the table-position. But I have used my last name's initial for two reasons. The first is convenience; I wanted to give the strip a name. Second, the strip is not something I read about in a book or had demonstrated for me. The f-strip, along with several variations, were worked out independently over 30 years ago! In fact, the move was included in some of my earliest game-protection lectures, 1980s. See scan of my early lecture outlines on pages 100 and 101. The f-strip played a prominent role in my lectures, even back then.

96 - Gambling Sleight ofHand

For reasons beyond the scope of this book, decades ago, I was presented with a unique challenge: Find a false stripping action that would fool surveillance video played back in slowmotion. Several actions were evaluated: pickup-strips, circular-cutistrips, base-strips, up-the-ladder, center-top-bottom strips, center-strips, and even a few false cutsistrips from the magic world. None met the criteria I was searching for, and then I had an epiphany that changed my thinking about the construction of false cuts and strips. First, here's the move. Start by undercutting a little more than half deck, allowing the first stripped packet to fall to the table. Continue by stripping a small packet, but step it to the right to lay a brief. Strip the remainder of the deck in small packets. Square up by pushing the stepped cards diagonally back toward the left comer so they protrude. Continue the squaring action while establishing the a break under the step with the left thumb. Split the deck at thc break and riffle the slug last. You can split to the break and riffle to carry a small slug, or double cut to the break to carry a large slug, We all know that the fewer the breaches or departures from the true action, the better the move. The only breach in the f-strip is the break-a stepped packet is not a breach because stripped packets never fall perfectly squared onto other stripped packets. When the break is established smoothly and there's no lifting of the top haljfor the split, the actions are almost a perfect match to the true stripping action-any closer and they would constitute a true ship. Here's the concept:

If a legitimate card player can unintentionally carry a slug using a particular sequence of riffles and cutsistrips, then the sequence offers the perfect foundation for imitating and falsifying the true action.

For example, with the aces on top, a legitimate card player could unknowingly undercut about half the deck, legitimately strip the remaining- cards, split the deck above the aces, and riffle them back to the-top. SO; thef-strip could occur in the hands of a legitimate gambler! The following technical details pertain to carrying top slugs, but the principles are the same for carrying bottom slugs.

False Shufles - 97

technical observations -@st

strippedpacket

The first stripped packet should be around 20 cards. This is important because 20 cards can bc viewed as a packet or roughly half the deck. Since you're faking a strip, you want it to appear as a packet. In other words, a 20-card packet has a dual-personality. -second strippedpacket

The strip is legitimate with the exception of the second stripped packet, which is stripped slightly to the right to lay a brief on top of the slug. Initially, strip the second packet about one inch to the right, but once the move starts to click, a smaller brief of one-half inch or less is better. -remaining stripped packets

After the brief is set, strip a few more smaller packets. A five-part strip is ideal. Refrain from stripping more packets because it only heightens the difference in packet size between the first stripped packet and other stripped packets. --orientation of strippedpackets

Strip the last two packets slightly to the right. A legitimately stripped deck doesn't end up in a squared condition, so the purpose of stripping the last two packets to the right isn't photo 33 -f-strip's brief solely for cover, but to help the entire stripping action blend together in what appears to be a bunch of unsquared packets.

7

-squaring options

Once the strip is complete, there are now essentially two options for squaring. Either use the third fmger of the right hand to bump the front end of its half, pushing the briefed cards diagonally back toward the left-back comer, or use a squaring, squeezing action with the right first finger as it slides from the front to back of the right end, also causing the stepped packet to jut out the back-left end. From this point the left thumb can grab all cards above the break as the right hand splits the lower half to the right for a riffle. Also, note how the f-strip handles the front-discrepancy, providing more cover due to the not-perfectly-squared deck after the strip.

98 - Gaiitbliug Sleight of Hand

-tight stripping actions During the strip, keep the hands close to the table and the stripping action tight. You can tilt the cards in the right hand during the strip for a little more cover, but it's not necessary. When the cards in the right hand are tilted down, allowing the front-left comer to graze the table, the purpose is to hide depth and therefore the size of the packets, forcing the observer to see more of a top-view than a side view-a principle that is used in other false riffles and cutslstrips.

To finish the f-strip deck, split at the break and riffle to carly the slug. Do not lift the stepped packet too high to secure a break, an action that is both obvious and unnecessary. Whatever squaring action you choose, it should force the brief into the left thumb, making it easy to secure the top half and maintain its flatness as the deck is split. Here's an important detail. At first you'll want to lift the top hnlf'at the brief to turn the brief into a break, but you want to avoid this tendency. If you just split the lower half to the right while maintaining the lightest pressure on the brief with the left fingers and thurnh, the deck will split at the brief without a brenlc or lift and the splitting action is automatic and instantaneous. -stripping

thin, splitting halves

The f-strip is essentially a half-strip since the first stripped packet is roughly half the deck followed by stripping thinner packets. In the normal strip, packet size tends to stay reasonably consistent, so to strip thin packets throughout, but still split the deck at center for the riffle, just start by base stripping the first quarter of the deck, followed by legitimately stripping a quarter off the top, laying the brief above the slug by stepping the third str@pedpac/cet, and stripping legitimately to finish. Split at the brief (about center) and riffle to carly the slug. These actions allow you to strip thin packets throughout, yet split the deck at center for the riffle. -carlying

bottom slugs

To carry a bottom slug, strip about 20 cards, base strip the next packet to lay the brief, and legitimately strip the remaining cards. Split at the brief and start the riffle with the right half to carry the bottom slug. You can also double cut to the break. -atitonzatic

brief

This method eliminates the need to strip the second packet to the right to lay the brief; yes, each packet can he stripped in a perfect align~nentyet achieve the same goal! As you strip the second packet, apply slight pressure with the left first finger to ensure that the cards held in the

False Sli~flles- 99

right hand scrape the bottom of the stripped packet. This pressure will auto~naticallycreate a bevel-brief despite stripping directly over the deck in perfect, natural, vertical alignment.

Use the f-strip's versatility to carry large slugs by simply double cutting to the brief versus riffling to carry the slug. For example, to carry the top two-thirds of the deck, undercut about fifteem cards and f-strip, aiming the right hand cards downward to hide the thin size of the packet. Strip forward and tight. Square up, secure a break at the brief, and double cut to the break. This is an excellent false striplcut that features both a stripping action and a couple of cuts to accentuate the end of the strippinglcutting action. For carrying large slugs up to two-thirds of the deck, tlie f-strip is a super move. I prefer it over up-the-ladder, center-top-bottom false cutlstrip, and others because the f-strip features a legitimate strip as part of the action. Even if you're carrying two-thirds of the deck, you can still legitimately undercut and strip one-third of the deck, establish a break, and double cut to the break. The legitimate strip is an opportunity that you do not want to miss.

Don't Let Go This infamous false strip has surfaced in ~ n a n ycasino scams. It proved to be the easiest false strip for cheaters to teach dealers with larceny but with no experience manipulating cards. This strip, along with lopsided riffles-a trait of most dealers-turned dealers into i~zstarztnzecl~anics who could fool su~veillancecameras after only one night's practice. Riffle twice to carly a top slug. Strip five small packets and after about half the deck is stripped, bring the remaining cards to tlie top but do11't let go. Fake a squaring action by bumping the second fingers into each other, split the top half at the break to the right, riffle, and carry the slug. Since the strip is essentially legitimate, there's not tiluch to see. The only discrepancy is that the strip ends with throwing about half tlie deck on top followed by splitting the same half to the right for the riffle. To create space between the two actions, I falte a squaring action where the second fingers of both hands bump into each other as tlie hands move toward each other. Now in the protected-position, I can quickly split at the same position as the last stripped half, albeit more deceptively. An interesting aspect of the 'don't-let-go strip' is that it's a no-miss move! How many false cuts and strips can you do with 100% reliability. There's a reason why this move has been so successful and I wish I could share some of the stories, but what's more important is that you don't bypass the method because it's so basic. Instead, embrace the method's simplicity and focus on the falte square-up, striving to ~nalteit as natural as possible. Later in the book, I'll use the concept of 'don't let-go' in many stunts. Now you know its origin.

100 - Gan~blbigSleight ofHalxi

Poker Lecture Outline, c1982 (page 1)

I thought cardmen would like to see my earliest lecture outlines for poker. Note "F-STRIP" under Stock Controls [2] and The Cut [4]. Also, "SHANK" doesn't refer to magic's shuffle but to a direct 'shuffle-over' under cover of the protected-position. (Shuffle-overs are discussed later.) Also, note "DON'T LET GO." Last, note the inclusion of "TRANSFERS" [3] and that the tenn "MUCK refers to the discards as in "I pitched my hand into the muck." I use 'discards' in Gambling Sleight of Ha~zdto avoid confusion.

CARDROOM LECTURE 1.

THE DEALER

2.

STRONG ARM CHEATING

3.

MARKED CARDS

4.

OFFICES

L PARTNERS

5 . ROUND *?+ME CHEATING FROM THE BOX \ DEALER 1. SCRAMBLE TOP \ C I R C L E BOTTOM \ DOUBLE C I R C L E

2. STOCK CONTROLS F S T R I P \ F ERD 6 S T R I P J N STRIP

TABLE DOUBLE CUT "INSTANT MECHANIC" SCRAPE \ CENTER \ DON'T

3. TRANSFERS \ MUCK V CUT 1 CARD S T R I F F L E OFFS 4. THE CUT F STRIP SHANK S L I P CUT PUSH THRU YIFS GREIF \ BEVEL WITH DROP OFF COMPARISON 5. CULLING NEW DECK EXPOSED HDS DEAL 'EM BACK MIJCK RS \ DEALER \ AGENT PAPER CULL

6. F U L L DECK CONTROLS PLISI-I THRU W\ SCRAPE SHANK W\ SCRAPE

photo 34 - lectwe outline #I

LET 6 0

Poker Lecture Outline, c1982 (page 2) Note that "MUCK & TRANSFER" refer to gathering up the 'muck' (discards), turning them on their sides (faces to the players in front), and transferring cards from the bottom to the top to be stacked. This is an early reference to the 'f-transfer,' which is discussed later under 'transfers and riffle stacking' ( page 25 I),

APPLICATIONS

1. K I L L WINNING HD R FLOP 2 .FLOP MOVES BOTTOM STOCK WITH COMPARISON L E G I T S T R I P LOC

3. DEALING KNOWN HOLECARDS WINNING HD \ 7 CD \ 5 HD MUCK 6 TRANSFER G SLIP PEEK S T 4. STACKING P I C K UP 10 DOWN DEMO R I F F L E STACK R 1 SH ST DOUBLE DUKE \ FULLHOUSE CULL 5. P A I N T MOVES FOR LOWRALL ADDING 9

6 . KEY CARD 5 CARD STUD SHORT HD 7 STUD P A I N T S ONLY \ LDWBALL \ RAZZ 7 . L A Y I N G THE SET \ 8 ND DRAW 2 DEAD \ 53 \ 7 TAKE OFF \ BURN DOUBLE DUKE \ L DEAD \ BURN 8 . MISC MOVES DEAL EM' BACK STUD \ OPEN P A I R LOW \ DEALING THE P A I R

9. COOLER SEQUENCES 1/2 DECK SCRAMBLE. JACKPOT \ 3 ACES F U L L 4 SEVENS \ BELLY R SHANK NEW DECK \ HOLD'EM \ TR A TO BOTTOM \ SHANK OUT 3 \ DROP OFF 2

-

oto

35 - ledifreoutline #Z

102 - Gambling Sleight ofHand

RIFFLING DOWN, RIFFLING UP

.-

To 'riffle down' is to riffle a top slug down into the deck under one or more x-cards. The puipose is to cleanly show the top cards getting buried into the deck, which is exactly what should happen with properly executed riffles. Riffling down is rarely practiced purposely by hustlers and cardrnen, which is probably why I've had great success fooling them with this move. In my view, riffling down should be a staple technique in all advanced shuffle work. The idea uses the same logic as apositioning cuthtrip and in many instances, riffling down (or riffling up) provides the optimal solution for setting up a subsequent cut or strip in the most natural, efficient manner.

pnoro

XI -

natural gap causea oy rqfmg aown

photo 37 -sliding leff thumb over unrlfledslug

For carrying small top slugs, split the top half to the right and riffle it down under about five cards. Keep the left thumb relaxed at thc left end as the halves are pushed together. A break will automatically form above the slug. This is a natural break so resist the urge to lift the x-cards above the break. Just let the curvature of the thumb do all the work and it will automatically slide over the slug. Square up and hold a break in the protected-position. This is the basic action. It's not difficult to do, but it takes practice before the action looks and feels like the normal square-up.

photo 38 - securing break above slug

By the time keen observers are convinced that they have just watched the top cards get riffled down into the deck, you should be well into your next riffle, cut, or strip.

False Shuffles - 103

Okay, you've cleanly riffled a top slug down into the deck and secured a break. In this position, there are many options for bringing the slug back to the top, and the flexibility always comes as a revelation to cardmen. Here are some of your options.

0 Doubleltriple cut to the break. 0 Doubleltriple cut and end with up-the-ladder. 0 Doubleltriple cut and end with the center-top-bottom cutistrip. 0 Undercut to the break and base strip the remaining cards. 0 Undercut while holding the break, strip 3-5 packets, split at the break and riffle. 0 Center-cut while holding the break and splitiriffle at the break. 0 Box the deck and splitlriffle at the break.

0 You can even riffle again while holding the break (discussed next). Whether a top slug is riffled last in the traditional fashion or riffled down into the deck, your options are essentially the same. This takes a minute to sink in. Show me any false cutistrip that starts with a slug on top, and I'll show you the same false cutistrip after a slug/stack has been r@ed down into the deck. Riffling down can provide a better foundation for most false cutslstrips! This is the amibute that really sold me. But there are others. Take, for example, the sound of a tl-iple-cut Consider a shuffling sequence consisting of one riffle followed by a triple-cut to carry the aces on top of the deck. Whether you riffle the aces last to carry the slug before the triple-cut or riffle the aces down into the deck and establish a natural break before the triple-cut, three cuts are still needed for both options. But when you riffle down into the deck to start and secure a break, all three undercuts can be carried on top of other cards with consistent, convincing slapping sounds since each packet lands flush on top of other cards. If you riffle the slug last, a break must be secured under the first undercut, making it more difficult to slap the first undercut onto cards with the same sound. The idea of cleanly and convincingly slapping each packet flush with other cards to mimic both movement and sound is a sophisticated angle that can impart a deceptive boost to many false cutslstrips.

104 - Gambling Sleight of Hand

I-strip (illogical) Here's an off-beat method for riffling down and bringing a slug back to the top with a quick strip. There's one minor problem, however, the sequence is illogical, which is why I love it. It's different and deceptive. Split the top half to the right and riffle the slug down under about five cards or so; the number of cards is unimportant. Square up and get a natural break above the slug. With the right hand, grab the top one-third of the deck, transfer the break from the left thumb to right thumb, and briskly move this packet forward as if stripping. Once the packet clears the bottom half, bring the right hand back, strip to the break, and throw the remaining cards on top. The action emulates a simple three-part strip.

photo 39 - stripping top halfforward: holding break

photo 40 -stripping to the break

A curious aspect of this move is that it seems to work even when no attempt is made to fake the first action-although I like to sell the notion that the first packet was stripped off the top by starting the strip with the actions of a base-cut or scrape-cut. But even if you openly move the top third of the deck forward (this is the illogical aspect), come back, strip to the break, and throw the remaining cards on top, it's just as deceptive. Apparently, without faking the first stripped packet, the move looks like a hybrid center-strip. To sell the squaring action, after you push the halves together and secure a natural break with the left thumb, squeezeisquare the right end with right fingers, then regrip the right end of the deck, instantly reestablish the break without any unnecessary movement, and immediately go into the move. The action is illogical but it flies. The overt square-up is convincing and the short stripping action is over in a flash.

False Shuffles - 105

Riffling Down Twice It's also possible to riffle twice, each time riffling a slug down farther into the deck before carrying the slug back to the top with your favorite false cutlstrip. single-card brief

Assume a four-ace slug on top. Add one x-card on top during the first riffle (xAAAA). Split the top half to the right and riffle the slug down into the deck. As you push the halves together, slightly pivot the top card of the right half with the right first finger so that its left inner comer protrudes about one-quarter inch. As the halves are pushed together and squared, secure a break under the jogged x-card with the left thumb. Double cut to the break, which is just one of many options. multiple-card bevel-brief

photo 41 -pivotingx-card inward with rightfirstfinger

Bevel-briefs are well-known to hustlers and cardmen, but here's an unusual application. Riffle a slug down into the deck under five to eight x-cards, begin to square up, and secure a natural break under the x-cards. With the right hand, move the x-cards above the break to the right about one-quarter inch and then immediately back during a quick squaring action that creates a small bevel-brief. Without moving the right hand, the instant the brief is created, grab the top half and split to the right. Don't let go. Riffle the slug deeper into the deck while holding the bevel-brief with the right thirdjnger and thumb as the halves are pushed together. Don't let go of the brief until the halves are pushed together and squared. Square up at an angle to move the bevel-brief to the back left comer. Get a break under the brief and double cut to the break, bringing the slug back to the top. See photos on next page. The move has all kinds of potential!

106 - Gambling Sleight ofHand

I.

photo 44 -pushing/squaring action-retaining

brief

photo 45 - decksquared, brief intact

False Shufles - 107

Conley Three-riffle Variation The first time gambling expert Ron Conley tipped this sequence to me, it was clear that I had just watched a superb piece of card work! I was hip to the concept of riffling down, but had never seen the move done three times in a row. The following sequence comprises three riffles with each riffle cleanly showing the top cards riffled down into the deck. There are no cuts or strips. Start with a four-ace slug on top. Split the top half to the right, riffle down under about ten cards, square up and secure a natural break. Split the top half to the right for the second riffle and continue to hold the break with the right thumb. The riffles are fast as you don't want to flex the halves upward while holding a break. After the second riffle, quickly lower the right half as the left half riffles its remaining cards on top (photo 47). Square up quickly into the protectedposition while holding the break. To end, split the top half to the right at the break and riffle the aces last to carry the slug.

photo 46 - rzfling down while holding break

photo 47 - right-thumb break held during the squore-up

The sequence takes some practice since the second riffle is a partial fake. To facilitate the riffles, keep them short and low-I lifted them too high while posing for the photo. Holding a break while riffling and pushing the halves together will feel awkward at first because we're used to releasing the deck before pushing the halves together and not keeping the right thumb glued to the deck to maintain a break. But if you like the premise of this sophisticated sequence, only practice will get you to the finish line.

108 - Gambling Sleight ofHand

Riffling Up To 'riffle up' is to riffle a bottom slug up into the deck, secure a break below the slug, and carry the slug with either an undercut or a strip.

JN false cut This is another false cut in my top-ten list. I first saw this move in my mid-twenties when virtually every false cut I was doing at that time entailed multiple movements. It was shared with me by legendary hustler, JN, who had a reputation for beating the cheaters. After he did the move a few times, which consisted of a riffle followed by a soft undercut, I was puzzled. The sequence wasn't rushed and there was no confusion about what I saw. I understand that the basic technique can be found in magic, although I've never seen a cardman do the rifflelcut combination. My guess is that the method was glossed over as obvious, or too simple, or no big deal. It lacks the technical pizzaz that attracts many cardmen, especially young cardmen-frankly, I would have missed it too. The JN false cut remains one of my favorite moves because it taught me many things, especially the following:

Even the most basic moves can be deceptive when they perfectly match the true action.

In this case, the JN false cut perfectly matches a riffle followed by undercutting the deck. The sequence of riffle, cut, riffle, cut, riffle is disarming, and the simplicity can play to our egos: When we see someone handle the cards so fundamentally simple at below-average speed with no multiple cuts or strips, we're subconsciously 'put to sleep' (relax). This is exactly what happened to me. JN was decades ahead of my perception. Here's the work. Start with a small slug on the bottom. Split the bottom half to the right and riffle the slug up into the deck, starting the riffle with the left half. Push the halves together until just about flush, pushing the right half diagonally toward the back left and creating a brief. Undercut to the brief to carry the slug. With practice, you will bypass the action of getting a break and simply undercut to the brief. I also like a one-handed squeezelsquare of the right end before the undercut. A smooth continuous action is the key whether you undercut directly at the brief, or square up, establish a break, squarelsqueeze with one hand, and cut at the brief. Although the move is technically straightforward, the riffle must be smooth. For small slugs, it's possible to split, lift both halves, and apparently riffle the halves at the same time without disrupting a small slug. Start a soft riffle with thc lcft half, but after the first group of cards hit the table (ten cards, for example), apply strong, sharp pressure with the right half during the riffle. This could be described as a springing action; either way, it will keep a small slug intact.

False Shuffles- 109

photo 48 - r~flingup and squaring diagonally

photo 49 - undercutting to brief

Note that the undercuts are small packets of cards, approximately one-quarter to one-third of the deck, followed by splitting halves for the riffle. This procedure has been previously described as boxing the deck, the non-strip procedure employed by Binion's Horseshoe to deal high-limit blackjack. What makes this observation interesting is that JN worked the 'eye' (surveillance) at the Horseshoe. Unfortunately, I never had a chance to ask him if the shuffling procedure influenced the development of the cut.

Stevens Control The Stevens Control is a method for riffling a small slug down into the deck twice before cutting it back to the top. It was introduced to the magic fraternity by Vernon and credited to Dad Stevens-an extraordinary hustler according to Vernon. Several statements have been made extolling the control. All generally echo Darwin Ortiz's opinion in The Annotated Erdnase (Ortiz, 1991). "The Stevens Control is one of the best r i f J shufle methodsfor preserving a small top stock. " This is one of those moments where a gambling move is heralded by magic's elite, but where the conclusions in this research are diametrically opposed. It's an uncoinfortable situation that leaves me with two options. I could ignore the control and not risk alienating every cardman who's a fan of the move. Or, I can speak my piece and let the chips fall where they may . . . here go the chips.

110 - Gunlbling Sleight ofHand

I'm not a fan of the Stevens Control and have never understood the fascination sur~oundingthe move. It's a poorly constructed move that defies card-table logic. If you're not familiar with the Stevens Control, here's the basic concept. During a riffle, assume that five x-cards have been riffled on top of the aces. Split the top half to the right for the second riffle and hold back about ten cards with the left hand while holding back the five x-cards with the right hand. Drop a single card from the left half on top of the aces, drop the remaining cards from the right half, and drop the remaining cards from the left half. The purpose of this sequence is to isolate a single c a d above the slug. As the halves are pushed together, a diagonal squaring action causes this single-card brief to pivot and jut out the back side. Cutting at the brief carries the aces back to the top. In the dozen or so instances when I have seen the move demonstrated by cardmen, it only occasionally looked passable for laypeople, but pitiful for card players due to the unavoidable hesitations in the riffle-in my view, these physical discrepancies are easy to spot, even for laypeople. I've always likened the analogy of hesitations during the riffle to spinning a yo-yo. Once the yo-yo leaves the hand, the downward trajectoly and speed are set in motion, and should these forces change for any reason, manipulation is the only plausible justification. This is also the reason why riffle stacking is one of the most difficult gambling moves to do deceptively. Yet with the Stevens Control, in addition to multiple hold-backs during a riffle, the riffling action must stoplhesitate to isolate a single card before the hold-backs are dropped. By comparison, it can be argued that the Stevens Control is more difficult than the riffle stack. Moreover, for what the control accomplishes-riffling a slug down into the deck before cutting it back to the top-could the technical difficulty be worth it? Not at the card table, and it's not even close. Here are just a few of the reasons why I question the control's practicality.

0 Experienced card players quickly become suspicious of high riffles, peering into the riffle, and hesitation during the riffle. One slight hesitation during a riffle may go unnoticed. Two hesitations during a riffle will eventually draw attention. Three hesitations, however, smacks of manipulation.

0 In magic, poorly-constructed and executed moves may still fool or confuse laypeople, but it won't be tmex~lainable, only acceptable in the spirit of entertainment. At the card table, however, inechanics can't sustain rnultiple hesitations during a single riffle. Sooner or later, it's "Houston, we have a problem." 0 There are several easier and more deceptive methods to accomnplish the same goal. In the many discussions with cardmen about this move, all have been genuinely surprised that so inany other options are possible

0 Even when used to lay a single-card brief, hustlers lay single-card briefs all the time without resorting to convoluted methods (mnultiple hold-backs).

False Sl~tlf'jes- 111

Given the technical difficulties, I don't see why any hustler would over-complicate such a simple task when there are easier, more deceptive methods. Cardmen-on the other hand-have been known to over-complicate things from tilne to time. These are my opinions based on my experiences, so if you're enjoying success with the Stevens Control and fooling laypeople, that's great. I'm not saying that the move can't be done. I'm saying that it's nearly impossible to do the move deceptively for the knowledgeable card player. Here's an even bigger issue. When magic icons and experts state that a move is "one of the best," the advice is taken seriously by many, especially beginners, and I'm always saddened to see young cardmen working on a move because they've been led to believe that it's a bona fide hustler's move. When the advice is unsound, you end up with cardmen trying to master a poorly-constructed move that will never look like two genuine riffles. It may, however, garner the expected response from fellow cardmen, "So, you've been working on the Stevens Control." I heard a hilarious story about two world-class cardmen: Chris Kenner and John Carney. Chris, after working on the control, had an opportunity to demonstrate it for Vernon. When Chris told Vernon that he wanted to show him the Stevens Control, Vernon spurted, "That move is a piece of crap!" Chris was devastated until he later found out that John Carney put Vernon up to it. After hearing the story and laughing out loud, I told Chris, "Vernon was right!"

112 - Gambling Sleiglit o f H m d

FALSE SHUFFLING PROCEDURES

--

The following procedures are examples of carrying a slug through complete shuMing sequences like riffle, riffle, strip, riffle. I have shared these sequences with several mechanics. Most characterized them as "sophisticated, but probably unnecessary," although they conceded that the following sequences would go right past them! These sequences can be simplified; nonetheless, it's fun-and I believe, insightful-to push the envelope and offer some advanced sequences. The exploratory process is good for maintaining balance with the moves we choose to pursue. Forte's Favorites Here are two of my favorite s11ufflingpr.ocedzir.e~ for carrying slugs.

strip-dump (top slug) The following moves are standard with one exception: the 'strip-dump.' The purpose of a stripdump is to kill the top cards during thefial riffle following a strip. Generally, the strip brings the slug back to the top and the riffle carries the slug. This moves dumps the slug on the left half as the top of the deck as the top half is split to the right. The halves can now be riffled with the right-half cards getting riffled down into the deck, yet carrying the slug. This may strike you as an unnecessaly move, but that depends on your goal. Since my experiences with magicians are generally limited to sessions with the best cardmen in the world, I'll go the extra mile to fool them. This is why, if possible, I avoid ending procedures with lessthan-optimal actions, even if the rest of the sequence is stellar. Start with the slug on top; the shuffling procedure is riffle, strip, riffle, strip, riffle. Split the top half to the right and riffle the slug down into the deck; secure a break under 5-7 cards. Undercut slightly more than half the deck and do a three-part strip while maintaining the break. This positions the slug near the bottom. Split the top half to the right as the left hand holds its break in the left half. Riffle the cards below the break followed by riffling a few cards from the right half Complete the riffle, ensuring that the top cards are killed, square up, and get a break. Begin stripping to the break. After stripping about half the cards, come over the top of the deck, dump all cards below the break, and immediately and partially split the remaining cards to the right, resting on the left half. End with a final riffle that kills the top cards and carries the slug. This is a cleverly crafted sequence that maintains consistency. For each riffle, the top half is split to the right and its top cards are riffled down into the deck. If you like, you can also adopt a

False Slzuj'J7es - 113

consistent stripping action with two three-part strips or two four-part strips, although it's not necessary. Also for consistency, each riffle can be preceded by a partial split. The strip-dump can be modified and used to enhance many pseudo stunts.

Starting with the slug on bottom, the shuffling procedure is riffle, strip, riffle, strip, riffle. Split the top half to the left, riffle, and carry the slug, ensuring that the top cards are killed. Give the declc a five-part strip, securing a left-thumb break under the last stripped packet. Split the top half to the left while holding the break and riffle, allowing the cards above the break to fall last. Square up and get a natural break. Do another five-part strip, starting with the cards above the break. Split the top half to the left and end with a riffle that carries the bottom slug while killing the top cards. This sequence can be done slowly and convincingly.

Carrying Half Decks When the goal is to carry half-deck slugs, there are several obvious solutions using the pushthrough, pull-out, and Zarrow, each combined with a legitimate strip of half the declc. These false shuffles will be discussed in their respective sections, but for now, here's another approach for controlling half decks that explore an intriguing premise.

Double-slug Riffles To carry a half-declcslz~gon top during a riffle is impractical, but how about breaking up the slug and carrying two 13-card slugs, one on top and one on bottom? With proper pace and cover, we just went from impractical to workable. This move breaks up a half-deck slug into two slugs and controls them in differentplaces. Now there's an idea worth exploring.

double-slug - tophottoni To carry the top half of the deck, undercut three-quarters of the deck and hold a break. Split the top half to the right while maintaining the break in the left half. Start the riffle by dropping the bottom slug (original upper half of the slug). Riffle normally for about half the deck and riffle the top slug last (original lower half of the slug). Square up and get a break above the bottom slug. Undercut at the break to cany the top half deck. This is the basic idea. Since you should never end a shuffling procedure with a single, straight cut before passing the deck to the cutter, end with the gamblers' cut, up-the-ladder, or the center-top-bottom false cutlstrip. Also, if you add the immediacy of the actions described for SIRP with each riffle, carrying 13-card slugs on top and bottom is even more practical. Finally, what if the slug is only 20 cards or less? The smaller the slug, the easier and more deceptive the move.

114 - Gambling Sleight ofHand

With this particular double-slug method, the average hustler could learn a false shuffle for carrying large slugs of cards in a few weeks and never have to employ push-throughs, pull-outs, or Zarrows. Although the riffles are rough and lop-sided, when each riffle is immediately followed by a gamblers' cut, the sloppiness of the riffles can be neutralized. When everything is executed in rhythm, the result can be an acceptable, casual, complete shuffling procedure in many games. double-slug - top/top

A more advanced solution is to separatc and position the slugs on the top of both halves after the split. Now the bottom of each half can be riffled legitimately, followed by dropping the remaining cards as two 13-card slugs, first the lower half of the slug and then the upper half of the slug. Here's my favorite way to get into the starting position.

Undercut one-quarter to the top and hold a break. Center-cut one-quarter of the deck from under the break (the original top quarter of the deck) and place it on top while securing a second break with the left thumb. The status is the left hand gripping the upper half of the deck with a break held at center while the right hand grips the lower half (no break). The right half can actually contact the left half at the ends to better protect the break. photo 52 - top two slugs on top and intact

Split and riffle normally. When you reach the break, let the remaining- cards in the right - half fall, followed by the remaining cards in the left half. Immediately push the halves into the one-handed protected-position and square up.

False Shuffles - 115

double-slug - bottom/bottom When the half-deck slug starts on the bottom of each half, the riffle looks even better since both slugs are droppedlriffled to start, followed by legitimately rqjing the remaining cards. If care is taken to shadow the slugs and immediately push the halves into the protected-position, the method can deceptively carry half-deck slugs that start on the bottom of the deck with a brief above the sluglstack (for example, a comer-bridge). Base strip about 13 cards to the table, strip another 13 cards onto a left thumb break, and slap the remaining cards on top, but don't let go. Split the top half to the right and butt the halves end for end. Holding a break in the left half, drop the slug below the break to start and riffle at least onequarter of the deck from the right half before riffling normally to end. To recap, after the first drop from the left half, resume riffling normally with the right half. After the right half riffle past the slug, resume rqjing normally with both halves. Double-slug controls are not pipe dreams, but proficiency takes dedicated practice. This is one of those moves where there may still be doubts after a few weeks of practice. For those who hang in there, you'll start 'hitting the move' (good execution) and recognizing the potential. After that, you'll feel compelled to continue practicing . . . knowing in your heart that the reward justifies the effort.

photo 33 - dropprng bottom slugs to begln rrffle

pnoro 34 -frnlsnrng rqfle normal~y

The key to this move is showcasing the final riffling action. If you get into the move smoothly, all you want to register to observers is the legitimate r i f f of that last two slugs.

116 - Gnrizblirzg Sleight o f l a n d

SUMMARY 1. Don't overlook the importance of fine-tuning your riffle. It's not just a part of every false shuffling procedure, it's an integral part. Concepts like the one-handed protected-position, shadowing, killing the top cards while carrying a bottom slug, and several other ruse will help attain a higher level of table-shuffle work. Also, experiment with idea of splitting, immediately riffling, and pushinglsquaring in one continuous action (SIRP); I'm betting that the results will suiprise you. 2. Whether it be the gamblers' cut, up-the-ladder, or the center-top-bottom cutlstrip, the best mechanics have polished these moves to the extent that they rarely look like the same moves in the hands of most cardmen. Study these methods and look for ways to improve your current handling of these moves. 3. Learn to identify and avoid artificial methods and variants unless your sole purpose is magic.

4. Fix your Erdnase strips and adopt options that eliminate the setup cut.

5. Embrace the base-strip; it's a staple in the repertoires of most mechanics. 6. If asked about the best false cutsistrips, I would immediately point to 'positioning false cutslstrips.' They change everything. The three-part positioning strip for canying small top slugs and f-strip for canying large top slugs are two of the best false cutslstrips.

7. 'Riffling up' and 'riffling down' can set up some of the most deceptive riffle-cutistrip combinations I have ever seen. The JN cut is a perfect example.

8. Note the absence of slip-cuts in this section; they are fine for cardmen, but uncom~nonwith cheaters. Depending 011 your goal, there are better ways to hide the movement of a single card, which are discussed later. By the way, the traditional slip-cut is a cutter's move, not a dealer's move-slip-cuts are generally not found in the middle of shuffling procedures with the rare exception of slip cutting during a split. 9. The double-slugs methods offer a different approach for controlling large slugs of cards without resorting to push-throughs, pull-outs, and Zarrows. If you co~lcludethat the methods are too movey or impractical, I'm betting that they will fool you someday. 10. Once you start thinking about the best way to construct completefalse shz$flingproced~wes and have a valid reason for every step, you'll be thinking like the best mechanics.

THE PUSH-THROUGH Of all the false shuffles, the push-through is best known to card players. Having been exposed in countless cheating and gambling titles and articles-probably due in large part to the demonstrative ease of depicting the halves angled througll each other-it's also a move that most players believe they would detect. How could anyone push the halves through each other at an angle without being detected? The push-through is a challenging move to do with conviction. After developing proficiency, most cardmen just do the move without ever stopping to consider the myriad details that make it more convincing. I did the same thing until I was exposed to new ways to execute the move. An interesting aspect of this false shuffle is its close resemblance to the 'pull-out' or 'strip-out' and the debate over which false shuffle is best. Vernon made the following statement in Revelatiorzs: "For all prncticalpur~oses,the p~islztlzrozigll sl?z@k is irzjnitely superior to tlze pzdl out-it's sure aizd cannot miss." Although a serious discussion has never appeared in print to my knowledge, I'm not sure about the "infinitely superior" claim. If this were true, every hustler would be using the push-through and that's not the case. On the contrary, it appears that the most popular false shuffle is too close to call. I once believed that the push-through was the false shuffle of choice, but many mechanics still prefer the pull-out and will passionately argue its advantages. I also have issue with the "It's sure and cannot miss" claim. Even the best practitioners of the push-thro~~gll occasionally falter. From a purely teclinical/mechanical standpoint, pushing one half short of being squared and never lettinggo is easier and more surefire than pushing the halves past each other, which requires that the fingers transfer fro111 one half to the other during the move. In fairness, I have always suspected that Vernon was referring to a specific variant of the pull-out, a move I call the 'magicians' pull-out' (page 15l), which is a delicate shuffle where one half is pulled out by the extreme outer ends. It can also be argued that the push-through better ernulates the true iiffle because the halves are pushed in all the way, but that depends on how the final squaring action is handled and, most importantly, how thefinal squarirzg action or nzonzent is perceived. As an observer, if you believe the halves are squared, it doesn't matter if they're pushed all the way through or just short of being squared. For all practical purposes, it's pointless to conceptually compare these false shuffles. I've seen some very simple pull-out shuffles that were more practical and deceptive than poorly executed push-throughs, and vice versa. How one riffles, pushes in the halves, handles or forgoes a

118 - Gmbling Sleight ofHand

squaring action, and addresses a host of other factors all affect the deceptiveness of these shuffles. Even a minor change can make or break these moves; in fact, they can transform common methods into superior variants. As a young cardmen, I blindly assumed that there was only one lnetlzod for doing the pushthrough. I now know better. Given that evely hustler is hip to the move, does the move, or has his own ideas and experiences with the move, I've been able to discuss the move with many cheaters. This process led to identifying and classifying many variants. One hustler did the move with one long push, a natural trait of many card players. One added a fake squaring action. Another tried to beat you with speed. And there's the common strategy of trying to conceal the move with hand cover. The only way to appreciate the intricacies and nuances of this staple false shuffle is to study the technical aspects of several variants, then decide which methods work best for you. Push-throughs and pull-outs are generally reserved for carrying large slugs. They are occasionally used to carry full decks. When the goal is to carly a 40-card slug, however, it's generally easier to just go ahead and carry the entire deck. For convenience and clarity, one new term/abbreviation is introduced in this section: 'SCS,' which refers to split, cut, or strip. After the halves are pushed through, there are basically three options for completing the false shuffle. One half can be pulled out into a split for another riffle, pulled out as part of a cut (undercut or table cut), or pulled out and stripped. SCS refers to your options after one half is pushed through the other (push-through) or one half is apparently pushed in and squared with the other half (pull-out). Finally, the 'pull-out' false shuffle is co~nmonlyknown as the 'strip-out.' Since the SCS can be a strip, to avoid confusion, I'll be using the term 'pull-out.' There are many si~nilaritiesbetween push-throughs and pull-outs, so many of the following observations and principles apply to both. Keep this in mind as we proceed. The basic information will not be restated when we get to the section on pull-outs.

teclznicnl observations

How you approach and handle the deck depends on the method, SCS, and your own style of shuffling. There are no hard and fast rules. Many players riffle fiom the imler ends of the halves and then move their hands to the outer ends to pushlsquare the halves together. Others riffle from the outer ends and push the halves together without changing the position of their handslfingers, believing that it's easier to develop proficiency because the starting position is always the same, which translates to less movement

and mishaps. Once you find a method that you like, experiment with both options; the goal is to find the handling that offers the most comfort and reliability. Avoid lifting the hands too high as the halves are pushedlsquared together; there's always the risk of exposing the unsquared halves to the sides. Be aware of the height/angle of the hands during the shuffle relative to the observer's viewing angle. Last, the angle of your fingers relative to the deck can affect reliability. With a small brief, it's more difficult to pull the pushed through half if the fingers and the half are both horizontally aligned. To facilitate the SCS, it's generally a good idea to rotate the hands vertically so the fingers and thumbs can securely grip the halves perpendicularly. But the same dynamic can be achieved with the hands resting naturally on the table, but with the fingers bent at the second lcnuckle and aiming downward. In other words, you can get a secure grip on the halves with just thefingers lzeldperpendici~larto the deck; the entire hand doesn't have to be perpendicular to the deck. -pre-r@e

split

Never aimlessly split the deck for a riffle. Always have a reason for splitting the top half to the right or left, or for splitting heavy or light. The correct sequence depends on the shuffling procedure and its objective. To illustrate the principle, assume a simple two-phase procedure that consists of one riffle followed by a table cut. The riffle should start by splitting the top hnlfto the right since the top half needs to be on the left side after the shuffle so it can be carried to the top to complete the cut. This logic is understood by most hustlers and cardmen, but it generally stops there. Not only should the top half be split to the right, but the riffle sllould start with the right half and end with the left half, starting and ending with small slugs of about 10 cards. Now when the top half is cut to the table, certain visual goals are present. You have created some depth between the halves and there's some space underneath the half as it's cut, which always exists when the top half is cut to the table. Now the move more accurately represents the top of the deck being cut forward. If you were framing the same procedure for an undercut, not a tablelcut, the sequence changes. You must split the top half to the left, start the riffle with the left half and end with the right half, again starting and ending with small slugs of cards. Now when the bottom half is undercut, it's (a) the lowermost half, (b) there is some depth between the halves, and (c) the undercut will slide on the table with no space underneath, which is exactly what happens with an undercut. To recap, table-cuts and splits require one pre-riffle split that should look lilce the top half of the deck is either cut or split. Undercuts and strips require the opposite pre-riffle strip and should look lilce the bottom half is being undercut.

120 - Gambling Sleight ofHund

For the simplest example of this logic, if you have just pushed one half through into a table-cut, the photographs below depict the right way and the wrong way to proceed; only one cut looks like a true table-cut.

ynow

JJ

- correcr ruore-cut

pnoro

JU

- incorrect mole-cut

Always select the split direction and riffling order that best sets up the SCS. In the context of an explanation, simply saying "split the deck for a riffle" is inadequate. It overlooks the most basic, technical considerations. Some factors are more important than others. For example, if you ignore the best position of the hands, pre-riffle split, riffling order, and so on, but end with a convincing SCS, your pushthrough may still be deceptive enough to fool most, but it can never be perfect. Note that not all hustlers follow optimal splithiffle guidelines. One hustler believed that it was more important to have the half getting pulled out to be offthe table to ensure that he could easily and reliable grab the half. In his view, technical reliability trumped visual perfection. (In magic, the first cards riffled to the table are often called a 'bed.') -rifj'Ze

Once you determine split and riffling order, the next consideration is the pureness of the riffle.

pnwu

J i-

upporerrrry nnuercunmg unuer one cum

If you neatly riffle the halves like a faro, it's impossible to create the perception of depth during the SCS. If the SCS is a split following a pure riffle, it can look like the halves melt through each other versus the normal split. If the SCS is a table-cut and the top of the deck is burned, it can look like an odd one-card cut because one half s cut from under a single

False Shufles - 121

card, not from underpart of the deck. One way to create depth for a more authentic SCS is to start with a lop-sided riffle and leave small slugs on top and bottom. More advanced methods for creating depth are discussed shortly.

Many cardmen are proponents of a clumpy riffle because it creates less friction and resistance as the halves are pushed through. This approach makes sense, but proceed with caution. With clumpy riffles, there must be cover during the SCS to address 'riffleseparation,' which can only naturally exist up to the moment the halves are pushed together. If riffle-separation is spotted during the SCS, the push-through is exposed. There are two solutions for protecting the halves from riffle-separation. The first entails a 'dominant-half' approach with a left-hand protected-position; the second is speed!

I

photo 58 - nffle-separation exposed

The dominate half is the half that moves forward during a cut or ship. To see this principle in action, assume you're ending a push-through with a table cut. Split light to the right, start the riffle with the right half, and end with the left half, and leave about ten unriffled cards on top and bottom. After the push-through, the dominant half is the half with the least amount of riffle-separation. Since the light half is most vulnerable to riffleseparation, cover is needed, so as the dominant half moves forward, slide the half across the left secondjkger. This action blocks the riffle-separation in the light half. This is a kind of protected-position for push-throughs. Once the dominant half clears the other half, it can be lifted slightly and gently slapped on the table. At the same time, let the light half either fall flush naturally or apply a light downward pressure to help expedite the coalescing of the cards. Be wary of any advice recommending that

122 - Gambling Sleight of'Hand

the light half stay inflated. Once the dominant half hits the table, both halves offer a perfectly normal representation of cutting about 30 cards forward and carrying the cut. If the SCS action is a strip, only the first packet needs to hug and slide across the left-second finger. As the strip continues, the right hand can open up and move forward and diagonal. Also, a clumpy riffle followed by a strip is generally more prone to the detection of riffleseparation because most hustlers and cardrnen strip to the right, not forward. If you wish to follow the wisdom of many mechanics, end with a double- or triple-cut. If you like ending with a strip, strip the first packet forward for cover. Also, while it's true that the purer the riffle, the better the perception of the halves being normal with fine, consistent spacing between cards, it's also true that the purer the riffle, the more difficult it is to (a) push/pull the halves through each other, and (b) create depth between the halves. Envision giving the deck a table far0 and pushing the halves through into a table cut. The result is more of apenetration effect with the halves melting through each other than the appearance of the normal table-cut. When clumps exist in both halves (no dominant half), riffle-separation will be present and visible during the SCS. Under these conditions, your best option is speed, but not too fast. Strive for just-above-average speeds and always remember the following: Speed is neither an effective nor sustainableJixfor poor technique.

Here's another tip to consider. Pure riffles (drop frequencies of 1-2 cards) are possible even with lop-sided splits. The more evenly spaced the cards are in the light half, the more normal the dominant half appears because riffle-separation is minimal and consistent. From a practical standpoint, you can't do any better. Since the half being pushed through and forward is the half with the least discemable riffle-separation, and since the eye naturally follows movement, you're moving while offering the safest perspective. If riffling in clumps is awkward, try riffling off the sides of the thumbs, which is a common flaw with break-in dealers and inexperienced card players. Finally, the following observation from friend and mechanic, MD, was a revelation to me. When riffle-separation is minimal and consistent, the dominant half will appear more normal with white-bordered cards than with all-over backs! A little separation between white-bordered cards results in seeing white on white, making it difficult to distinguish space between cards. Conversely, given the same separation with all-over backs like the Bee, it's easy to see space between individual cards, which is obviously an abnormal condition.

False Shuffles - I23

photo 60 - white borders create more normal half

photo 61 - all-over backs show card separation

MD taught me this principles in the following way. He would riffle, push through, and stop in the protected-position, letting me study the position of everything from different angles. Then he would cut the top half forward for a table-cut in slow motion. The cut blew me away. MD was trying to show me how good the SCS could look if it was set up optimally. If you take the time to think about setting up the move with the correct split, riffling order, pushinglsquaring action, and hand cover, you can deceptively emulate table-cuts and undercuts at normal speed.

-pushing action Most explanations start with "riffle and push the halves together to about one inch from being squared," but there are other considerations. At this juncture, let me just say that you don't want to get locked into any particular mind-set. For some methods, the halves are never pushed into this position. Other variants require that the angling of the halves begin immediately. What holds true for all methods, however, is that you want to grip the halves lightly during the pushing action and keep them level to avoid any upward or downward pressure that can cause friction, binding, and flexing. When this happens, it's common to counter these problems with even more force, which is just the opposite of what you want to do. Pushing the halves through should feel like a hot knife going through soft butter. If I haven't done a push-through in a while, there's the inevitable binding, and I always feel like I'm working too hard and making the move more difficult than it should be.

-square-up

before the square-up

This is one of the most common tellslflaws with this false shuffle--although I have never seen it referenced. The flaw is the act of two separate and distinct squaring actions during the shuffle. Normally, there should only be one.

If you riffle, push the l~alvestogether to within one inch of being squared, and then square the interlaced halves before the actual move, you are exhibiting this tell. "Square" in this context refers to squaring the interlaced halves from the sides in preparation for the push-through. One problem with this unnecessary action is that the deck goes from riffled (unsquared), to perfectly squared (square-up before the square-up), to unsquared again as the halves pass tlrrough each other. During the normal riffle, once you see what appears to be a squared deck from the front, the condition can't revert back to unsquared. When you square up perfectly just before the move, it's not only easier to detect the ensuing angling action, but you've added a superfluous action to your push-through. What motivates this action? Hustlers and cardmen are t~yingto get the interlaced deck neat and ready for the move because it makes everything easier. For a more authentic squaring action, eliminate any 'square-up before the square-up.'

There are essentially three movements the halves can follow as they are pushed through:

1. The halves are pushed through by applying forward pressure to the ends of both halves, causing the inner ends of both halves to angle inward. 2. Forward pressure is applied to one end, pushinglangling only one half through the other, while the other half remains stationary-considered the most deceptive approach by some as one half remains in its natural position during the move. 3. The halves are pushed through by applying backward pressure to the ends of both halves, causing the inner ends to angle outward. We can safely ignore the last option. It's a naked action that I have only seen attempted by beginning cardmen. This is just supposition on my part, but I have often wondered if these cardme11skipped the explanation and only loolted at the photographs in boolts, mistakenly interpreting the elongated, crossed orientation of the llalves depicted.

In my view, the 'squaring action' or 'squaring moment' is what defines the push-through (and pull-out). In every normal riffle, there's a moment or action that signals observers that the riffle is finished, the deck is squared, and it's time for the next action. Examples of these actionslino~nentsinclude the following:

0 artificial squaring action of one hand 0 last, forceful, inward, pus11 of both halves

0 the fingers o f both hands bumping into each other 0 subtle forward movement o f the deck 0 relaxing and lowering o f the bands to the table after the halves are pushed through 0 hands changing from relaxed to tightltense as i f exerting force

0 front o f the deck changing from unsquared to perfectly squared In magic, once the halves are in the SCS position, a common ploy is to riffleup the back of the deck, or squeeze and bevel tlie deck. Apparently the theory is to create air? This may be common for magicians, but neither trait is practiced by card players or hustlers. I f you buy into the premise that a squaring actionlmoment is an integral component o f the normal riffle,you will understand why, in my opinion, the best push-throughs and pull-outs are constructed to emulate this same action or moment.

There's a big differencebetween doing a move and doir~ga move deceptively. And for every move, even the tiniest details can transcend a move into something special and distinguish it from the way all other cardmen do the move. For the push-through, one of the most important details is the squaring actionlmornent. -brief size

A common question from cardmen is tlie size o f the 'brief relative to how much of the halves should remain unsquared after puslied through into the SCS position. The answer proves to be nothing more than common sense. The halves should be unsquared to the extent that they can be comfortably and securely gripped, which tunis out to be the width o f the ball o f your thumb. This rule changes with the individual, although it all balances out: a mechanic with thick fingers will have to push through farther, but at the same time, finger thickness will provide more cover. I f you can do push-througlis with a brief the size o f the white border, I tip my hat to you. While this kind o f exactness may be impressive (to some) and serve your purpose, mechanics generally don't strive for tiny briefs;they want to grab the half being pushed through with confidence. -SCS

(split, cut, or strip)

When possible and appropriate,take a lesson from the pros and follow each push-through with a double- or triple-cut. Also, bear in mind that this advice is likely to change based on your objective. Push-throughs can end with table-cuts, base-strips, up-the-ladder, and several other false cutslstrips. The advantage of ending with a double- or triple-cut, however, is that the move is done on the first cut, which is the followed by one or two legitimate cuts to solidify the SCS.

126 - Gambling Sleight of Hand

If you need to follow a push-through with a split, you essentially have two options. If the hands split from the outer ends, it's a 'long split' with little cover, so split briskly to be safe. If the hands split from the protected-position, it's a 'short split' with more cover, so normal speed is generally okay. hand cover

Hand cover is a critical component with many false shuffles. With push-throughs and pull-outs, optimal cover not only conceals the SCS position, it better conceals the SCS action, which is often vulnerable to riffle-separation, As to the first benefit, here's a tip from one of the best mechanics I've ever met (VO). Instead of naturally curling the index fingers on top near the center of the top card, extend the first fingers and position them next to the second fingers to provide maximum protection from the sides. The second benefit pertains to the SCS action, which should always start with a tight, forward movement of one half to provide cover for the other. After the halves are pushed through, it's easier to pull the half out to the side but there's also less cover. It's harder to pull out the half forward, but there's more cover. That's the tradeoff. Many moves look good from the front but are vulnerable from the sides. Proper hand cover is the best way to protect the shuffle from all angles.

After the riffle, the halves should be pushed in and squared without fuss or hesitation because there's no reason for the squaring action to be careful, studied, or noticeably slower in pace than the riffle. Avoid riffling and initially pushing the halves together briskly, but slowing down as the halves arepushed through. This timing is all wrong and just the opposite of the normal shuffle. A deliberate riffle followed by a careful, studied, slower square-up is unnatural and a common tell. Slow down as you riffle and strive to execute the entire push-through at the same speed, or even better, slow down as you riffle and execute the push-through at a faster speed.

False Shuffles - 11

METHODS It's time to look at different variants of this standard false shuffle. As the methods are explained, note how each shuffle incorporates the previously discussed fundamentals and technical considerations in different ways. As with all false shuffles, strive to select a push-through that best matches your default shuffle.

The 'speed-through' entails four basic steps: riffle the halves loosely, push the halves together for about half their lengths, angle the halves through each other, and pull out one half into a SCS. When I see cardman demonstrate the push-through, nine times out of ten it's a speed-through. The pace is generally fast and the SCS is most often an up-the-ladder. Despite its flaws, the speed-through will undoubtedly fool most card players, and this is especially true for half-deck controls when the SCS is a legitimate strip. A good example of this method can be seen in my Gambling Protection Series. Although I received many compliments on this push-through-ne respected cardrnan considered it one of my "best moves"-the truth is that the technique is weak and riddled with several technical flaws. Just to name a few, I start the angling action too soon; there's not enough hand cover; the deck is riffled without consideration of which riffling order best sets up the SCS; the halves are partially pushed together where I make the common mistake of squaring up before the squareup; the strip is to the side exposing riffle-separation; and my choice of SCS is overkill (several stripslcuts). Yet the biggest weakness in my execution, and in all speed-throughs, is the absence of any perceptible squaring action or squaring moment. The speed-through is similar to demonstration second deals: neither move does a good job of emulating the true action, although both are acceptable methods in magic. One hustler compared the move to driving an old, beat-up jalopy with the pedal to the medal: "It ain't perfect, but it gets me through the workday without too many bumps in the road. . . if you know what I mean." If you like this method, here's the takeaway: Pushing the halves thvough at the greatest speed is not the goal; strive to find the method that most closely imitates the normal rifJle and square-up.

To the most knowledgeable hustlers and cardmen, the speed-through falls short of the perfect push-through because it lacks the key component found in all true riffle shuffles: a squaring action or squaring moment.

128 - Gambling Sleight ofHand

Protected Push-through Many gambling moves are built around hand cover. This entails positioning the hands or fingers for the sole purpose of concealing some part of the move. For push-throughs, the obvious solution is to use the first three fingers of both hands for cover and let thc littlefingers do all the work. With the first fingers curled and resting naturally on top of their respective halves, the sole job of the second and third fingers is to provide cover. The halves are riffled with the little fingers on the ends, pushed in with the little fingers, and angled through with the little fingers. Split and position the thumbs at about the center of each half with the little fingers on the end. Riffle and pushkquare the halves together to within a finger's width-you should be in the protected-position. While maintaining the same position, let the thumbs and little fingers push the halves through into SCS position. Think of this method as using the first three fingers of both hands together as an unmovable wall to provide cover from the front, and doing the pushthrough behind the wall with the little fingers and thumbs. Just don't fall into the following trap. Complete cover doesn't automatically guarantee deception.

Timing is also critical. If the halves are angled too soon, the action is exposed and the maxcover approach is wasted. If the angling action leaks through the fingers and it's seen that the halves change from squared to unsquared, there's no believability. If the hands rise too far off the table during the shuffle, either the interlaced halves and/or the angling action can be vulnerable from the sides. The key attribute of this push-through is cover. Although the angling takes place behind the fingers, there is still some finger movement, which can serve as the all-important squaring action or squaring moment! With good timing, rhythm, and side cover, the protected push-through is unquestionably one of the better false shuffles, and it's easy to understand why it's a favorite with many mechanics. Here's another important principle regarding cover. Many gambling moves employ cover, but unnatural cover is often easier to detect than poorly executed moves. Along with the move, cover must also be natural.

False Shuffles - I .

Fake Square-up - One Hand This method employs an artificial squaring action from one hand. It's subtle, but orchestrated to serve a valuable purpose. After the halves are pushed through into the SCSIprotected-position, secure the deck with the left hand and in a continuous action, make a short squaring action across the front of the deck by sliding the right fingers to the right, exposing about one inch of the deck to the front, and sliding them back until the middle fingers bump each other. At this point, without changing theposition of the hands, end with the desired SCS. The squaring action is only a tiny element in a bigger movement that should flow in a sequence that includes the riffle, push-through, fake squaring action, and SCS. If the SCS is a triple-cut, here's a detailed explanation. Split the top half to the right. Start the riffle with the left side and end with the right side, allowing about 10 cards to riffle off on the top and bottom-recall, the motive for this sequence is to set up the first undercut by creating some deptWdistance between the halves. Following the riffle, immediately push the halves through, fake the squaring action, and return to the protectedposition. Finally, with the right hand, undercut the original bottom half forward and to the top onto a left-thumb break, ensuring that the half slides along the left second finger to cover any riffle-separation. Undercut about half the cards below the break and slap them on top, followed by cutting to the break and throwing the remaining cards on top. The second and third undercuts sell the legitimacy of the first, critical undercut-the push-through.

130 - Gambling Sleight oflYand

Fake Square-up - Two Hands This method was presented in the '52' section of the Gambling Protection Series (DVDs). It features a more open style of riffling and ends with a deliberate, overt pushing action from both hands that serve as the squaring actionlmoment. To end the push-through with an undercut, for example, split the top half to the left. Riffle evenly, starting the riffle with the left half and ending with the right half. Begin pushing the halves together to about one inch from being squared. At this point, you could just push the halves through and proceed, but you would miss an opportunity to forcefully push the halves together without having to think about stopping-this is a self-working technical maneuver that .. can be an important concept with many moves. -

photo 64 - after halves are pushed through (exposed)

-

With the third fingers at the front ends of their respective outer ends, apply forward pressure to the ends until the thumbs and second fingers contact each other and stop the action. At this point, the halves are pushed through, but not into a neat SCS, but into an unsquared, flat X configuration as depicted. The fingers naturally extend for cover. The overt action of forcefully pushing the halves together is designed to imply a squaring actiodmoment. The fingers and thumbs squeeze the sides, which are now in a neat SCS position. An undercut completes the move.

I also like to slide the deck forward about one-half inch as the halves are partially pushed through to accentuate the pushingJsquaring action or moment. This variant can also be done with three short pushes, the push-through occurring during the third push. The speed of the riffle is medium to slow; the squaring pushes are evenly paced and not rushed. The SCS is executed at normal speed. The novel feature of this shuffle is using the fingers as a stop to control how far the halves are pushed through while emphasizing the squaring actionlmoment. The same principle is commonly used in pull-outs, as you'll see.

False Shuffles -

I

Rough Hustlers' Push-through This is a more exaggerated variant of the previous push-through and is common with less-skilled hustlers. Split a light top half to the left. Start the riffle with the left half and end with the right half, setting up an undercut. Push the halves together to about half their lengths. With the third fingers on the forward end of each half, move the ends forward into a blatant, elongated X while the fingers of each hand come together and provide cover from the front. Push the halves through during a short, forward movement of the deck followed by an undercut as the deck is slid backward. This is a good example of a move with little or no finesse . . . or is it? If the blatant, elongated X is hidden from the front with the fingers and from by an angle of the hands to the deck, and the move matches the mechanic's default shuffle perfectly, it's a valid option. Expert Ron Conley notes that this method was common in California during Gardena's heyday where the card clubs offered legalized poker with no house dealers. These kinds of photo 65 - blatant, elongated 'X' configuration shuffles would occasionallv surface when conditions were soft, allowing rough hustlers to riffle only once before presenting the deck for the cut. Of course, one shuffle and a cut is never acceptable in any game under any conditions, but when a game is 'wired' (most players are part of a crew) and there are only one or two suckers in the game, it's not uncommon for hustlers to short circuit protocol, rules, and everything else.

132 - Gambling Sleight of Hand

MD's Push-through The following push-through is a favorite with many mechanics, but MD had a special handling that I wanted to share. The method shows why we should never stop thinking about ways to improve our techniques. After seeing this move for the first time, I questioned everything I'd previously learned about the push-through. The key to the method is twofold. First, the method requires that only one half be angled through while the other half remains stationary. Second, the halves are bumped through instead of pushed through, resulting in a very convincing squaring actionlmoment. When done properly, there doesn't appear to be an angling action; apparently, the right half is pushed, pushed, and bumped with the fingers into the other half to complete the squaring action. This method illustrates the point that not all angling actions are created equal. Split the top half to the right, slightly forward of the left half. Since the right half starts slightly forward, it's natural for it to be pushed slightly inward as the halves are pushed together. Start the riffle with the right half and end with the left half, leaving two slugs on top and bottom of about ten cards. Begin the pushinglsquaring action, After two short pushes, use the right-third finger to bump the outer end of the right half, striking and sending it through the left half. The bump is not overly forceful or exaggerated, but it does give the shuffle's critical action a casual appearance unlike other methods.

Once the right half clears the left half, the fingers and thumbs squeeze the halves together in a frontlback motion. At this instant. the front of the deck is unequivocallv . squared and the halveq are in SCS position (also in the protected-position). The squeeze creates the squaring actionlmoment as the front of the deck goes from unsquared to squared. A

False Shufles - 133

photo

OY

- cam-cur

At this point, MD ended with the standard table-cut, but his preference under fire was a triplecut, which changes the riffling order: split the top half to the right, but start the riffle with the left half and end with the right half. Ending with a strip was less common, as was pushing the halves through into a split for another riffle. M D believed that ending each push-through with a triplecut was the best SCS-easy, safe, deceptive, and universally accepted in his circles. The triplecut was often substituted for a double-cut, and both cuts were routinely used to lay a brief. Feel free to experiment with two pushes and a bump, or two pushes and two bumps; MD had different handlings. My favorite application for this method is a riffle followed by a table-cut in almost slow motion. I split a light top half to the right and riffle in the same action, starting the riffle with the right half and ending with the left half. After the original top half is bumped through, I cut forward with the heavy half and slide it across the left second finger for protection against riffleseparation. As I cut forward, the instant the halves clear, I lift the heavy half slightly and slap it on the table and carry the cut with the right hand.

I use a timing strategy to help with rhythm. I think push-bump-start in an evenly paced sequence where "start" means to start the table-cut on the same beat.

134 - Gambling Sleight ofHand

Half-deck push-throughs and pull-outs carry half decks. These false shuffles have everything going for them: cover, conviction, depthldistance, and a legitimate strip. They are well-known to hustlers and cardmen alike and frankly, they are tough to beat. Assume the objective is to carry the top half of the deck. Split the top half to the right; start the riffle with the left half and end with the right half, leaving about ten-card slugs on top and bottom. Do a push-through and immediately begin stripping. Strip the first packet forward and across the left second finger to cover riffle-separation. Strip a second packet stepped to the right about one-half inch, and strip a few more packets to end. This is the f-strip described on page 95. Square up and secure a break at the step, and double or triple cut to the break to carry the tnn half. When slug/stack size is less than half the deck, say 15-20 cards, everything blends in and, proportionately, the perception of a legitimate five-part strip of approximately equal packets is excellent. Split size changes depending on the size of your slug, so take a second to think about optimizing your splits. For example, if want to carry 30 cards, you need to split at least 30 cards to the right. A few more cards is okay. The smaller the slug, the more natural the strip. Finally, to carry the bottom half, split at least the top half to the left (a few less cards is okay). Riffle, push through, and finish with a legitimate s t r i p n o f-strip is necessary. This is an almost perfect shuffle combination for canying the bottom half with a brief, say a comer crimp.

Variants the conductor The "Conductor" was a mechanic who specialized in the push-through. From what I've been told, he adopted a conductor-like rhythm for splitting the deck, sliding the halves an inch or two outward before bringing the halves together for a riffle. He then matched the same outwardinward action after the halves were pushed through. From scant descriptions, the superfluous, outward movement of the halves before and after each riffle were not exaggerated or perceived as unusual and the entire shuffling sequence was described as "smooth as silk." This is a good example of how an individual shuffling style formed the foundation for a different variant.

False Shtfles - I

single push This method features one longpush from beginning to the SCS position. Both hands guide the halves directly toward each initially. During the samepushing action, apply a slight forward pressure with the third fingers at the ends and allow the halves to pass each other and stopping when the deck is in both the SCS and protected-positions. Depending on your objective and riffling order, end with the appropriate SCS.

back push-through (Richard Tnvnev) Richard Turner is the only cardman I have seen who pushes one half through and backward to clear the other half as he begins his SCS. Although the action works for Richard, it's extremely rare with card players.

Tapping the inner ends of the halves just before riffling is common with cardmen. Here the nuance immediately follows the pushthrough. The challenge is to clear the halves before tilting one or both halves and smoothly tapping the ends, which provides a convincer that the deck was normally split. By the way, some cardmen will tap the ends more openly and forcibly by hitting theface of the bottom card of the right half against the inner end of the left half, and then reverse the actions in a tap-tap sequence, so the pushthrough could also end with this touch. It's okay for magic, but not at the card table.

photo 70 - tapping the ends

twisting split Even with the deck in table-position, some card players riffle by the ends instead of the sides or comers, and they will split the deck accordingly to setup this riffling action. This style of riffling is clearly a progression from the traditional off-the-table riffles. This splitting and riffling style lays the foundation for a push-through that occurs during the nontraditional, twisting, splitting action

136 - Gambling Sleight ofHand

With the deck in table-position, grab the top half by the sides with the right hand and turn it counterclockwise; grab the bottom half by the sides with the left hand and turn it clockwise. In this orientation, it's natural to grab both halves and riffle them together by their ends, fingers at the front ends and thumbs at the back ends. Push the halves together by about half their length in a direction that brings them reasonably aligncd cnd to end. Execute a push-though, get into SCS position, and sharply split the deck by sharply turning both halves inward in preparation for another riffle in exactly the same manner as described for splitting normally (photo 73). The action of twisting the halves apart into a split is instant and easier than when following a traditional riffle-the halves can literally be snapped apart. For players who split normally but riffle by the ends, I have always surmised that the standard off-the-table riffle was once their default shuffle and that riffling on the table was the next step in their progress toward using the traditional table riffle. Moreover, note that this style of riffling automatically labels the player as an 'amateur,' an attribute purposely pursued by some cheaters.

photo 71 - orientation of the halvesfor end-rzfle

photo 72 - r@ing/pushing halves together by the ends

~'alseShuffles - I:

To end the shuffle with a cut, after the split, instead of riffling again, simply grab the left half with the right hand and carry the cut. To end with a triple-cut, after the split, base cut the left half with the right hand, slap it on top of the right half, and carry the rest of the left half to complete the cut. pointed riffle If you start by splitting the deck into two perfectly aligned halves, end to end, the anticipated pushing direction of the halves is directly into each other. If you start by splitting the halves into a pointed-forward orientation, however, an angling action is more natural because the halves have to move from pointed to reasonably aligned to be pushed together. Now when a half is angled and pushed through, it can be viewed as an extension of the previous action, making it more acceptable. mirror strips This sequence begins and ends with a short strip. It features the idea of pushing one half through while maintaining a break. Don't despair; it's automatic. Strip about one-quarter of the deck to the table, then another one-quarter onto a break. Bring the remaining cards to the top where they apparently fall flush, but don't let go. Immediately split the top half to the right and riffle the halves. Due to the break held in the left half during the riffle, a gap is naturally formed. Don't try to manipulate anything; just riffle normally. Push through, get into SCS position, and note that the break is automatically picked up by the right hand, making it's easy for the right hand to strip to the break followed by throwing the remaining cards on top for a full-deck control. riffling interlaced cards For a very unusual handling, this method entails riffling the halves following the push-through while the cards are still interlaced from the last riffle! Riffle the halves by the ends in an open, slow, deliberate manner. After the halves are pushed through but not completely separated, slide the interlaced halves forward about one inch and begin riffling again. Although the riffle begins before the halves afe completely separated, the push-through and subsequent riffle, believe it or not, looks passable. two-step push-throughs I have watched some very good cardmen demonstrate what they believe to be an advanced option for completing push-throughs: after one half is pushed through into SCS position, the strip or cut is done in two steps. I call these moves 'two-step push-throughs.'

138 - Gambling Sleight of Hand

For example, split the top half to the left; start the riffle with the left half and end with the right half. Push the halves through into the SCS position. Grip the left half of the deck firmly with the left hand and with the right hand, undercut the lowermost unshuffled slug from the right half and carry this cut so it lands squared with the leftmost cards, leaving only the original top of the deck protruding to the right (still interlaced). Follow with a second right-hand undercut of the protruding, interlaced cards to end. Keep both cuts tight and too far away from the deck, and undercut forward (versus diagonally) to cover the SCS position.

I'm on the fence about the efficacy, deception, and safety of these moves at the card table, but 1 like the thinking. I favor these variants with the pull-out because they feel technically more comfortable. See 'sliding pull-outs' in the next section (page 154) for a different approach.

one vfle ppush-through/pull-out Admittedly, this method is a little far-fetched, but it's presented in the spirit of technical exploration. The method combines a push-through and pull-out in the same shuffle. Split the top half to the right. Start the riffle with the right half and end with the left half. Push the halves together about half their length and continue with a push-through, but with only the upperportion of the top ha@ Move the upper portion forward so the right third finger can continue pushing this portion through and into the SCS position. As soon as this upper portion is pushed through and the hands are in the protected-position, pull out the remaining lower portion on the right and slap them on top (pull-out), then pull out the protruding cards on the left side with the left hand and slap them on top (push-through). As stated previously, the right-left cutting action was once a common cutting style with many card players and mechanics. the mysterious kid In More inner Secrets of Card Magic (VernodGanson, 1960), Vernon offered another two-step push-through that he credited to a hustler known as "The Mysterious Kid" (later identified as Dad Stevens). The shuffle was not explained in detail: "The Mysterious Kid demonstrated that before stripping out the cards, they could beJirst given a genuine cut, then followed by a strip-out ofthe former topJifteen or twenty cards only." Vernon later offered his method, describing it as an "original touch" in Revelations. Vernon started the push-through with an unriffled slug, which allowed a legitimate undercutfollowed by a traditional table-cut. Vernon called it a "decided improvement." Whether this is true for magic, I can't say, but it strikes me as a poorly-constructed move at the card table. Following the final riffle with an undercut and then a table-cut combination is awkward-it's basically undercutting half the deck, slapping it on top, and cutting the same half forward into a table-cut, which is complete redundancy. Here's an easier variant.

False Shuffles - 135

Split a heavy top half to the left; start and end the riffle with the left half, leaving slugs on top and bottom. Push through and undercut the bottom, unriffled slug to the top. Slap the slug on top and aligned with the left side of the deck. End by pulling out the remaining cards in the right half and slapping them on top. Now the riffle ends with a double-cut. The first cut is a legitimate cut of the unriffled bottom slug while the next cut mimics a second undercut that is cut from down into the deck, creating depth and distance, thanks to initially splitting heavy to the left. Incidentally, if you split the top half to the right and riffle as described, when you make the second undercut, a natural gap will form at the back left corner (like up-the-ladder). Establish a break at the gap and end with one more undercut at the break. Splitting the top half to the left requires a double-cut to carry the entire deck; splitting the top half to the right requires a triplecut. Note that the triple-cut consists of two legitimate cuts, the first and the last. Keep the hands close and use forward cutting actions for cover. Note that these sequences violate the principle that it's generally better to do the move first (pull-out), then sell it with legitimate cuts. These variants start with legitimate undercuts followed by the move. This creates a greater challenge as the second cut (pulling out the half) has to perfectly match the legitimate cut in appearance, pace, and rhythm. Having shared my views on the importance of a squaring actiodmoment, what could be a better way to sell the shuffle's legitimacy than to immediately follow the riffle with a legitimate cut? In theory, the concept may be as good as any idea to appear in the magic literature-at least this was my opinion until I discussed the concept with several mechanics. Surprisingly, only a couple felt the move had merit. Most found the premise to be movey and dangerous. Many mechanics argue that once you're in SCS position, just finish the move. This is not the time to be "cute" and there's never any reason to prove anything. Moreover, I've never met one who was willing to even consider incorporating these handlings into their work. All were set in their ways and had all been doing their versions of push-throughs and pull-outs for too long to make changes. The same appears to he true for most cardmen. Two-step push-throughs (and three-step push-throughs) are definitely worth exploring. They present true7 cuts by creating more distance and depth than with traditional one-step pushthroughs, but they require careful analysis and dedicated practice to execute them deceptively

For cardmen, here's one last idea. If you're working with a full-deck setup that has an ace on the bottom, don't overlook the idea of splitting the top half to the right, starting the riffle with the right half and ending with the left half, pushing through, moving the original bottom half forward, and flipping it face up to emulate a dead-cut. Not only have you apparently dead cut an ace from the center of the deck, but the order of the deck is intact.

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Easy Block-transfer Closely related to the push-through and pull-out is the concept of a 'block-transfer.' In magic, the idea has been around for a long time. In Revelations, Vernon stated that block transfers were the "mainstay of the latest riffle shuffle work." Again, I can't speak for the magic world, hut I have never seen this move in the hands of hustlers, which doesn't surprise me. It's tough enough to execute push-throughs and pull-outs flawlessly with conviction, let alone add another movement to the critical action. It's not my intention to rant about block transfers, but I did want to make a few comments about their practical value. There are basically three applications for block transfers: false shuffles, riffle stacking, and riffle culling. From a full-deck false shuffle standpoint, some cardmen have pointed to the advantage of a twoshuffle sequence, shuffling under the same block each time to carry the entire deck. But under what conditions would a hustler be restricted to only two riffles? None that I'm aware of. Furthermore, there are plenty of versatile full-deck false shuffles that can be done with only one riffle (shuffle overs); two riffles with no cutslstrips (two Zarrows); two riffles with one cut (two push-throughs or pull-outs); three or more riffles; and so on. From a false-shuffle standpoint, any technical advantage derived from incorporating a block transfer is unclear. How about advantages from a stacking standpoint? There's one moment during many riffle stacks where a block transfer could be helpful. A mechanic is stacking three aces. After two aces have been stacked in a six-handed game, all that remains is to add five cards on top of the sluglstack. But in addition to adding five cards, a thirteen-card slug must also be carried during the last riffle (AxxxxxAxxxxxA). A block-transfer in this situation allows the halves to be riffled neatly, but so does a Zarrow. Moreover, once you realize that (a) carrying a thirteen-card slug in the traditional manner is easier than a block-transfer, and (b) riffling and carrying the slug in the traditional manner can be just as deceptive with the proper cover (recall SIRP, for example), there's really no need to complicate this final riffle by adding more moves. How about the advantages of employing a block transfer for culling? The most spectacular of UI culling applications in the magic literature is the 'riffle-cull' credited to Dad Stevens. From a shuffled deck, Stevens could apparently cull three or four of a kind to the top during three or more riffles using peeks (peering into the riffle) and briefs. The system is discussed in chapter three, Stacking & Culling. To make my point, let me just say that I have serious doubts about the system's practicality at the card table. To recap, I'm unaware of any card-table benefits or applications derived from block-transfers. Okay, just because a move doesn't appear to be employed at the card table doesn't mean that it should be automatically discarded. Cheaters don't always get it right, and some moves may accomplish goals that don't interest cheaters.

alse Shuffles - 14.

Many diehard cardmen are traditionalists, and they are stubborn about exploring new techniques that are movey and convoluted. I consider myself to be a traditionalist, but not as it applies to the technical limits of gambling sleight of hand. We have to push the envelope to advance the art. So, while I have yet to find a significant development, application, or advantage for blocktransfers, here's one idea that I wanted to pass along. A hybrid block-transfer may offer another solution for creating a stronger perception of depth during the SCS. To explore this principle, we need a block-transfer method. The following is positively the easiest for doing a block-transfer during a push-through that you will ever come across. I can make this statement with confidence for the simple reason that there's no transfer that causes a block of cards to move, just the normal push-through. Think of the move as a block-transfer without a transfer! killing x-cards The first application offers a way to rid a top slug/stack of any number of x-cards. Start with xxxAAAA on top. Split a light top half to the left and riffle the sluglstack into the middle of the deck, allowing the x-cards to riffle closer to the top. You want to separate the aces from the three x-cards by about ten cards. Push the halves through. Due to the separation, it's easy for the right hand to grab all cards below the x-cards and undercut them to the top. Since the undercut comes from deeper in the deck than with the traditional push-through, it better emulates a true undercut. You can riffle the x-cards on top or into the upperpart of the deck. Either way, you have killed three x-cards without technically executing a block-transfer.

photo 75 - rzyfling top halfdown less three x-cards

photo 76 - undercutting top half Jess three x-cards

The more separation between the x-cards and the slug, the easier the move. For an advanced variant, after the push-through into SCS position, re-adjust the fingers and square the ends in a 'trapezoidal' manner (actually an isosceles trapezoid-just envision the unsquared deck in the

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- Gambling Sleight ofHand

shape of a flattened pyramid with the top half cut off. Simply stated, the idea is to square the ends at an angle that results in the uppermost cards being almost completely squared, the center cards partially squared, and the lowermost cards barely squared. With this approach, you'll be squaring the x-cards without even trying, yet being in position to complete the move. adding x-cards The transfer can also be used to add any number of x-cards to the top of a stack/slug. This time start with the aces on top to represent a partial stack. Split heavy to the right, riffle under three cards, again with separation between the three cards and the rest of the half. Push the halves through into the SCS position as described. Pull out and undercut all cards below the x-cards, but instead of slapping these cards on top, slap them onto a break and double cut to the break. You have just added three x-card to your stack. carying full decks Split the top half to the right and riffle under three x-cards. Push through, split all cards below the x-cards and riffle again, holding back three x-cards. Undercut all cards below the x-cards to restore the deck's order. If you already do a block-transfer, then you're probably hip to killing cards, adding cards, and full-deck controls. Your method may even be technically superior to the simple method presented, but here's the question to ask: Does your transfer more efficiently, reliably, and deceptively set the stage for a more convincing SCS? The goal for including this short section is to explore the possibilities of achieving a more convincing SCS. If you riffle neatly, add one card to the top of a slugistack, push-through, and apparently undercut the deck, your undercut comes from under one card-there is no distance or depth. If you riffle the top card down into the deck, separated by at least ten cards in the same half, now your undercut is coming from near the center ofthe deck. Each time the riffle creates separation as described, any cut from below the x-cards comes from deeper in the deck, creating more distance and depth and therefore more believability. I'm not sure these techniques change the practical value of block transfers, but from a deception standpoint, they warrant more study.

SUMMARY

1. The push-through is a complex move that demands serious study. Always have a reason for every element of the shuffle, especially splitting and riffling options; otherwise, you can miss an opportunity to add another layer of deception. 2. Avoid the most common and costly flaws: angling the halves too soon, the square-up before the square-up, slowing down as the halves are pushed through, and others. 3. A clumpy riffle is okay provided the clumps are typical. If the clumps are too big, the shuffle can attract attention before the push-through. Moreover, care must be taken to avoid flashing 'riffle-separation' during the SCS. For the best protection, let the SCS action focus on the dominant handhalf moving forward and sliding along the left second finger, protecting riffleseparation until the halves clear each other. With clumpy riffles and no dominant handhalf, consider increasing your speed to above average.

4. Push-throughs do not require small briefs (size of white border). Any advantage of a tiny brief is specious. For practical purposes, the size of the brief should be about the size of the ball of the thumb. This ensures the securest grip for the SCS while maintaining a brief that can be comfortably hidden with handfinger cover and speed. Since the optimal brief size is a function of finger width, optimal brief size changes from cardman to cardman.

5. The better push-throughs feature a discemable 'squaring action or squaring moment.' If you can't describe yours, you probably don't have one. Several actionslmoments have been presented to showcase this very important principle, and even the subtlest squaring actiodmoment can make a difference. 6. One of the biggest technical challenges with this false shuffle is ending with a convincing SCS that shows some depthldistance between the halves as they are split or packets as they are cut or stripped. This is difficult to do with faro-like riffles, especially near the top. With strong hand cover, some methods are more tolerable to the absence of depthldistance during splits, cuts, and strips, which makes them viable options . . .just ensue that the cover is natural.

7. The preferred SCS for most top hustlers is a double- or triple-cut. Although deception is possible with pushing through into a split, it's the hardest of the SCS options to do convincingly and usually requires speed andlor good hand cover. Many cardmen prefer pushing through into an up-the-ladder, which is okay if the cutistrip is tight and does not flash any blatantly stepped packets. If the goal is to carry a half-deck slug, consider pushing through into a f-strip and double-cut. If half of the deck can be legitimately stripped, always take advantage of this opportunity.

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vumbling Sleight of Hand

8. If your push-through is best described as a 'speed-through,' it's okay-even at the card table. It all depends on your goals. Speed-throughs are employed by many hustlers, so they can obviously get the job done in many games. Just recognize that without a discernable squaring action/moment, a speed-through will never offer the perfect imitation of a true riffle, square-up, nr SCS. 9. To fully appreciate the scope of this move, several variants have been presented. Some are common, others are offbeat. Each method has its pros and cons, so study them all. None have been devised for the sake of inventing something new; instead, all have evolved in an attempt to emulate the normal shuffles of everyday card players . . . although a few variants are strictly exploratory. 10. Perhaps most importantly, there is no best method, only the method that works best for you. Don't try to imitate anyone, per se. Think about principles, not the individual styles of others. Your goal is to find a practical method that you can adeptly execute repeatedly and reliably. adeptly. Finally, let your own individual card-shuffling traits develop naturally and define your style-the best mechanics all have their own style.

THE PULL-OUT SHUFFLE

The pull-out has a few distinct attributes when compared to the push-through. technical observations

-simplicity

of method

Since the halves don't have to be angled and pushed through each other, and there's never the need to let go of one or both halves to change finger positions from one half to the other, the required technical skill, in theory, is reduced.

Pushing and angling one half through the other is not always easy to hide, but angling the halves is not required with many pull-outs --Jinger stops A key attribute of the best pull-outs is the idea of using a finger as a 'stop.' Depending on the method, the position ofjust one finger can make it physically impossible to square up perfectly. This enables the halves to be pushed together with more force, speed, and casualness. Fingerstops also allow a certain conviction that is difficult to sell with push-throughs, which can lead to a more believable squaring actionlmoment. However, if the squaring action/moment is unnatural, unconvincing, exaggerated, or otherwise flawed, it's a different story.

-square-up

(technical)

When comparing the pull-out to the push-through, it all comes down to the squaring action or squaring moment. If the method can sell the illusion of the halves being pushed together and squared, it's an easy choice: the pull-out is technically easier and probably the better choice. -square-up

(visual)

The pull-out offers one pivotal advantage over the push-through-another one of those principles never opined in print to the best of my knowledge. With the better pull-outs is the idea of using the position of the fingers to allow the deck to be openly and convincingly shown to be squared, if even for a second. Don't overlook this feature (described next).

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METHODS

The first pull-out T ever learned from a mechanic was a 'back-stop' pull-out. Split the top half to the right and riffle the halves normally, starting with riffle with the right half and ending with the left half. Since the left thumb is the 'stop' in this method, position it naturally at the back of the left half at the leftmost end. The riffle is proceeded by three quick movements before the SCS. The first movement is a long pushinglsquaring action. Push the halves together with conviction, angling the left end of the right half backward so its hits the left thumb. The second movement is a subtle fake squaring action-just fake a pushing action with the right hand; the half can't go anywhere thanks to the left thumb. The third movement is a squeezing action of the halves by their sides. This is the squaring momentlaction as the sides go from unsquared to squared. The right half remains protruding from the right end covered by the right hand. The instant the sides are squeezed, start the SCS. When you push the halves together, ensure that both hands are resting comfortably with each hand mirroring the other as they rest on the deck in the protected-position. Note that the riffling order sets up an undercut or strip because the bottom of the pulled out half will be moving forward on the table, and the top of this half will be moving forward from down into the deck to show some depth-exactly as it should be.

L

photo

photo 78 -squaring moment/action; SCSposition

Marlo offered the same idea with a 'front stop.' The right half was pushed forward of the left half until it hit the left-third finger, although he did not highlight the benefits of a stop or squaring action/moment. The back-stop method is a better, more authentic solution.

.alse Shuffles - 14: Study photo 79 carefully. Once the right half hits the left thumb, both ends ofthe unsquared deck can be visible, yet still represent a squared deck. The small part of the deck exposed on both sides of the third fingers are from two angled halves, not two aligned halves. This is the status before the halves are perfectly aligned and in SCS positic-

photo 79 -front view; squaring moment/action

photo KO - squaring moment/action (exposed)

Even though this position is fleeting, it's a strong, convincing squaring actionlmoment. Rod-the-Hop's Pull-out (front-stop) Like every gambling move in the hands of legendary Rod the Hop, the following pull-out was exceptional. It showcases a novel, technical maneuver. The method will take some work, Split a light top half to the right. Start and end the riffle with the left half, leaving a good size slug on the bottom of about one-quarter deck. Grab the ends of the right half with the right third finger and thumb-you will maintain this grip during the pushingtsquaring action and strip. The halves are naturally angled following the riffle, but with the right half slightly back of the left half. Pushtsquare the halves together with the right half about one-half inch from being squared and with the right end angled backward. As this action ends, the right third finger should butt into the front right end of the left-hand's ha& From the front, the perception is that the halves have been pushedlsquared flush. The inner end of the right half is almost perfectly aligned with the outer ends of the left half, but the right third finger is the key as it provides cover for the unsquared halves.

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pnoro

photo 83 -front view; squaring moment/action

OL

-squaring momenr/acnon ml

(exposeaj

photo 84 - squaring moment/action (exposedj

Under cover of the right hand, with the right thumb, push the back of the right half forward to align the halves. You're now in SCS position following a convincing squaring momentiaction. Here's where the move takes a sharp departure from traditional methods With the right hand, grab enough of the deck to include the right half and move everything forward as if stripping the deck, the same action as with the I-strip (page 104). As soon at these cards clear the front of the deck, return to the deck and strip everything except the right half. In other words, execute the pull-out as the secondpacket is apparently stripped. End by throwing the remaining cards on top. In summary, Rod's pull-out consists of a riffle and three-part strip. The first strip is a base-strip. The second strip is the pull-out. The third strip is a legitimate action of throwing the remaining cards on top.

False Shufles - 147

photo 85 - SCSposition

photo 86 - stripping most of decRfonvara

I

photo 87 -pull-out occurs as secondpacket is stripped

photo 88 - afterpull-out, remaining cards thrown to top

If you read about this move with no mention of its inventor, I can see most cardmen moving on to the next move, concluding that the idea of doing the pull-out after starting a stripping action is impractical. But when you attach the name of one of the best cardmedmechanics of all time, it forces you to take a closer look. No kidding, if you could see Rod do the move, you would start practicing before you reached the end of this explanation.

Fake Square-ups These variants are rarely seen in the hands of cardmen, which is surprising given their moveless quality. To my eye, they have genuine potential. Fake square-ups are definitely examples of obvious solutions, but that doesn't make them poor solutions. While the methods are basic, creating the illusion of naturally squaring the halves will require study. I have always liked the directness of these methods and the ease of matching the default shuffles. I don't recall these methods in print or on video and can only assume that the perception of simplicity is a factor for their unpopularity, yet simplicity is not necessarily a bad thing.

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long-push Riffle by the ends and push the halves together to about a finger width. The right hand is relaxed and naturally curled with the right-third finger doing most of the pushing. In a continuous action, the left hand moves into the protected-position as the right fingers slide inward across the sides and fakes a slidingtsquaring action without disturbing the unsquared right half. As both hands reach the protected-position, the fingers come together and begin curling to mimic a squeezinglsquaring action, moving from a relaxed position to a tense, curled, squeezing protected-position, but only for a second. The instant you reach this point, begin the SCS. If the fake squeezing action is realistic, not exaggerated, this simple method is a surprisingly deceptive pull-out.

photo 91 - sliding the,fingers together -fake square-up

photo 92 - onefinal squeeze to sell square-up

three-push

Instead of one long casual push, the right fingers push from the outer right end and make three short pushes to push the halves together. The first push genuinely pushes the halves together by about one-third. The second push does the same. But the third push is a fake. Let the right fingers slide into the protected-position without disturbing the protruding half. When the second fingers of each hand bump into each other, immediately go into the SCS. Note that with three pushes, you are setting up a rhythmic sequence with the second push that creates anticipation for the final push to occur with the same rhythm. When it does, there's both technical and psychological conviction. These 'fake square-ups' are probably examples of the earliest pull-outs developed by cheaters centuries ago.

Magicians' Pull-outs I would be remiss if I didn't say something about three specific pull-outs from the magic world-at least that's were I learned them and why I label them accordingly. fine squeeze and square-up

For the first method, one half is pushed in to about one inch from being squared. The right first finger squares the end by moving the finger from front to back in the traditional way, which causes the half to square-up at an angle. The left thumb pushes on the comer protruding from the back left comer, causing the half to slightly protrude from the right end in SCS position. One reason for the move's absence in my research is the delicate squaringlsqueezing action, a maneuver that subliminally states, photo 93 -fine squeeze and apparent square-up "Look at the perfectly- squared deck." The problem for me is that an unsquared deck always looks like an unsquared deck, and the delicate square-up only brings attention to the move's critical moment, which is often done at a slower pace to sell the apparent squareness. In short, the method appears to be too careful, belying the casualness of a normal riffle. A

To make the move even more challenging, you can't just do it once as is common in magic. At the card table, it's likely that the move will have to be perfectly executed two or three times with card players burning the deck . . . not an easy task.

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Gambling Sleight of Hand

two-hand square-up This is the pull-out's version of the 'rough hustler's push-through explained previously. Instead of using only the right fingers to finely squareisqueeze one end, the thivdJingers bump their respective halves into a more pronounced, angled square-up than with the previous method, which makes the SCS more reliable.

photo 94 - squaring moment/action (exposed)

Riffle and push the halves together to about one inch from being squared. Bump the front outer ends of each half slight forward, resulting in the position depicted.

Square the halves by their sides, which shows a squared deck in a semi protected-position where only a small part of the front of the deck is visible. End with the appropriate SCS as determined by the split and riffling order. As with any false shuffle, casual or formal, the keys are matching the default shuffle, adept execution, and the skill to repeat the shuffle 2-3 times within a complete shuffling procedure. Pf course, this may not be a requirement in magic. one-card 'block' transfer Here's a method commonly seen in the card effect, Triumph. Face-upiface-down halves are riffled and pushed together to about one inch from being squared. The left hand secures the deck as the right hand butts up against the other end in karate-chop position. To apparently square the deck, only the top card slides over until it hits the right palm. The right hand turns palm down, grips the original right half plus the top card, cuts this half forward. In magic, I suppose the move could be viewed as a one-card block transfer. I'm a big fan of this shuffle-of course, the karate-chop square-up must be reserved for magic. Oddly, no evidence exists that this shuffle is a card-table move, which is surprising. I use the false shuffle for all kinds of applications. For example, let's say you want to carry a 20-card slug that has one additional x-card on top. Use your default shuffle to split the top half to the left and riffle the right half under one card. Create some distance between the x-card and the next card in the left half for distanceldepth. After the riffle, keep the left hand in the one-handed protected-position and immediately push the halves together to within one inch of being squared, letting the right hand do all the work. Continue with the one-card transfer, but don't push the x-card to the right, push the right haEfto the left, which slides the riffled deck to the to the left, until the top card is flush with the right

False Shufles - 1.

half. As you make the last push, bring the hands together in a protected-position with the second fingers bumping into each other. The instant the final push ends and the top card is flush with the right end, start the pull-out (stop-start principle). For cardmen, my favorite SCS is a threepile cut for carrying a top slug and ridding the slug of one x-card, although many other applications are possible. The cuts are carried in the traditional fashion: pile 1 on top of pile 2, and then everything on top of pile 3.

I think of the move's rhythm in four evenly paced steps: (1) riffle; (2) first push of the right half; (3) second push of the unsquared halves to the left, which brings the top card to the right and flush with the right side of the right half; and (4) beginning of the SCS.

".

photo 96 - one-card transfer ends in protected-position

It's important that you riffle using your normal default riffle. The concept of sliding the unsquared halves to the left is more convincing than sliding a single top card to the right. The shuffle looks better with white-border cards because it's easier to follow the movement of the top card, which sells the illusion that the halves are pushed together and squared.

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- Gambling Sleight ofHand

Sliding Slug Pull-outs 'Sliding slug pull-outs' are sophisticated false shuffles that fall into two groups. Either a top slug slides over the top to emulate a square-up, or the riffled deck slides over a bottom slug to emulate a square-up. The first variant carries a large top slug; the second carries the entire deck Recall the two- and three-step push-throughs; these are stellar variants from this limited genre. top-slug slide-over Here's an excellent false shuffle for controlling large top slugs, even half decks. Split the top half to the left and riffle about five x-cards on top. The number of x-cards is irrelevant so no hesitations or hold-backs. Push the halves together to about one-half inch of being squared. Maintain your grip of the deck with the left hand as the right hand slides the x-cards to the left and squared with the left side, but onto a left-thumb break-easy due to the natural gap. Relax your handslams and bring the hands together into the protected-position to sell the squaring momentlaction. Pull out all cards in the right half and slap on top while holding the break with the left thumb. Undercut at the break and slap on top to end.

-

photo 99 - rifle x-cards on top of slug

photo 101 -pull outpacket niid slap on top hold bt mk

photo 100 - x-cards slide over; deck apparently squared

filse Shuffles - 1:

The key to the sequence-and the method that follows-is the immediacy of stripping on the same beat as the moment the cards are apparently pushed together and squared. Interestingly, I've met cardmen who struggled with pull-outs for one reason or another, but aftel teaching this variant, they q~licklypicked up the move. One cardman noted that the method provides more cover than other methods. He's right. The caveat, however, is that it takes practice to effortlessly grip the right half from the protected-position-it's easier if the hands are closer to their respective ends. But that's the tradeoff. For advanced cardmen, there are ways to eliminate the break, but they require either (a) starting with some kind of brief above your sluglstack, or (b) riffling the required number of cards on top to complete a stack. In both cases, you can slide the x-cards over to the left without holding a break. What happens next depends on your objective: either carry the sluglstack to the top as described, or position the sluglstack in the center with a brief.

bottom-slug slide-over The unique feature of this pull-out is that a bottom slug slides over to square up with the other half to sell the illusion of squaring the deck. The shuffle carries the entire deck. Split the top half to the left; start the riffle with the left half and finish with the right half. Push the halves together and angle the right half backward to create a brief at the back left comer. Note that this position is almost identical to the back-stop pull-out. Place the left thumb under the lowermost cards of the right half and lightly establish a break. The right fingers now apparently square the halves. What actually happens is that everything above the lowermost slug moves to the left on top ofthe bottom slug, lining up with the right end of the deck to solidify the squaring action. The left thumb retains its break. The instant this action is completed, undercut the bottom slug to the top with the right hand, flush with the righ side of the deck. To end, pull out the interlaced cards with the left hand and slap on top. Think of the sequence in phoru I U J - srzue ourcum nulj m u L ~ J L irrurno five evenly paced steps: (1) riffle, (2) push, (3) square up, (4) cut, and (5) cut. The first cut is legitimate while the pull-out occurs on the second cut. The goal is for observers to see the sliding cards, suggesting that all cards are sliding together. There are other ways to handle this move, but the sequence presented is my favorite-see the following photographs.

156 - Gambling Sleight ofHand

p~~

photo 104 - slide bottom slug over and

t

photo I06 - carry cutflzrsh with righi end

!sh break

photo

1UJ -

unaercut sllalng slug oe~orepull-our

photo 107 - pirll out lefipaclcet and dap on top

For clarity, here are the exposed before-and-after views of the sliding action.

False Shuffra

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Off-the-table Pull-Out There are many excellent off-the-table false shuffles in magic, but most are not card-table moves; they are magic moves. The following variant is for carrying big slugs. It's an obvious solution with a great feature that you can't get with table false shuffles: squaring the deck on its side with the faces towards the players, creating an opportunity to slide the bottom cards over and sell the notion of pushingtsquaring the halves together-a visual convincer. Assume you're trying to carry a 30-card slug. Riffle-split about 20 from the bottom into the left hand (must be less than the size of the slug, so adjust accordingly). With both halves naturally tilted forward for the riffle, start the riffle with the left half and end with the left half. As the halves are rotated and dropped to the table on their sides, push the bottom cards to the right with the left fingers until they square up with the right side of the deck. Make a couple of squaring actions as the halves are apparently pushed together, but stop the halves by about one inch from being completely squared. Keep the fingers naturally cupped at the ends to aid in the fake squaring action while providing cover. Immediately following the fake squaring action,.the right hand takes over and rotates the deck forward and level, and places the deck in the left hand in front of the left fingers for cover (photo 111). The deck is now in position for an off-the-table cutistrip. With the right and left hands providing cover, there's not much to see, even if done slowly. The left hand grips the front of the deck and begins to move forward as the right fingers pull out the top half in a backward direction and cut the half to the top. This sequence displaces the bottom cards so this is not a full-deck control, but get the timing down and it's an excellent false shuffle for carrying large slugs.

photo 110 - appovently squared from thefiont

photo 111 - right handprovides cover as deck rotates

158 - Gambling Sleight ofHand

photo 112 - left fingers a/soprovides cover

photo 113 - ofl-the-tabrepurr-oul

Just speculation on my part, but I think many cardmen pass on this move because it's an obvious solution-although they have all probably hied it at one time. If you study the natural cover provided in this move from both hands, it's excellent. . . the shuffle warrants another look.

Sliding Off-the-table Pull-out This false shuffle has similarities to the last move, but the ending sequence is more casual and challenging. It also carries a full deck. Riffle-split a heavy bottom half into the left hand and riffle the top half into the bottom half (start and end the riffle with the left half). Rotate the deck on its side, faces to players, and push the halves together to within one inch of being squared. Let the deck fall forward to the table into the protected-position, and immediately begin sliding the deck off the table. During the sliding action, execute the pull-out, pulling the top half out and softly carrying it to the top. Continue sliding the deck off the table, ending with tapping the deck on its lowermost side with the right hand (faces toward dealer), and then tapping it again on its end with the left hand. You're ready to repeat the shuffle if desired. The challenge is executing the pull-out during the sliding action. Note that the tapping actions described are not uncommon in casual games where off-the-table shuffles are acceptable.

Marlo's Off-the-table Pull-out

This is an unpublished false shuffle from Ed Marlo. Bill Malone learned it from Marlo and shared it with me. The shuffle highlights a novel squaring actiodmoment that I have never seen before, which is why it's included. I also wanted to show that I have no objections to moves from the magic world provided they meet certain standards. Is the hue action reasonable, relative to the card table? Yes, in informal games, the default action is similar to many off-thetable riffles. Is the shuffle repeatable? Yes, I've watched Bill adeptly do consecutive false shuffles with this method. Is the shuffle deceptive? Yes. With the deck in table-position, split the top half to the right and aim the inner ends of the halves forward in a pointed configuration. Start the riffle with the right half, end with the left half, and interlace at the tips. Lift the halves backward on their sides and maintain a pointed, vertical configuration. The instant you reach this position, let the halves apparently and casually fall into each other, but only to about one inch of being squared. Don't let the halves fall in a clunk-clunk manner; instead, let them fall softly and haphazardly, a few cards at a time, starting with the cards on the bottom of the deck. This is the move's novel feature: a convincing squaring momentlaction that consists of the halves casuallyfalling into each other. Once the cards fall haphazardly to the table with natural hand cover at the ends, the shuffle appears to be over. Let the unsquared halves fall forward to the table while maintaining the protected-position. Relax the hands as if the move is over, which sets the stage for the pull-out. Pull out the right half, which has been riffled in the order that sets up an undercut, and slap the half on top. Strive to smoothly transition from each component of the move: riffle, lifting the halves, dropping the halves haphazardly, letting the halves fall to the table with cover, and ending with a traditional pull-out and undercut. Double-cuts, triple-cuts, and other false cuts are also options.

photo 116 - interlaced halves haphazardly fall to table

photo 117 - halves fall into sideprotected-position

photo 118 - halvesfall intoprotected-position

photo 119 -pull-out carries entire deck

In Bill's hands, the move looks great.

Other Variants These kinds of shuffles lend themselves to countless methods, handlings, and subtleties. In most cases, they do not offer notable improvements over the methods that have been around for a long time. I have found that the most unusual moves often fit a certain personality; for example, I can see this move in the hands of a talkative mechanic who does the move as he asks you about sports, social issues, or your family. While these methods have many similarities, don't think for a second that a particular method executed perfectly by one cardman can't standout as a spectacular variant that gets everyone's attention.

False Shufles - I I

SUMMARY 1. Despite the well-known push-through, the pull-out shuffle is still preferred by many mechanics.

2. The pull-out is technically easier than the push-through because the halves don't have to be angledlpushed through each other, nor do the fingers have to change position from one half to the other. When technical difficulty is reduced, more time can be spent on timing, rhythm, and most importantly, the squaring moment/action. 3. Reread the section on the push-through; in particular, reread the technical observations and note the common flaws. Then reread the motivation for optimal splits and riffling-they are equally important for pull-outs.

4. When employing finger-stop methods, push the halves together with a little more force and conviction. The back-stop pull-out is a good, solid, cheater's move. It was the first variant I learned and it's the go-to method for many mechanics. Rod-the Hop's pull-out offers a novel approach to this standard false shuffle. 5. Don't gloss over the fake-square-up variants just because they are obvious solutions. The simplest methods often match the true shuffles better than more sophisticated methods.

6. If you're currently having success with a pull-outs from the magic world, by all means, continue to employ your favorite method. If you're not sure if your method would be considered an authentic hustler's move, just ask these questions. Is the shuffling style reasonable to the extent that card players would immediately deem it to be okay? Is the shuffle repeatable? Does the shuffle match the default shuffle? If the answer is "yes" across the board, you probably have a viable cheater's move.

7. Revisit the 'one-card block transfer' and try it as described. I use it all the time, and it looks better than you would think. Strive to do the move with your own r f j i n g style. 8. The two-step pull-outs and sliding-slug pull-outs are well-constructed for carrying large slugs and full decks. The sliding slugs serve one purpose: they help to solidify the squaring momentlaction. 9. Off-the-table riffle variants are always fun to explore, but cardmen don't usually associate tht: pull-out with this style of shuffling. Also, off-the-table isn't always limited to off the table; I have seen some cardmen execute these shuffles on their knee, belly, etc. 10. If you're a cardman specializing in gambling moves or aspire to specialize in this field, you need at least one good pull-out ('strip-out') in your repertoire. This section offers many options with the technical tips to take your pull-out to the next level.

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- Gambling Sleight ofHand

THE ZARROW SHUFFLE

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The legendary Zarrow shuffle, credited to magician Herb Zarrow, is the cardman's favorite false shuffle for controlling full decks. From here on, I'll take the liberty to describe the shuffle with one word: Zarrow. For convenience, I'll also use "zarrow" as a verb; instead of instructing yon to "shuffle under three x-cards," I might say "zarrow under three x-cards." The consensus among cardmen is that the Zarrow is one of the few moves invented by a magician that worked its way into the gambling world. This may only be partially true. My research suggests that push-throughs and pull-outs are still preferred by most mechanics. Many old-timers-those with no knowledge or connection to the magic world-were not even familiar with the move, although they were hip to different 'shuffle-overs' (discussed shortly), which are essentially Zarrows without top-card cover. My own experiences with the Zarrow have been hit and miss. I always found it difficult to find a Zarrow that matched my default riffle, but there were always discrepancies. At one point early in my career, I was convinced that the move was best left to the magic world, and then I finally met a mechanic who specialized in the move (three-push), and another (bookmaker's Zarrow), and yet another (no-cover Zarrow). These sources inspired me to go back and take a closer look. At the card table, the Zarrow is an enigma. In magic, I've heard it described as one of the major advances in modem sleight of hand with playing cards. Since we all know that the move destroys laypeople, you would expect to see the move in the hands of more mechanics, but you don't. Equally baffling is that the move is more likely to be employed by elite mechanics, not average mechanics-just the opposite of what you probably suspect. I suppose this is to be expected. The elite are better equipped to transform the move into a practical, deceptive tool. They will make the effort to isolate the common flaws, address them, reinvent the move or aspects of the move, and even change the dynamics to the extent that the shuffle doesn't even look like the standard Zarrow. The differences in deceptive standards between magicians and hustlers have been discussed, buL it's never more apparent than with the Zarrow. Consider the classic Triumph effect and the typical method. When it's time for the false shuffle, it's executed only once and over in a flash. It can be done on the offbeat or with misdirection. It does not need to be repeated or combined with legitimate shuffles. If it looks a little different, it does not matter. Audiences expect to be fooled and entertained. Seasoned card players are different. They have watched countless riffle shuffles, so they're conditioned to expect a certain range of actions. They also have a tactile familiarity with shuffling. So who needs a greater mastery of the Zarrow to ply their trade, magicians or cheaters? Actually, it's a pointless query. Magic's Zarrow and the cheater's Zarrow should never be compared. The objectives and technical requirements are as different as the observers watching the move.

False Shzrffles - 10s

Before we get to the technical observations, challenges, and methods, let's quickly classify the different kinds of Zarrows. My research classifies this standard false shuffle into four categories. 1. Card Cover

This is the traditional method. Following the riffle, the uppermost cards of the halves move independent of the halves to provide cover for the core actions: the disengagement and square-up of the halves.

2. Hand Cover For these variants, hand cover is the main component used to cover the critical action. For cardmen, the best known example of a hand-cover Zarrow is Gary Plants' version where the fingers of both hands provide cover to the front of the deck during the critical action. See the 'circle Zarrow' for another variant (page 171). 3. No Cover A 'no-cover Zarrow' refers to any method where there's vevy little independent movement of the halves' top cards; in fact, the movement is so subtle, it doesn't even register as movement (no more than a border's width). Note that some independent movement of the halves' top cards exists with all Zarrows, which can range from a border's width to half the cards' length. With this variant, movement of the top cards is barely discernable. This is also the most difficult Zarrow to master. In fact, I've found that very few hustlers and cardmen have even attempted to master this version due to the precise timing required. And then again, maybe most have never tried this varian~ because they're conditioned to only think in terms of traditional methods.

4. Off-the-table Variants The Zarrow can be done with off-the-table riffles, too. For many methods, the deck is initially riffled on the table and then rotated on its side to cover the critical action.

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vumbling Sleight ofHand

technical observations Like all moves, the Zarrow has its own set of unique technical challenges. If you casually breeze by these challenges without an honest assessment ofyour execution, tells are inevitable. At the card table, the Zarrow must provide a reasonable representation of the professional table riffle shuffle so there's not much room for creative interpretations or stark deviations. There are technical parameters that must be followed. Consider a poorly constructed and executed Zarrow where the top card of one half blatantly moves independent of its half; even inexperienced card players will sense something unusual; from here, it's a short jump to suspicious. Most cardmen use the Zarrow as a one-off shuffle. This may be fine for magic, but the same move may be unsustainable at the card table for several reasons. Let's take a closer look. -independent

card movement

Following a riffle, as the halves are pushed together and squared, independent movement of one or more top cards of either half is an artificial action and not a trait of the normal riffle shuffle. When the movement is excessive (single card moving half its length, several cards fanning, etc.), it's easy to detect. When the riffled halves are normally pushed together, they are pushed together as reasonably squared units, not pushed together a few uppermost cards at a time. Also, independent movement of the top cards is only independent when it's visible-some methods hide this movement better than others. -movement of halves As a general rule, move both halves together, not just one, to be consistent with the normal rifn-

When one half is noticeably lifted off the table to begin the square-up, the shuffle is ruined. Obviously, once two halves have been riffled, it's physically impossible to lift one half independent of the other.

The critical moment in all Zarrows is where the riffle is separated, creating upper and lower 'gaps.' The upper gap is the space between the cover-cards and the bottom half of the deck. The lower gap is the space between the upper half and the table. If either gap registers to players, even for a second, there can be no deception. This is why you must have a strategy that addresses the gaps. Will you be employing speed, a beveled half or halves, tilt, a new method, and so on? At a minimum, if you favor a traditional method, as you zarrow the halves, never stop short of providing cover for both gaps. Even pushinglsquaring the halves together by merely another one-quarter of an inch can dramatically alter the deception of this shuffle.

False Shuffiw -

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For readers who happen to be golfers, one of the most costly errors in the sport is leaving a putt short because you have zero chance to sink the putt. This is analogous to the Zarrow. If the first push is short of providing cover for the gaps, you'll have zero chance of deception. In the photos below, for the upper gap, cover is provided by the left second finger. For the lower gap, cover is provided by right second finger.

Some cardmen will tilt one or both halves downward during the square-up, but there's never any reason for tilting the halves during the normal table riffle. -top-card

pop

This has probably happened to all of us. As you zarrow one half under a single card and use too much upward force, the top card visibly pops off the deck. Some methods specifically address this problem (top-card cover Zarrow, page 179), but for now, just holding the halves will help

The hustlers' biggest knock on the Zarrow has always been the difficulty of matching the move to the true or default shuffle. For most of us, our Zarrow and default riffle appear to be two distinct shuffles. Different methods address this challenge in different ways (described shortly). For cheaters, the most important goal is matching the Zarrow with the default shuffle, which often requires them to modEfj. their default shuffle.

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From a practice standpoint, strive for a well-thought-out, effective practice regiment. 0 Start by alternating your Zarrow with your default shuffle (first in slow motion and later at regular speed). Always strive to complete the trueifalse moves in the same time and space. 0 Once the timing kicks in, begin looking at the common flaws and making the proper

adjustments. Find the 'optimal speed' (the slowest speed at which the move is still deceptive).

0 Continue practicing until the thoughtprocess is no longer needed.

At the card table, two or three consecutive Zarrows are often required, which is why repeatability is an attribute found in the better methods. Once you begin to home in on a favorite method, consider whether you could do the move three times in a row for laypeople without raising any suspicion. An honest answer will quickly classify your Zarrow as a magic move or card-table move. Note that some stacking procedures may only require one Zarrow, but now the shuffle has to match up the previous default riffles.

It's not uncommon for even the best cardmen to expose the Zarrow from the sides. As with all gambling moves, always know where you stand regarding weak spots. Evaluate your work from all angles. r@e-shuffle tells Since the Zarrow is a table-riffle move, any flaw that can surface with a riffle can surface with the Zarrow. These include hesitation during the riffle, not riffling off the thumbs, excessive speed, and so on. If you start with good riffle-based fundamentals, it's a giant step forward in the development of a deceptive Zarrow.

If you struggle to find confidence with the Zarrow, work the problem. For example, is it better to split evenly or lop-sided? Where should you grip each of the halves for the pushinglsquaring action: inner sides, closer to center, center, past center, or near the ends? Should the position of

alse Shuffles - 16:

the handstfingers stay the same for riffling and pushingtsquaring the halves? Should the edgesltips of the cards be riffled together by only one-eighth inch, one-quarter inch, one-half inch, or more? Here's the answer to these questions and many more: Only you can answer these questions! As for gaps, since changing the position of just one finger a fraction of an inch can make or break the move, it behooves you to experiment with different splits, hand positions, and riffles. Maybe a simple change in finger position is all it takes to achieve deceptiveness. Meir Yedid-a dear friend of Zarrow-shared the following wisdom from the man himself. Mr. Zarrow believed that each cardman should take the shuffle and "make it their own."

The Zarrow is frequently telegraphed before thejirst card is riJfled! This occurs if the required setup sequence turns out to be poorly constructed or executed. A key distinction of the Zarrow in magic is that it's generally used as a full-deck false shuffle. This can be accomplished with only one Zarrow following a setup sequence (slip-cut or other stripslcuts), or two Zarrows with no setup sequence, which entails shuffling the bottom half to the top under a cover-card, followed by shuffling the top half back to the top under the same cover-card. If you wish to follow the advice of the best mechanics, eliminate all setup sequences. How many times have you watched a cardman split the deck by pulling half the cards from the center and instantly anticipate a Zarrow? This is an artificial split for magic purposes only. The small number of mechanics in my research who specialized in the Zarrow all split normally and zarrowed under a desired number of x-cards that played a role in their sluglstacking application. If you have an application or stunt that requires that you carry the entire deck with one Zarrow, consider the following setup sequences:

1. To end a sequence with a riffle, base strip about half the deck. Strip a second, small packet onto a left-thumb break. Come over the top of the deck with the remaining cards and slap on top, but don't let go. Fake a square-up, split the top half to the right, zarrow under the small packet above the break, and square up to end. 2. This sequence also ends with a riffle. Grip the top two-thirds of the deck with the right hand and cut forward while retaining the top card with the left-first finger (slip-cut). Come back to the deck and continue with an up-the-ladder, stripping a packet and stepping it to the right. Slap the remaining cards on top, and strip out the stepped packet and slap it on top, catching a break at the gap. Split the top half to the right at the break and zarrow the right half under the top card from the left half. 3. To end with a riffle and cut, strip one-third of the deck to the table, then strip a small packet onto a left-thumb break; slap the remaining cards on top but don't let go. Fake a

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square-up, split the top half to the right, zarrow under the small packet above the break, square up, establish a break, and either table cut or undercut at the break. I don't see how it could get any better. When you take a second to acknowledge this false shuffle's technical challenges, it's easy to understand why it's not more common at the card table. Although most mechanics are hip to the move, they have trouble 'pulling the trigger' (using the move). This is a revealing sentiment that has always suggested to me that there is something in mechanics' psyche that says proceed with caution. Not all mechanics, but some.

In Gambling Sleight ofHand, the focus in not on application or context, but I wanted to offer one quick example to illustrate the Zarrow's unique qualities within a complete shuffling procedure. Unlike the push-through or pull-out, the Zarrow lets mechanics end their complete shuffling procedure with a riffle, which may be the only permissible option in some games. It's also the shuffle's most important feature, relative to the card table. Assume the top of the deck reads AxxxxxAxxxxxA in a six-handed game. Five cards need to be added to the sluglstack to stack the three aces to the dealer in a six-handed game. The procedure is standard: riffle, riffle, strip, riffle, cut. Split the top half to the right and zarrow under three x-cards. Square up. Repeat and add three more cards to the sluglstack (yes, this adds one more card than most of you are probably assuming is required). Strip half the deck, then half the remaining cards onto a break, and throw the remaining cards on top. Split the top half to the right at the break for the final riffle. Zarrow the right half under one x-card, square up, and establish a break between the halves. In a private game, the mechanic simply lays a 'square-squeeze' brief for his partner (cutter). The square-squeeze brief is explained under Briefs (page 329). In a clublcasino game, the dealer can immediately cut the top half forward at the break and carry the cut. In addition to being an effective false shuffle, one of the Zarrow's most valuable attributes is the ease at which the move can lay a brief, as the Zarrow is essentially a disguised cut.

METHODS Three-push Zarrow Of all the common card-cover Zarrows, this is up there with the best methods. It's a favorite-thanks VO. It's built around a specific, default style of shuffling that sets the trap for the Zarrow. Specifically, VO's default shuffle consists of three riffles, each with three distinct pushes to square the deck. Why? Because VO's Zarrow is executed exactly the same way! The three squaring pushes consist of a long push followed by two shorter pushes. The pushes are not exaggerated, but they are discernable to the extent that they vegister as a distinct shuffing style. The first push is designed to instantly get the halves into the protected-position. The last two pushes complete the square up. The second-to-last push is a little longer than the last push, which should also be discernable. There is very little independent movement of the halves' top cards as the halves are pushed together and squared. As the cards riffle off the left thumb, they purposely spring slightly to the right and forward to eliminate the need for any extra movement not present in the true shuffle. This is excellent advice that has been offered by many in magic-the idea is to combine the riffle with minimal movement of the top cards into a single action. The halves are held near the outer ends and riffled offthe thumbs. The deck moves forward about one inch during the square-up. VO never used a slip-cut or other strippingicutting action to setup his Zarrow, and he believes that riffling under three x-cards is just about right, and the three x-cards always serve a purpose relative to a slugistack. He also avoids riffling under one card at all costs. This is a perfect example of a top hustler matching up his shuffle to the Zarrow in every exacting detail. VO believed that after players watched his shuffle several times, the three-push action became an acceptable action, which positioned his Zarrow for the best chance of success. Remember Mr. Zarrow's comment about making the shuffle your own! No-cover Zarrows This variant is a bear. I have only seen it executed flawlessly by a few. When the timing is right, however, the shuffle will blow you away. Conversely, when the timing is off, the shuffle can go from one of the best to one of the worst. If either gap or separation of the halves is exposed, the move fails. Each time I've encountered this Zarrow, the traits tend to be the same: ( I ) the halves are gripped by the sides past center toward the outer ends, (2) as the riffle ends, the halves are pushed together almost simultaneously, getting into the protected-position instantaneously, and (3) the shuffle ends with one or two small pushingisquaring actions.

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With all no-cover Zarrows, there's minimal top card movement. Perhaps the most identifiable trait is the speed at which the halves are pushedlsquared together, which tends to be faster than average speed. In magic, cardman Steve Reynolds has a masterful version of the no-cover Zarrow. It's right up there with the best hustlers' variants I have seen. My compliments to Steve! Personally, I have struggled to get the timing down, but it's definitely doable and definitely possible to execute this move invisibly . . . I've watched the move hundreds of times.

Bookmaker's Zarrow For this variant, the cards are riffled on the table by the short ends as the halves lay side to side. When gripping the halves by the ends, the second, third, and fourth fingers of both hands naturally provide complete cover! This means that this style of shuffling naturally brings the fingers together (second fingers touching) to effectively and automatically block the critical action in a way that is not possible with the traditional table riffle. The move was first shown to me by RTF.

photo 122 -fingersprovide front-end cover

photo 123 -gaps protected

The only awkward part of this shuffling style is cutting and stripping the deck. Although both actions can be done with the deck held by the ends, the best advice is to simply interject a 'gambler's cut' into the shuffling procedure.

ialse Shuffles - I ;

Circle-Zarrow The 'circle-Zarrow' is an excellent hand-cover method that closely emulates the professional table riffle. When done correctly, there's nothing to see as the fingers of both hands subtly provide cover during the critical moment, then allow more and more of the deck to be visible during the square-up as safety permits. The term "circle" refers to a common squaring action where one hand dominates the pushing ind squaring action with a series of small, almost indiscernible circular actions while the other handlhalf remains relatively stationary. Assume that the goal is to add three cards to a large sluglstack. Split a heavy top half to the right. The halves are riffled with the thumbs and second fingers at the inner ends in a tight, closed, riffle. The second fingers should be about one inch from the inner ends-important! Start and end the riffle with the left half, riffling about five cards to start and riffling three cards on top. Riffle at normal speed without hesitation and let the cards from both halves riffle off the thumbs. Strive to barely interlace the halves. The technical logic for starting the riffle with a small slug is that it makes it easier to pick up the right half given the position of the right fingers-picking up a half that lays on the table can occasionally result in picking up everything but the bottom card. As the Zarrow begins, only the top cards of each half are pushed together during the first short push, which ends when the second fingers bump into each other as depicted. The position of the second fingers do not change as the right fingers move the right half forward in a tiny, counterclockwise, circular action, maneuvering the right half under the three x-cards. Only two or three tiny circular actions are needed. As the pushinglsquaring action continues and the halves are pushed together by about one exposing what appears to be a squared deck. After the halves are pushed together by another one inch, the fingers of both hands separate even more-especially the second fingers. The idea is to let more and more of the squared deck become visible when it's safe, taking heat off the initial finger cover. The minuscule circular actions continue as the halves are pushed together. The circle-Zarrow is my best solution (so far) for matching a casino-style table riffle.

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photo 127 - secondjngers separate farther

photo I28 -previous photo exposed

Tap-Zarrow Grab the deck by the ends and split a heavy top half to the right. Bring the halves together and tap the inner ends. Since the right half is heavy, tapping the inner ends automatically causes the top cards of the right half to slide to the left and create a small ledge above the left half. Riffle from this position, starting and ending the riffle with the left half and dropping the desired number of x-cards on top. You'll find that the deck can be more easily zarrowed under the x-cards due to the ledge because it gives the disengagement and squaring action a head-start. The concept can be taken one step further. During the tap, twist the left halfat the inner end to bevelifan a few of the top card slightly forward. Now the tap creates a ledge and bevel. Again, start and end the riffle with the left half as described. In this position, zarrowing the deck is even easier, yet no independent movement of the top cards is needed during the riffle.

You'll need to give this move some thought and practice before deciding if the taptledge offers any benefits. Is it better to spring the top card(s) of one or both halves inward and slightly forward during the riffle, or is it better to just tap the halves and get into the same position before the riffle, allowing the riffle to look normal? At a minimum, you will be thinking like a true student and assessing your options.

No-interlace Zarrows The idea of riffling the halves but not interlacing them is probably one of the oldest false riffles. In this regard, here's another obvious solution. Split the top half to the left about one inch iron IialimJ JS it cuntac.ts the [able. bc\.cl thc h ~ l bl. f about one-lialt'inc~h. At the :>;nnc tirnc, push the righ~halt'to the Ieli into ;I hxt be\el too. lhese s h ~ sliding t action3 ~hould butt the hnl1.e~against tach other, but ill a be\,clcd condition. lithc position oithc bc\.clctl hal\ ch doc3 not ch;mge. you L,an ri~lle the hnl\,cs but t h q cannot be intcrl~ced. 1112 other

If the left half riffles last and moves its top cards to the right and barely over the top of the photo 129 - only the top few cards are r3fJled right half, the disengagement and pushinglsquaring action of the uninterlaced halves is a breeze.

A second option is to split normally, but with the halves still separated by about an inch. The instant the hands touch their halves, each hand bevels its half to the left and again butts the ends together. Riffle, ending with the left half as the left half s top cards are moved to the right, and zarrow as described. For one last option, the entire deck can be beveled before the split. With the deck in tableposition, bevel it to the left under the guise of a squaring action. Grab the top half with the right hand and slide it to the right and down the left half s bevel. You're in the same starting position. Even the smallest bevels appear to facilitate this false shuffle.

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Reverse-Zarrow At the critical moment in every Zarrow, the right half can move forward, in, out, up, or back relative to the left half. For this method, the right half twists in a counterclockwise direction. Start with a pointed split. Riffle the right half under the desired x-cards. From this position, it's natural for both halves to twist inward to push the halves together. As the halves reach an endto-end alignment, the right half continues twisting past this alignment and sharply inward. Bring the hands together and square up with good hand cover.

photo 130 - reverse direction to disengage halves

photo 131 -fingers provide cover during square-up

For the most deception shuffle, don't exaggerate the twist, bring the hands together and bump the second fingers together as soon as possible for the maximum cover, and consider saving this move for all-over backed cards like the Bee. What makes this method different is that I have seen the move done slowly and still look good-not possible with most Zarrows unless there's inordinate cover.

Lift-Zarrow Having already discussed the common flaw of independently lifting the right half, relative to the left half. what if both halves were lifted at the same time? Would such an action hide the flaw? Some cardmen like to 'bounce the deck,' which is nothing more than squaring the deck as it's lifted off the table about one-half inch and dropped to the table. I don't recall ever seeing this action with hustlers, but the nuance inspired the follow method. The goal of the 'lift-Zarrow' is to zarrow the deck as it's lifted slightly off the table and dropped. Split the top half to the right and slightly forward. Riffle the halves with the same orientation, riffling the right half under the desired number of x-cards from the left half. Note that in this position, the left half can be lifted by the left-little finger on the front left comer and the left thumb at the back right comer. The right half can be gripped normally. Riffle the cards at the extreme endsltips, ending with riffling one or more x-cards from the left half slightly forward. Lift both halves about one-half inch, zarrow, and literally toss the halves together in a gentle action that moves the right half under the x-card held back from the left half. Drop the deck to the table and complete the pushinglsquaring action with good finger cover.

photo 133 - lifting the bottom half

photo 134 - left-hand grip (exposed)

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Back-Load Zarrow This Zarrow occurs as the deck slides backwards and to the right for the cut; in other words, it's a moving Zarrow. It's specifically designed for the last riffle in a shuffling procedure where a large slug/stack must be preserved. After the riffle, disengage the halves and start sliding them backward, moving the right half faster than the left half. Begin the square-up by sliding the halves to the right and completing the pushinglsquaring action. Pass the deck to the cutter. At the card table, sliding the deck backward and to the right for the cut is a natural, built-in default action, so the idea of a moving Zarrow as described fits perfectly into the natural flow of the dealer's movements in most ring-games-the exception would be heads-up games.

photo 135 - right half moves backward to begin Zarrow

photo 136 - continue Zarrow as deck slides backwards

photo 137 - almost squared

photo 138 - squared and slid to right for the cut

'alse Shuffles - 1;

Variants

To appreciate the diversity of the Zarrow, here are a dozen or so variants.

Cardman Gary Plants offers an excellent version of the Zarrow with complete-cover from the front. After the riffle, the first three fingers of both hands provide a six-finger wall with the index fingers touching as the halves are disengaged and zarrowed in the traditional manner. In Gary's hands, there's nothing to see. Some cardmen have questioned the naturalness of the six-finger cover and, in particular, the vertical position of the handsifingers while seated. But being natural is a function of one's own style of handling the cards. If the default shuffle adopts the same cover and style, this Zarrow can perfectly match the true shuffle-not something you can say about most Zarrows. As with many of these maximum-cover false shuffles, always be cognizant of your side angles. Furthermore, if you work standing up, Gary's variant is a better option than most traditional Zarrows because the hands naturally reach down into the required position. This is also the case with mechanics dealing casino-style blackjack and other banking games from a standing position, which is why some of the earliest 'shuffle-overs' (page 207) have similarities to this handling. In the casino industry, these kinds of shuffles evolved into moves that were specifically designed to provide maximum cover from the top to beat overhead surveillance cameras-called 'sky moves.' In false-shuffle scams the players are usually 'in' (part of the scam) so there is no need to fool them. It's interestingly how a false shuffle designed to provide cover from the front evolved into a shuffle designed to provide cover from the top. During my consulting career, I routinely demonstrated double-deck false shuffles that consisted of one sky shuffle and one base-strip. Due to the extensive hand cover, I would even occasionally fool observers seated at the table, although that was never the move's purpose.

deep riffle The tendency for most cardmen is to interlace the halves by the extreme endsicorners. One mechanic opted for just the opposite and the move looked great. Partially split the top half to the right and rest it on the inner comer of the left half. Point the ends slightly forward. Riffle the right half under the desired number of x-cards with a deep interlace of about one and one-halfinch. Move the halves to an end-to-end orientation and zarrow with good hand cover. Deep interlaces offer a different look to traditional Zarrows.

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long push For many cardmen, after the riffle, the halves are pushed together and squared in essentially one motion. Emulating the Zarrow with one long push can be a disarming variant. snap-bevel After the right half is disengaged, the right thumb snaps the bottom of the half into a bevel that gets pinned to the table by the leftsecond finger. The right hand can come off the deck without fear of exposing the gaps a ~ d square up openly.

photo 139 - snap-bevel

When you get into the required position quickly, this is one of the only Zarrows I have come across where the right hand can come away from the deck while the halves are still in the critical position, yet the halves can be slowly pushedsquared with one hand.

pinned corner To address the flaw of lifting the right half, after the riffle and disengagement, keep the front left comer of the right half on the table as the halves are pushedhquared together. The front left comer is the frontmost part of the action, which attracts the eye. For observers who only have a chance to catch this part of the shuffle, it looks as if the halves must be getting squaredipushed together. This action obviously necessitates tilting the right half, and we don't want solutions that create other problems. To minimize the tilt, split a heavy top half to the right-the smaller the left half, the less tilt needed. Also, smooth and adept execution will help. Note that this solution provides cover for the lower gap without handfinger cover.

A solution for addressing independent movement of the halves' top cards is to create movement of all cards during the riffle. One way to accomplish this objective is to dribble the cards into an informal, sloppy interlace by lightly springing them off the thumbs and fingers. Disengaging and zarrowing two dribbled, disheveled halves attempts to emulate an amateur's shuffle. For an interesting variant, try dribbling the halves without interlacing them except for the last few cards. Although I doubt the move's viability at the card table, it may have applications in magic.

dead-hand Zarrow With Zarrows, each hand has a different job to do. If you think about the Zarrow in terms of right handlleft hand, the right zarrows one half of the deck-one component. The left hand 7arrow~the top cards and bottom half-two componentq. What happens if you freeze the right hand and let the left hand do all the work? Is the perception different? Maybe. What I can say is that the method offers a different look. Whether it's better than the traditional method is debatable, but it's definitely worth examining. short square-up Assume you have just split the top half to the right, zarrowed under three x-cards on top of the left half, disengaged the halves, and pushed them together to about one inch from being squared. With the deck still unsquared, strip the top half forward including the three x-cards, come back to the deck, strip the x-cards to the top, and slap the remaining cards on top. The actions are similar to the I-strip (page 104). Experiment with slightly tilting the front side of the top half slightly upward or downward to avoid 'flat stripping.' As noted with the I-strip, the illogical action of stripping the top haEffonvard seems to be accepted as an odd stripping action given that the x-cards and remaining cards are legitimately stripped. This is a nice tight sequence with no extraneous movements. The 'short square-up Zarrow' emulates a riffle immediately followed by a three-part strip. top-card cover This variant entails doing a zarrow under cover of the top card. Split the top half to the right and zarrow under the top card of the left half, but let the top card of the right half riffle last! Now when the halves are disengaged, it's impossible for the top card of the left half to unintentionally rise or flex off the top of the deck, which is a common tell. In this context, "top card" can refer to more than one card. I like to use this shuffle when the aces are partially stacked; for example: xAxxxAxxxAxxxA for a four-handed game. To add two more x-card to the stack, split the top half to the right and zarrow under two cards on the left half, letting the top card from the right hayriffle last. Square up to complete the stack.

off-the-table Zarrow After the riffle, rotate the halves on their sides with the backs facing forward. Disengage the halves at about the halfway point (45-degree angle) and zarrow under the desired number of x-cards. Keep both hands on their respective ends and complete the pushinglsquaring action with the deck on its side-informal but convincing. Look away during the move and square up.

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partial Zarrow A 'partial-Zarrow' entails riffling the halves, but only zarrowing one-halfof one-half; the remaining cards in the half are legitimately pushedlsquared together. The move is designed to create a stronger illusion of pushinglsquaring the interlaced halves together. A stellar variant was demonstrated for me by legendary Texas cardman, Bob White, who has a wonderful method for carrying large bottom slugs. Here's a variant for carrying a good-sized top slug.

I photo 142 - ready to zarrow top halfof right half

Split a top heavy half to the right and riffle neatly-the goal is to leave no doubt that the entire deck is thoroughly interlaced. With the right little finger on the right end, grip the upper halfof the right half and zarrow under the desired number of x-cards followed by pushing and squaring the lower halfof the right halfwith right little finger. Think of the sequence in three steps: zarrow the upper half of the right half, push the lower half with the right little finger, catch up and square both halves as two units.

Everything moves in unison and should appear as if the right hand is pushinglsquaring the halves. Once the right half is in the one-handed protected-position and the upper gap is hidden by the left second finger, the right hand can come off the deck and finish the square-up. Even with a partial-Zarrow, a slug of unriffled cards exist during the square-up, so it's still imperative to get into the protected-position as soon as possible. During the square-up, you can also lightly bevel the halves forward during the initial pushinglsquaring action for cover and finish with a one-handed pushing/squaring action.

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spacer Zarrow This is an advanced concept. The idea of 'spacer-stacking' is explained in the chapter three, Stacking and Culling, but it can also apply to the Zarrow. Here's a quick example. In a ten-handed hold 'em game with only one more riffle in the shuffling procedure, the top slug reads xxxxxxA xxxxxxxxxA. To complete the stack, three x-cards must be added on top, but not literally on top. The x-cards can be riffled into any positions about the uppermost ace to complete the stack. In these situations, a 'spacer-Zarrow' can be applied. Split the top half to the right. From the left half, riffle three x-cards into the cards above the uppermost ace, while riffling normally from that point on. There needs to be separation between the lowermost x-card and the rest of the half. As you begin to pushisquare the halves, the left thumb will easily feel the gap under the lowermost x-card (third card down in the half). For the right half, instead of gripping the entire right half, grip enough of the upper halfof the right half to include the entire stack, and zarrow under the lowermost of the three x-cards while retaining the order of all cards above the ace. Start the initial pushingtsquaring action with the top cards of each half to lock in the position of the x-cards. From here, it's just a standard zarrow.

Other Zarrows My notes list another 20 variants, but they only offer subtle differences. The 'saw-Zarrow' butts the ends and grinds the halves forward and backward in an attempt to look like a crude form of far0 where the halves are shuffled together in a sawing movement. This action is not uncommon with inexperienced card players. With the 'spring-Zarrow,' the right half is sprung off the right fingers causing the top cards to spring over to the left half. There are other bevel-based Zarrows. Most are motivated by cardmen who contend that the Zarrow is facilitated if you start with one or more beveled cards toward each other.

I have also seen variants demonstrated by cardmen where the top card is bent over the front of the deck for cover-of course, independent movement of a single card from the top of either half, whether it's bent or not, is an artificial movement. For one last example, there are even variants where a sliding bottom slug is used to represent a truer s q u a r e - u p a n action similar to the sliding-slug pull-outs. Split the top half to the right and zarrow under one or more x-cards depending on your application, but start the riffle with the left half and leave a slug of unshuffled cards. As the halves are disengaged, move everything to the left about one inch, causing the bottom slug to slide and bevel to the right, aligned with the right

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end of the deck. Now during the square-up, while maintaining a one-handed protection-position, the right half appears to a more complete half. This is just another example of a variant designed to sell the squaring action. My primary interest in the Zarrow has always heen the pursuit of a method that matched my table riffle. Given the voluminous amount of information about the Zarrow in magic, my goal in this section was to ovemiew this standard false shuffle from a card-table perspective and keep the ball rolling. I haven't read any magic literature in decades, but I have no doubt that there are many more great ideas offered by seasoned cardmen, so don't hesitate to pursue these sources. Incidentally, a good place to start is Mr. Zarrow's hook, Zarrow: A Lifetime Of Magic (Zarrow, 2008). There is also a DVD: The Zarrow Shuffle (Zarrow, 2015). Here's the takeaway. If you need a Zarrow that only has to be done once in magic, there are no restrictions, provided a few basic, technical guidelines are followed-even if you're doing the shuffle only once, it still has to be deceptive. If you need a card-table Zarrow to be used in a gambling demonstration, think in terms of authenticity, matching your default shuffle, and repeatability.

False Shuffles - I &

SUMMARY

1. The Zarrow is a super false shuffle for magic, and it has become a favorite with cardmen all over the world. Depending on the method, however, due to the different deceptive standards for hustlers and cardmen, some methods may not be suitable for the card table.

2. Push-throughs and pull-outs are still the preferred false shuffles for large slugs, half decks, and near-full decks. Given the success of the move in magic, why don't we see the move more in the hands of more mechanics? Good question. I believe the answer lies in the difficult technical challenges. The Zarrow is one of those moves that's easy to do poorly but difficult to do expertly. This is especially true at the card table when the shuffle usually needs to be repeated and is often positioned before and after legitimate shuffles within complete procedures, which makes it easy to compare default shuffles with the false shuffle. 3. In magic, even poorly executed Zarrows can fool and entertain audiences. When it's easy to fool laypeople, it's also easy to be complacent. Revisit your Zarrow from time to time and always be cognizant of the move's most common flaws, which can creep back into your card work.

4. Experiment, experiment, experiment. Try different splits, hand and finger position, riffles, and covers. Study the move from every angle. It's the only way to home in on the best method. For example, the position of the hands on the halves is critical. The closer to the ends the halves are gripped, the more distance the halves have to travel without cover. The closer to the inner ends the halves are gripped, the less distance the halves have to travel without cover. The last thing you want to do is unknowingly expose the shuffle because you're only off a fraction of an inch relative to the optimal position of your hands, and whereby a simple adjustment would correct everything.

5. The Zarrow has many variants; play with them all. Just remember: the method you choose for magic may he different than the method you choose to demonstrate a viable card-table version. 6. The most difficult variant of all Zarrows is the 'no-cover' variant. I have seen the move done naturally and invisibly, but it's rare. Without optimal speed and rhythm, the move can be painfully transparent. Even when executed perfectly, it can still look too perfect-like watchinp an invisible demonstration second yet still questioning the overall naturalness of the deal. 7. In magic, one-shuffle full-deck controls are a common goal, which necessitates a setup cutlstrip sequence to be followed by the Zarrow. Setup sequences are just as important as the shuffle. If the setup sequence is poorly constructed or executed, the Zarrow can be tipped before the first card is riffled.

I'm not a fan of an open, artificial 'center-split' for the obvious reason: you will never see the deck split this way in Lhe lrarids of card players.

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8. It's definitely possible to modify the traditional handling of the Zarrow. More improvements and advances may be right around the comer. Several ideas have been presented including the tap-Zarrow, dead-hand Zarrow, snap-bevel, partial-Zarrow, and more. Several other possibilities have been hinted. I encourage you to pursue other variants and handlings. . . it's amazing how many times a variant seems to fail for most cardmen, but look spectacular in thc hands of onc cardman due to the subtlest change in handling or timing.

9. When a cardman can alternate Zarrows and true shuffles and they match up well, you're watching a very good cardmen. This is not easy to do-matching up a strike second to your default deal, for example, is dramatically easier. If you want to gauge your progress with the Zarrow, the best way to achieve this goal is to practice alternating your default shuffles with your Zarrows . . . and then be brutally honest with your evaluation. 10. The idea of laying a foundation of legitimate shuffles to set up the Zarrow is advanced thinking that should be embraced by all cardmen. Imagine performing a series of stunts where the deck is riffled legitimately several times before getting to a stunt requiring the Zarrow, then executing a Zarrow that matches your default shuffle perfectly. This is an example of maximizing your Zarrow's deceptiveness long before you even do the move. Now you're thinking like a pro!

False ShuffIes - 185

FALSE OVERHAND SHUFFLES --. The overhand 'jog-shuffle' is generally the first false shuffle we learn. Although most can demonstrate the move after a few minutes of practice, it takes many hours before one can acquire true, cornprehensivc knowlcdgc of thc move.

Don't make the mistake of equating technical simplicity to application simplicity.

Due to the elementary n a m e of the move, many readers may be tempted to skip this section, but if you got this far, consider the following. Vernon once stated that the standard jog-shuffle was "commonly done poorly." If this is true, how can such a simple move be done poorly by most cardmen? The jog-shuffle is vulnerable in many ways, even ifperfectly executed. I've always assumed that Vernon's primary criticism of the move was exaggerated jogs-he advised a small one-quarter inch jog. But there are more serious challenges that appear to be overlooked by magic's elite. For example, here's something rarely considered. The standard method employs a break during the second phase of the shuffle. All cardmen are familiar with breaks. But how many moves can you think of where a break is visible from the top? In addition to this fundamental flaw, we'll look at the move's weaknesses and consider alternative methods. Fortunately, technical improvements are easy. Before we begin, here a few things to know about the legitimate overhand shuffling process. This is a necessary step to get a better sense of the action we're trying to fake; after all, if we don't know what the legitimate action looks like, it's difficult to purse the best false shuffles.

0 Overhand shuffling is a process that inverts packets of cards from the upper hand (right hand) to the lower hand (left hand). If you throw two packets and throw the remaining cards on top, you have completed a three-part shuffle, the shortest of all overhand shuffles. A two-part shuffle is a cut or 'shuffle-cut.' 0 The mixing action is identical to stripping the deck. 0 As a general guideline, average length of the overhand shuffle is from three to ten parts; five-part shuffles are about average.

0 The term 'throw' has two meanings. Packets can be thrown from the right hand into the left hand without helpfrom the left thumb (novices), or they can be dragged into the left hand by the left thumb on the backs of the cards in the right hand.

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0 Even novice card players sense a lack of thoroughness-and perhaps even an element of control-associated with the run of a single card, which is why it's rare to see card players run single cards. When this happens, it's usually an accident, and when consecutive runs of single cards occur, it's usually an accident waiting to happen!

0 The overhand shuffle is generally an informal, small-limit shuffle that is almost always combined with off-the-table riffles. The off-the-table riffle by its very nature tends to expose cards, so card players generally end their shuffling procedure with one or more overhand shuffles to mix the exposed cards-although the overhand shuffle can flash cards to the dealer's right, too.

0 Most card players avoid repeating sequences. After a five-part shuffle, for example, one would expect a shuffle-cut, or a shorterllonger shuffle, but not another five-part shuffle. The logic is understandable. Most players sense that the same two sequences, say two five-part shuffles, can reverse and nullify their actions. 0 It's common for card players to interject 'shuffle-cuts' within overhand shuffles to aclu variety, but as a general rule, shuffle-cuts are never used to complete a procedure. 0 Because the overhand shuffle is such a weak randomizer, some players will alternately throw cards to the front and back of those in the left hand. I coined the term 'chopping' to describe this action in my Gambling Protection Series and the name stuck.

0 Many hustlers don't use the overhand shuffle as a false shuffle, per se, although they will use it to lay a briefs (Briefs, page 329), which makes the move a 'positioning shuffle.' After carrying a slug or running up a hand with off-the-table riffles, one jogshuffle moves the sluglstack to the center of the deck while laying the brief; there's no attempt to bring the sluglstack back to the top or bottom. An interesting aspect of the overhand shuffle is our perception that the shuffle is only employed by amateurs . . . which may be exactly what the hustler wants you to think!

False Shuffles - I & ,

METHODS I have only picked up a handful of overhand-shuffle methods and tips from hustlers. Since these shuffles are most likely to surface in the most informal games, they do not represent a big part of the false shuffle genre based on the research. In magic, however, man cardmen are big fans of false overhand shuffles, so it could be a completely different story.

The most popular method in magic is the 'in-jog' shuffle. The 'pick-up' shuffle is next, which entails throwing a packet into the left hand, picking it up under the cards in the right hand and forming a break, and shuffling to the break. The 'side-jog' ranks third. And, out-jogs and other unusual methods are near the bottom of the list, based on my observations.

For the standard method to cany a top slug, undercut about half deck, in-jog the first card, shuffle off, and either (a) undercut to the in-jog and throw on top or (b) push against the injogged card with the right thumb, form a break, and shuffle off to the break. To cany a bottom slug, throw a few packets, in jog, and throw the remaining cards on top, then either (a) undercut up to and including the in-jogged card and throw on top, or (b) undercut up to and including the in-jog and shuffle off. The first time I woke up to the technical flaw with the in-jog shuffle was during the typical card session. To my immediate right was my friend, DH, a solid, all-around hustler. After demonstrating a variant of an Erdnase run-up, DH asked me about the "open door." I was confused until DH explained that the break I was holding during the shuffle was painfully obvious from his viewpoint. He even stated that the control was easy to follow as the break always disappeared on the last throw-more proof of manipulation. I couldn't fathom how photo 143 - visible break during overhandshuffle such a blatant flaw could be overlooked for so long, I began watching cardmen to see how they handled the problem-including many performances by the best-and sure enough, the flaw was ubiquitous. I recall one night at the Magic Castle in the Parlour of Prestidigitation; sitting in the back row, I could spot the break in the hands of a respected performer from twenty feet away.

Some conditions are safer, but for mechanics in ring-games with two or three players to their right who can view of the upper side of the deck, the break is a serious flaw. When players can

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look down at the shuffle with a view of the 'V' (break) formed by the right fingers and thumb, detection is automatic. It could be argued that these methods are better suited for two-handed games, provided the fronr end of the deck tilts slightly upward and aims at the victim's eyes. But even from this angle, if the upperside of the deck is exposed, so is the break. At a minimum, the false shuffle must be handled with extreme caution. This is a move where cheaters would really have to pick their spots, and even then, they would have to proceed with caution. The same holds true for cardmen. technical obsewations -single

in-jogged card

In-jogging a single card is an open action from many viewpoints-especially true if the jog is one-half inch or more. To jog a card also means that one hand or the other has to unnaturally move forward or backward instead of just up and down. Remedies include avoiding any jog bigger than the tip of your little finger, changing the single-card jog to a small-packet jog to better represent the true shuffling action, and running a squared single card first before injogging it with the left thumb just before the next packet is thrown. These last two tips have been recommended by many. The longer the shuffle, the more cover because an in-jog blends in better with several throws of small packets. The shorter the shuffle, the more vulnerable the action. In a three-part shuffle, for example, the parts consist of approximately a half deck, single card (jog), and half deck. Even laypeople can spot the difference between runningithrowing half decks and single cards. In most cases, changing the technique is probably the best solution.

Forming a break at the in-jog and holding it during the shuffle is more dangerous due to the longer exposure. However, even with an immediate shuffle-cut to the break, the right thumb disappears for a moment as it darts under the in-jog to grab the lower cards. When players grab the ends of the deck for the overhand shuffle, their fingers and thumbs always remain on the ends, and there's never any reason for the tip of the right thumb to dart under the deck . . . other than manipulation. See photos on the next page. To eliminate this tell, grab the deck naturally by the ends with the right hand and the instant the break begins to form, drag all cards above the break downward with the left thumb, allowing only the slug to be lifted and thrown on top without changing the natural position of the fingers. I call this action a 'break-drag.' The move also works well for carrying bottom slugs. After a few throws, in-jog a small packet and throw the remaining cards on top. Apply pressure to the jog with the right thumb as the left thumb break-drags all cards above and including the in-jog,

False Shuffles - lay

then either throws the slug on top or shuffles off. Either way, the shuffle can be done without changing the natural position of the right fingers on the ends of the cards.

photo 144 - natural right-thumb position

photo 14, - unnoruru, ~ u p i c i o u sright-thumb position

When conditions are bad, avoid shuffling while holding a break. Recognize that bringing the right thumb under the cards is an unnatural action that you will never see in the hands of card players. Finally, if you incorporate break-drags into your overhand shuffling sequences and the timing is right, the method is angle proof. -sequence

spacing

One way to change the timing of the traditional in-jog shuffle is to add a short, interim shuffle before shuffling to the in-jog. Undercut about one-third of the deck, in-jog a small packet, and shuffle off. As the right hand grabs the ends for a second shuffle, the left fingers push up on the bottom cards creating a bevel, making it easy to grab about one-quarter of the deck from the bottom and shuffle off without disturbing the in-jog. Shuffling a bit forward makes it easier to avoid disturbing the in-jog. Finish with a break-drag and throw the slug back on top. To eliminate the in-jog, there are several options,

Vernon made another provocative statement about the jog-shuffle, proclaiming that an outjog was superior to an in-jog "in conjunction with card tricks." Hold on, whether it be card tricks or gambling, isn't it easier to conceal an in-jog hidden in the back than an out-jog exposed in the front? Yes and no. Vernon never provided any reasoning that I'm aware of so his justification is anyone's guess. Moreover, I can't recall the last time I've watched a cardman use an out-jog. Here's the bottom line. It's easier to conceal an in-jog, but only after it's formed and covered with subsequently thvownpackets. Out-jogs, however, are easier to conceal because each throw covers the previous throw. Put another way, if your second throw is a small packet that lands

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back about one inch from the first shuffled packet, the in-jogged packet is obvious; if the same packet is jogged forward, there's more cover.

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inyog; oovlous scep

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The key advantage of an out-jog is that it's easier and more natural to undercut to an out-jog than to an in-jog. An out-jogged packet can be softly pinched between the left first finger and thumb, creating resistance and making it easy for the right hand to only liftlthrow the slug or those cards not being pinched. Conversely, it's not easy to pinch the upper half between the little finger and base of the thumb during an in-jog shuffle. Utilizing this basic principle, here are some out-jog sequences.

top slugs Undercut and throw a small packet slightly forward. Shuffle off, throwing all packets just a little bit more forward from the out-jogged packet to help establish a style of shuffling. To end with an undercut, naturally grab both ends of the deck with the right hand. Lightly pinch the upper half at the jog with the left first finger and thumb, which makes it easy to undercut everything below the out-jog and throw to the top. As with many of these shuffling sequences, the procedure can be done in stages to separate forming the out-jog and shuffling to the out-jog. For example, undercut about one-third, out-jog a small packet, and shuffle off. Undercut another one-third and shuffle off. Now shuffle-cut to the out-jog. Note that with an out-jog, a break-drag is not required for the final undercut. With practice, these basic sequences offer good, solid alternatives to the standard in-jog shuffle. One could even argue that they offer improvements.

'alse Shuffles - 1s

bottom slugs Start with the deck back in the left hand, slightly more than normal. You need room for the forward shuffling action. Undercut about one-third of the deck and shuffle off, but shuffle the last packet slightly more forward than the previous thrown packets. With practice, the outjogged packet will always land in the same position on the left index finger, allowing you to,feel the control of the slug. Undercut about one-third and repeat, again throwing each packet a bit forward of the previous packet. Undercut to the out-jog and shuffle off to end a three-phase sequence. To end each phase, accentuate the final throw. To begin the second and third shuffles, let the left thumb and finger tips softly pinch the out-jogged cards to facilitate only grabbing the cards below the out-jog. Feel free to vary the number of packets thrown. You can even interject shuffle-cuts from time to time. The sequence I most demonstrate for cardmen starts with a quick three-part shuffle, followed by a four-part-shuffle, and ends with a five-or-more part shuffle. Once the final undercut breaks free, the rest of the shuffle is legitimate, so slow down a bit to sell it. The advantages of the out-jog versus the in-jog are admittedly subtle, but once the knack is acquired, you may never go back. Unfortunately, the biggest problem for cardmen is that they have been doing the in-jog shuffle for so long that it's difficult for them to even consider a change, let alone devote the time to master a new method.

The most natural jog for the overhand shuffle is a sidejog. In-jogs and out-jogs of one inch or more don't generally occur by chance; they're caused by manipulation. Conversely, side jogs are void of the unnatural forward and backward shuffling movements. The side-jog's salient feature, however, is the following.

Sidejogs occur naturally with every normal overhand s h u t e , which is not the case with in- and outjogs. For this reason, some of the best false overhand shuffles employ side-jogs. If I want to fool a cardman with an overhand shuffle, the side-jog is a favorite option. To carry a top slug, there are several options for forming the jog. You can throw the second packet at an angle to the cards in the left hand, automatically forming a side-jog. Or, if you hold the deck deep in the left hand, throw the packet against the left fingertips, causing the lowermost cards of this packet to side jog. Or, you can apply upward pressure from the cards in the right hand and downward pressure from the left thumb to force the cards to bevel and side jog.

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- Gambling Sleight ofHand

Pick up a deck and overhand shuffle a dozen times in different ways, pressures, and angles; strive to find the method that works best for you. Okay, after a shuffle, you have a side-jog at about center. What's next? While there are methods in magic that will bring the slug back to the top during another overhand shuffle, my preference is to end with another style of shuffling. I like the pureness ofjust one, thorough overhand shuffle, so after a side-jog is formed, grip the deck from above at the ends with the right hand, let the deck settle into dealing position, and secure a little-finger break under the side-jogged cards. Once a break is established at center, you can (a) 'riffle-split' to the break and carry the slug, (b) use an off-the-table cutistrip to bring the slug back to the top, or (c) form a brief and immediately pass the deck for the cut. Both the 'riffle-split' and off-the-table cutsistrips are described shortly. If you have a method for deceptively carrying the slug during another overhand shuffle, by all means, use it. Finally, it's always a good idea to think in terms of complete shufflingprocedures if your interest is gambling moves. From this perspective, combining one overhand shuffle (side-jog) with an off-the-table riffle is an excellent combination. Variants

There are several ways to carry slugs without relying on jogs. This is the most direct and moveless method-it fools cardmen too. Shuffle off about one-half of the deck, thenplace (not a throw) the remaining cards directly onto a little-finger break. I like to shuffle five small packets, place the last packet onto a little-finger break, and end with one of the options just explained-for cardmen, this includes spin-cuts and other flourishes. Here's an important tip. As you start the shuffle, push the deck against the base of the left thumb. This starting position ensures that the left fingers protrude past the right side of the decn, making it automatic to establish a little-finger break. You'll never find an easier method for establishing a break. When I expose this method to cardmen, they always smile because the method should be obvious. It's not. It's as deceptive as any other method I know. I have been doing it for many years and have never been called on it.

Pick-up Shuffle After the first packet is thrown, pick up this packet at the bottom of the cards in the right hand and form a small break as the second packet is thrown. Continue shuffling to the break and throw the remaining cards on top to end. One problem with this method is that the break may even be more pronounced than breaks created from jogged cards. I first learned this shuffle as a

False Shuffles - I

kid, but have no hesitation recommending that you stay away from it unless you have a very good reason or application along with best conditions and angles. I have seen this shuffle in the hands of well-known magicians who use it as a full-deck control where each thrown packet is picked up at the bottom of the deck, but they will generally turn to their right to limit the observers view of the top of the deck . . . not something you can do at the card table. This is essentially an extended gamblers' cut in the overhand position,

Most cardmen assume that either jogs or breaks must be part of any false overhand shuffle, but the idea of a 'finger stop' is another option. For a brazen move that carries a top slug, throw about half the deck into the left hand. Throw the second packet but don't allow it to fall flush; instead, use the left thumb as a 'stop' and keep it pinned on the top card of the first throw packet as depicted. Throw another packet to end. The second and third packets cannot fall flush because the left thumb is in the way. Grab the deck from above with the right hand at the ends, square up the deck in dealing position, and establish a little-finger break. End with one of the options previously explained.

Anytime you throw the top half into the left hand and immediately exchange the two halves and shuffle off, you've carried a bottom slug. Undercut more than half, come over the top, and as you place the cards in the left hand, exchange the two packets and shuffle off. Each time you legitimately throw a packet, place the left thumb at the upper side of the deck to match the initial thumb-grab action. Always start with an undercut of more than half I the deck. If you undercut less, the cards in the pho.. ... left hand will go from more than half a deck to less than half, which is impossible during a normal shuffle

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- Gambling Sleight ofHand

For the exchange to be deceptive, in addition to smoothness, there should be almost no space between the halves. You want the halves to slide over each as if you were throwing another packet from the right hand. If done adeptly, the method looks better than it reads. Bevel In theory, the most direct way to carry a bottom slug is to pull cards from the center and shuffle off. This is technically easier said than done; it's also a good problem to pose to cardmen. Their first solution is to hook the left fingertips around the deck and hold back the bottom slug, but it's generally clumsy. Here are three methods that facilitate this action. Hold the deck face down and loosely in the left hand. Lower the right side of the deck, letting it naturally bevel downward towards the fingertips. This is the starting position. Rotate the deck into the overhand-shuffle position while maintaining a firm grip. In this position, the right hand can only grab the upper part of the deck, making it easy for the left thumb to drag a single card into the left hand and shuffle off to end. Note how the left-first finger provides cover for the gap caused by dragging only a single card-a classic tell with many slip-cuts.

Here's a variant of the 'bevel' that some cardmen may prefer. Hold the deck in the left-hand dealing position with a light, normal bevel to the right. Bend the left thumb at the first knuckle so that the upper part of the thumb rests on top of the deck. As the deck rotates into overhand-shuffle position and the right hand approaches the deck, the left thumb pushes about half the deck upward and directly into the right hand as the left thumb drags a card to start the shuffle. If you started with a straight left thumb at the side, it would be more difficult to start the shuffle, but with the thumb bent and resting on the top card, once the right hand grips the upper cards, the shuffle can start without any fiddling. The first two actions occur in two beats: (a) rotate the deck and push up some cards as the hands come together, and (b) drag the first card to start the shuffle.

False Shgfles - IYJ

Twist Here's a favorite method for casually and deceptively carrying bottom slugs of almost any size. With the deck in the left hand in overhand-shuffle position, twist the deck forward as depicted in photo 152. From this position, the technique is the same as just described: simply grab the top half of the deck and shuffle off normally. Play around with different starting positions to get the deck in the correct starting position. It's not just a forward bevel; it's more of a twist forward and down, which raises the back corner.

photo I52 - back bevel

photo 153 - g~mbblngonly top h~ ,

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This is my favorite false overhand shuffle for carrying slugs. It has similarities to working with side-jogs but offers more flexibility. The 'hold-back' can carry top and bottom slugs while mimicking any overhand shuflingprocedure. To carry a top slug, start by throwing a group of cards equal to or larger than the slug. Follow by throwing a second packet onto a 'flat' little-finger break. With a flat-break, there's no gap. . Control comes from the constant contact of the left little finger on the face of the side-jogged card above the slug. Applying light pressure to the side-jogged card with the left-little finger acts as a 'stop' that makes it easy for the right hand to grab only those cards above the slug and shuffle again. As with all of these methods, to end, either bring the slug back to the top or lay a brief.

196 - Gambling Sleight ofHand

photo 154 - no break, just constant contact

What makes the method so good is that after each shuffle, the left fingers can naturally extend and relax without holding a traditional break. They only have to maintain contact with the side-jogged card. Once the flat-break is established, all subsequent shuffles essentially start with a base-cut. But they are not basecuts from a squared deck; they are base-cuts from an unsquared deck with a side-jogged card above the slug that is in contact with the left-little finger. The starting position is the key.

To illustrate the flexibility, start with the aces on top and cany the slug with 2-3 off-the-table riffles, each time changing the bottom card to sell the legitimacy of the riffles. Now with an overhand shuffle, run the aces to the bottom, secure a flat break, and shuffle off. In this position, one or more shuffles, even shuffle-cuts-all above the break-can be interjected to complete the shuffle. No in-jogs, out-jogs, or traditional breaks are required. When I'm asked about the overhand shuffle, this is the move I demonstrate.

Chop The 'chop' is an informal variant of the overhand shuffle whereby throws are made alternately to the front and back of the cards shuffled into the left hand. To carry a full deck, the shuffle entails undercutting and faking a throw to the top, throwing a packet to the bottom, faking a throw to the top, and throwing the remaining cards to the bottom. Faking a throw consists of lowering the cards in the right hand on top of those in the left hand but not letting go. To enhance the illusion, slide the left thumb across the top card of those held in the right hand as if dragging a packet into the left hand. The weakness in this shuffle is throwing the last packet to the bottom, which points directly at the fact that a bottom slug has been carried-in the hands of a legitimate card player, the last packet is always thrown to the top. To cany a top slug and end with legitimately throwing the last packet to the top, undercut, in-jog a small packet, and shuffle off. Grab the ends of the deck with the right hand to establish a break like a standard in-jog shuffle. Throw a small packet into the left hand while maintaining the break, fake a throw to the top, throw all cards above the break to the bottom, and throw the remaining cards on top. For cardmen, I like to secretly start with a slug near the bottom secured by a little-finger break before the sequence; now I can legitimately throw packets to the top, the bottom (to the break), and to the top.

False Shufirs -

1

To carry a bottom slug and cleanly throw the last packet to the top, start by undercutting and throwing a packet to the top, base throwing a packet to the bottom, and throwing the remaining cards on top. Throw a small packet to start, leaving enough cards in the right hand to make the base-throw easier. As you throw from the bottom, bend the right second finger and thumb to focus the grip on the packet's uppermost cards, allowing the lowermost cards to be thrown easily. For a quick, casual shuffle that carries the entire deck, start with a base-throw, fake throwing a packet to the bottom, and throw the remaining cards on top. Extend the sequence if you wish with more fake throws. Once you start combining base-throws with fake throws, there are several shuffling permutations.

Carrying Half Decks and Full Decks Converting most methods for carrying small slugs to those carrying half decks is easy. With jogshuffles, for example, to carry the top half, undercut less than haEfto start the shuffle. To carry the bottom half, undercut more than halfto start. To control a full deck, two quick base-throws is a solid option. Simply base throw, base throw, and throw the remaining cards on top. During the throws, keep both hands moving up and down as the left fingers fake a catchinglsqueezing action, and add a fake swiping action of the left thumb. For maximum cover, I do this shuffle moving from left to right or vice versa, and I almost always start the move by tapping the deck on its side with the right hand. This is not a new idea, but cardmen immediately revisit the move after seeing it done well. There are many other ways to carry the entire deck. For one last example, throw less than half the deck, exchange the halves, fake a throw, and throw the remaining cards on top to emulate a four-part overhand shuffle.

Matching Runs Traditionally, this method consists of two matching shuffles. Undercut half the deck, run two cards, in-jog the third card, and throw on top; undercut to and including the jogged card, run three cards, and throw the remaining cards on top. Conceptually, this false shuffle has potential, but it needs a tune-up. Using an out-jog, undercut more than half, run two cards, and throw the remaining cards slightly forward onto the left-index finger. Undercut to the out-jog, run two cards, and fake one or two throws to avoid back-to-back four-part shuffles, and throw the remaining cards on top. It's also possible to combine both phases into one shuffle. After completing the first phase and throwing the remaining cards into an out-jog, instead of stopping, continue by exchanging the halves, running two cards, and throwing the remaining cards on top-no fake or base-throws are nccdcd. Oncc you gct thc tcchniquc down, strive for a brisk sequence.

198 - Gambling Sleight ofHand

Overhand Buttnace Shuffle

photo I55 - sliding bottom halfunder top card

This is another full-deck false shuffle that is done in matching sequences. Undercut half with thc right hand as the left thumb pushes the top card of the deck slightly upward. Slide the lower half under the top card and forward. In a backward action, move the cards in the right hand up and down under the top card as if forcing a crude riffle by butting the sides together. Continue until the half is exhausted. Cards should protrude from the front, back, and upper side (photo 156). Square up and establish a break. Undercut to the break and repeat to carry the entire deck. As the right hand move its cards up and down from front to back, it's apparently inserting them into different parts of the deck. This action is known as 'lacing' and is an older shuffling procedure once common in baccarat where the dealer would remove a deck from the back of an eight-deck shoe and lace it throughout the remaining seven decks. Lacing was a recipe for disaster, creating many opportunities for scamming so it was eliminated.

The 'buttllace shuffle' is more deceptive if only done once, so here are the obvious solutions. Start with one x-card on top of the sluglstack, or add an x-card during an overhand shuffle or offthe-table riffle. Fake the buttllace shuffle under the x-card as described, square up, establish a break, and cut the slug back to the top. Or, after undercutting the bottom half and lacing it under the top card, establish a break and slip cut to carry the deck's order-drag the top card onto the lower half at the break with the left thumb as the right hand cuts the top half to the table. Carry the cut. Whatever sequence you feel best frames the move, the action offers good cover while looking like an amateurish way to shuffle the cards.

False Shufles - I

SUMMARY 1. If you use the standard in-jog shuffle, be aware of its vulnerable angles. The most dangerous angle is to your right. Any player with a view of the upper side of the deck can easily detect breaks and exaggerated jogs. 2. The out-jog shuffle has a few subtle, technical advantages over the in-jog shuffle. If you have doubts, I understand. But I encourage you to study and experiment with the out-jog to appreciate the benefits before drawing any conclusions.

3. The side-jog is the most natural of the jogs, yet it's under-used and under-explored. It's a move worth revisiting. With good execution and application, the side-jog can elevate your overhand-shuffle work. And I have no doubt that the move has plenty of room for clever handlings.

4. Moves like the 'pick-up' and 'thumb-stop' are obvious solutions. Interestingly, they are also consistent with methods employed by hustlers who have never read a book about sleight of hand.

5. The 'twist' is an excellent method for carrying bottom slugs (even half-deck slugs), and it's not an obvious solution. With just a little practice, you'll be carrying slugs with ease and deceptiveness; in fact, I like to call these moves 'sleepers,' which are usually simple moves that if mastered, have a good chance to fool everyone. 6. Base-cuts and base-strips are some of the most important and fundamental actions in the false-shuffle genre. The same is true for 'base-throws' during an overhand shuffle, which can form the building blocks for some excellent moves and sequences.

7. My favorite overhand false shuffle is the 'hold-back.' It offers good cover and the flexibility to match any shuffling sequence. 8. Although the overhand shuffle may be the most elementary of all shuffles, it can still be modified in several ways to offer new variants. In this regard, carefully assess your options in pursuit of the best solutions. Only a few have been presented. 9. As with all overhand shuffles, keep the deck loose in the left hand, keep the left fingers moving, and keep the hands moving, but don't exaggerate the movements. Also, a steady, slightly-above-average pace tends to be the best strategy with these false shuffles. 10. The overhand style of shuffling can lull a playerlobserver to sleep because (a) every card player and cardman is familiar with the shuffle, and (b), the style of shuffling is always associated with novices, which may be a cheater's ulterior motive.

LUJ - Gambling Sleight ofHana

OFF-THE-TABLE FALSE RIFFLES, STRIPS, AND CUTS An 'off-the-table riffle' (OTT riffle) is any riffle where the halves are lifted off the table during the shuffle. An 'OTT cut' is any cut or running cut where the deck is lifted off the table during the action. A running cut i s synonymous with stripping the deck and is commonly called the 'Hindu shuffle' in magic. OTT riffles can be the norm in many games. They can also be a necessity in certain conditions-we all know how difficult it is to riffle on a hard, smooth surface. In the hands of card players and hustlers, OTT riffles are commonly combined with overhand shuffles and OTT cutsistrips. Since many OTT riffles are notorious for exposing cards, to mitigate the problem, most shuffling procedures end with an overhand shuffle or OTT cuttstrip to more safely mix any previously exposed cards. The OTT style of shuffling appears to be getting rarer, especially with younger card players who are following the lead of the poker dealers they watch on television: "If that's the way professional dealers shuffle, that's the way I want to shuffle." Although OTT riffles, cuts, and strips are generally associated with casual games played for small stakes, there's no rule that states they can't surface in high-stakes games, too. It all depends on what the players agree to. There are still spots where OTT cuts and ships remain a staple and those are in Asia and other parts of the world. In 2013, I wrote the foreword to a book about OTT cuts, running cuts, stacks, peeks, and more: The Asian Hustle - Secrets of the Hindu Shuffle (Lance Caffrey, 2013). This style of shuffling is enormously popular with Asian gamblers and Lance did a superb job presenting the subject. Although we're talking about a different shuffling style, there's significant crossover from false table riffles and cutsistrips to false OTT riffles and cutsistrips in terms of technique, logic, and philosophy. For these reasons, if you're a fan of OTT shuffles and cutslstrips, after reading this section, it's a good idea to go back and review everything presented about false table riffles and cuts/strips, then ask yourself, "Are these moves adaptable to OTT shuffles?" In most instances, the answer is yes.

Take Shuffles - 2f

False Off-the-table Riffles (slugs) We're all familiar with the wide variety of OTT splits and riffles. The cards may be riffled with the faces outward, faces toward the dealer, or downward and parallel to the table. They may be riffled by the ends (common) or the sides (uncommon). The halves may be riffled entirely off the table or partially off the table. One of the best mechanics I know (GW), and one of the few pros I never talk about, even to friends, proclaimed that the standard OTT riffle is the perfect foundation for the best false photo 157 - casualside-rzffle to the table shuffles he has ever emoloved. He's a country-club mechanic working in an environment where 'short cards' (mostly two-handed card games) is the norm and where there is no expectation that the cards be riffled on the table like a professional dealer. His specialty was slug-work and some novel applications. His favorite shuffle was the standard OTT riffle with no bells and whistles: riffle by the ends, faces outward, and no cascade. He noted the following advantages over the table riJJe.

0 OTT riffles are not associated with the professional.

0 Clumpy shuffles are more acceptable v

Carrying top slugs has more naturally cover because they are hidden from the sucker.

0 The bottom card changing after each riffle is a strong visual convincer of legitimacy. 0 Utilizing 'cover-cards' on the bottom adds more deception because they are visible.

0 The technical skill required to carry top and bottom slugs is minimal. 0 The OTT riffle does not exhibit above-average dexterity-especially with no cascade. Regarding the last bullet, some contend that the sound of the cascade adds an audible convincer, even if on a subconscious level. This may be true, but not even a consideration for most mechanics. Cardmen are generally familiar with many of these observations, but few are hip to the idea of creating a protection-position for a specific style of OTT riffle.

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- umzbling Sleight of Haua

top slugs For most cardmen, if the goal is to carry a top slug with an OTT riffle, they hold the deck from above with the right hand, split the bottom half into the left hand, and simply riffle the right half last. This is fine for small slugs, but for larger slugs, more finesse and cover is needed. With the deck in the right hand, fingers at the front and thumb at the back, riffle less than half the deck into the left hand. Start the riffle with the right half to show a different bottom card. Continue riffling, eventually uij$Gngthe slug behind the left thumb (photo 159). Tilt the halves backward on their sides and square up. This simple maneuver moves the slug to the back away from observers. To continue the square-up with cover, swing the right end of riffled halves forward as the deck is placed in dealing position in the left hand. Complete the square-up.

* A photo 160 - more left-thumb cover during square-up

photo 161 - deck squared m lefi hand

Note that within the sequence is a 'protected-position' for this particular OTT riffle. It seems obvious because it is, but you rarely see cardmen pursue these kinds of moves. It's as if they have never even pondered the possibility of carrying large slugs with such a simple method.

alse Shufles - 20.

For refinement, consider positioning the right half about one inch back from the left half before the riffle. This makes it easier for the slug to riffle behind the thumb. Here's the takeaway. When you want to carry a big slug with an OTT riffle, remember that every shuffling style has its own protected-position. This is the position you want to be in the instant the last cards riffle off the thumbs. This is the most common-sense way to provide cover, so take the time to find your own unique protected-position for your favorite style of OTT riffle.

bottom slugs There's one downside to OTT riffles and that's carrying bottom slugs-a common and desirable goal for cheaters. Given that most OTT riffles notoriously flash the bottom cards, when a riffle doesn't mix the bottom cards, it's obvious that the bottom cards were not shuffled. As a mechanic, it wouldn't be too smart to flash the ace of spades on the bottom, for example, and have it end up in your hand as part of a winning ace-high flush. When certain applications are money makers, however, like carrying bottom slugs and dealing bottoms, cheaters can be very resourceful. ihe most acceptable way to carry bottom slugs without flashing the bottom cards during the riffle is to keep the halves parallel to the table as depicted. While this shuffling style will hide the bottom cards during the riffle, it can still be awkward to pusldsquare the halves together and get ready for the next riffle without flashing any cards. Depending on the shuffling style and vrocedure. care must be taken to evaluate everv part of the shuffling process to avoid these mishaps, especially when the procedure ends with a riffle.

photo 162 - traditional OTT r ~ f l e

How about a shuffle with complete cover? How about a shuffle that can deceptively carry big topibottom slugs with the same shuffling style? Here's a method that accomplishes these goals. Let me also say that these kinds of methods for carrying slugs with OTT riffles are generally unknown to cardmen. With the deck in the right hand, riffle-split heavy into the left hand. Adjust the grip of the right hand by sliding the fingers up the sides to the thumb as depicted on the next page-yet another form of the protected-position for a particular style of OTT riffle.

204 - Gambling Sleight ofHand

photo 163 - normal grip before OTT riffle

photo 164 -protection-grip before OI 1 rqfle

Start the riffle with the left hand and riffle off the slug, which are riffled under cover of the right first and second fingers. Square up in the same position. Here the standard OTT riffle has been modified to provide cover for carrying slugs up to 20+ cards on top or bottom. The point is that finger position changes everything. When finger position is optimized, shuffling with cover can be a streamlined, viable alternative to more complex and convoluted moves. Envision a legitimate, default shuffle that automatically provides cover to the top and bottom of the deck. Now when it's time to carry a slug, only the riffle changes, but nothingfrom the perspective ofplayers! photo 165 - strong cover during OTT rifle

For the pushinglsquaring action, the halves can be rotated and dropped on their sides for a square-up, or more openly squared in the left hand as previously described. To recap, strive to match up your default OTT riffle with the false OTT riffle-including the square-up-and then carefully adjust the actions to provide maximum cover for carrying slugs, which only has to last for a second before the pushinglsquaring action. Moveless solutions for carrying big slugs with the OTT riffle are definitely possible. With a little thought and energy, you do not have to resort to more complex methods.

Building Bottom Slugs One of the most diabolical poker scams ever conceived is the 'countdown,' 'laying sets' (three of a kinds), or the 'three-card trick.' The same concept has also been used in lowball, but with laying sequences of small cards. The basic idea is to position a set a specific number of cardsfrom the bottom, say loth,1lth,and 12thfrom the bottom. After the deal, the draw is manipulated to ensure that a cheater drawing to a pair makes a full-house. For our purposes, let's just look at the technical challenge. How can we keep the set in the same positions while riffling and changing the bottom card each time to sell the legitimacy of the shuffle? I have met several cheaters specializing in this scam, but one mechanic had an exceptional solution. All I saw was three good OTT riffles with the bottom card changing each time. Nothing more, nothing less. We're all familiar with adding x-cards to a top slug during a table riffle, OTT riffle, or overhand shuffle, but have you ever tried to add cards to a bottom slug? It's difficult to do deceptively, but this mechanic found a way-interestingly, there are similar moves in magic. Start with the deck in the left hand, fingers at the front and thumb at the back. Riffle-split about half the cards into the right hand. With the left fingers, immediately squeeze the bottom card backward, breaking it away from its half. Let this x-card be the first riffled card, followed by riffling the slug from the right half, followed by riffling normally to end. I call this a 'squeezeriffle.' When done properly, it's one continuous split and riffle, and it looks like a normal OTT riffle. It takes practice, but it's a solid move.

c c

photo 166 - squeezing bottom card for r~@e(exposed)

photo 167 - beginning rffle with squeezed card

The mechanic would cull the aces into positions 7Ih,8", and 9Ihfrom the bottom and proceed with three riffles, adding one card to the bottom with each riffle, bringing the aces to the desired loth, 1lth,and 12" positions from the bottom.

~ v - dGambling Sleight ofHand

Working with cover-cards can add a whole new layer of deception to your off-the-table shuffle work. single cover-card Assume the bottom of the deck reads XAAAA. Hold the deck from above with the right hand by the ends. Riffle split half the deck into the left hand and start the riffle with the covercard-using the riffle-squeeze. Softly drop a block of cards from the right half as you then forcefully riffle the slug from the left half to keep it intact. Riffle normally to end. Push the halves together for about half their length and swing the right side of the unsquared deck forward as it's placed in the left-hand dealing position. Square the halves with the right hand and secure a little-finger break below the slug, which is easy as the halves are still unsquared. Square up and retain the break. Undercut all cards below the slug and legitimately strip to end. We'll be discussing the details of working with the off-the-table strip in the next section. double cover-cards Another way to keep the bottom card changing with OTT riffles is to start with cover-cards, then kill them during the subsequent cutslstrips. Assume a bottom slug of XXAAAA with the two cover-cards on bottom. Split for an informal OTT riffle where the cards are riffled off the sides to the table (photo 157). Just before the riffle, rotate the halves outward to subtly flash x-cards on the bottoms of each half. Riffle, letting the cards spring off the thumbs to the table. Carry the slug, square up, and f-transfer the bottom card to the top during a casual triple-cut. Repeat the sequence. Flash two different x-cards, kill the cover-card with another f-transfer, and bring the aces to the bottom. Feel free to replace the f-transfer with any other move. For example, after the standard OTT riffle, rotate the deck on its end and place it in the left hand at the fingertips. With the left little finger, slide bottom card backward into a jog of about one-half inch. Undercut one-third of the deck to the top with the right hand, aligning the jogged card with the original top of the deck. Immediately undercut the stepped, lower packet to the top to end. You have killed one of the cover-cards during an off-the-table triple-cut. Repeat the sequence to end. This transfer has been around for a long time; some of you may find it more consistent with the OTT riffle. This is a very deceptive sequence that always gets a strong response from cardmen and cheaters. The last time I met with the late, great Ricky Jay, the first variant was one of his favorite moves.

False Off-the-table Riffles (full decks)

A 'shufflc-ovcr' is a full-deck false shuffle that starts with a bona fide riffle at the ends or comers, followed by breaking the halves apart and maneuvering one half over the other during the squaring action. Hand cover generally plays an integral role. Here are two standard methods. When you meet veteran cheaters, you'll often see some variant of these false shuffles.

Hold the deck by the left hand, fingers at the end and thumb at the back. Riffle half the cards into the right hand. Riffle the halves together at the outside comers. Lift the left half slightly above the right half and begin to move the outer ends of the halves together, creating a twisting action that separates the halves. Bring the fingers of both hands together for cover as the halves disengage and the original bottom half moves to the bottom. After the square-up, maneuver the deck into the left hand, dealing position, and bring the right hand over the top to complete the square-up. You're ready for another split and riffle.

photo 168 - traditional O T T r ~ f l e

photo 169 - disengaging and llftzng left half(exposed)

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photo 171 - square-up with complete cover

m d - Gambling Sleight ofHand

If the deck starts in the left hand and it riffles the bottom half to the right hand, the false shuffle carries the entire deck. If the deck starts in the right hand and it riffles the bottom half into the left hand, the false shuffle results in cutting the deck, which is fine for laying briefs. These kinds of shuffling sequences can also be donc without bricfs. For cxamplc, strip thc top half into the left hand, secure a left little-finger break, and strip the remaining cards. Riffle-split to the break and false shuffle as described to carry the top half. Whatever sequence you choose, riffle at the extreme comers and hold the halves lightly and loosely to mitigate binding. Also, riffle at an angle that points the front ends of the halves at the eyes of the observers, then maintain the angle during the square-up. When the halves are at the prefect angle relative to the observers' eyes, there's less to hide-you're just covering the ends, not the entire halves. Table Shuffle-over with OTT Square-up

This is a close cousin of the previous false shuffle-my

preference.

Start with the deck on the table with the ends in a fonvardibackward orientation. Split the top half to the right and riffle the back-inner comers. Move the fingers to the front of both halves and lift the halves so they point at the observers' eyes. Lift the left half slightly above this plane as the right hand maneuvers its half under the left half. Strive to make two distinct pushes, as the fingers of both hands overlap and provide plenty of cover. Lift the halves until they eventually reach a vertical orientation with the deck resting on its end. The deck can be picked up and squared, then dropped to the table for another shuffle. To interject the riffles with a cut or ship, in addition to OTT cuts/strips, many of the moves previous described for the deck in table-position are options. For example, the gamblers' cut can be done with the deck in this orientation, cutting by the ends, not the sides. Base-strips are another option too. With both shuffles, I like to tap the end of the deck on the table with the left hand following each shuffle. It's a casual nuance that seems to fit within OTT shuffling procedure. The challenge with these shuffles is matching it up with the true shuffle, which takes a little practice.

False Shufles - 267

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When the halves are split side by side and riffled by the ends, the dynamics change. Now it only takes three fingers to completely hide the forward, which is not possible with the deck in tableposition. For this reason, riffling as described offers significant natural cover for carrying slugs. half decks, and h l l decks. The only negative of this shuffle is that the style of riffling is uncommon.

11

v-

Gambling Sleight ofHand

After playing with shuffle-overs for many years, the following method evolved. The key action is placing the left thumb between the r@ed halves to help separate them before the square-up. With the deck in the right hand, riffle half the cards into the left hand. Start the riffle with the right half and end with the left half. Tilt the halves back on their sides and insert the left thumb between the halves. Lift both halves about one inch off the table as (a) the left-second finger slides the bottom card of the right half about one inch to the left and @I)the halves straighten and naturally break apart over the thumb. This all happens as the deck is airborne. As the halves drop to the table, loosen your grip and let the cards haphazardly fall. Push the top half under the bottom half and make a few casual squaring actions. For my favorite handling, make the final squaring action as you move the deck to the right, grabbing the right side and presenting the deck for the cut. Note that the method as described cuts the deck (perfect for laying briefs). To carry a full deck, start with the deck in the left hand. The bottom card does not change, which is fine provided it changes at least once du-i"- +ha a"+;- -hnffli*- ----A-+e.

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photo 176 - r i f f and place left thumb between halves

photo 177 -sliding right halfin front

photo 178 -front view

photo 179 - r i d with n f e ~ vaoveiwl squaring nctiuizs

Here's a new-theory full-deck false shuffle that's designed to look like a casual riffle. The shuffle is set up with a three-part strip. Rase strip about one-quarter of the deck, but let the cards in the right hand drag the top card(s) of this packet to the right creating a bevel, which I call the 'ledge.' Strip another quarter of the deck, come back over the top of the stripped packets and don't let go, faking a square-up. Split the top half to the right and rest it on the ledge. During this action, bevel the right half to the left and slightly forward. Riffle both halves together with above-average speed as follows. First riffle the cards below the ledge. You'll find that the ledge acts like a giant short card allowing the left lower half to pop off the thumb. In a continuous action, riffle the entire right half, followed by riffling the remaining cards from the left half and slightly forward. Immediately push the halves together with strong hand cover. Although the halves are riffled in a slug-slug-slug manner, you would never know it given the speed of the riffle. The shuffle can be done with no hesitation, emulating a riffle at slightly above-average speed.

photo 180 -splitting onto ledge

photo 181 - right h a y o n ledge; halves beveled fonvard

photo 182 -short, fast rSffle

photo 183 - rgling offthe thumbs; immediate square-up

'1'

- Gambling Sleight ofHand

Poker Shuffle-over I learned my first shuffle-over from an early video expos6 titled Cheating at Blackjack (Rouge et Noir, 1981). Game-protection expert, Joe Baseel, demonstrated the move. After riffling the halves, the front inner comer of one half was lifted, twisted to disengage the riffle, and maneuvered to the top. Both hands provided cover. In a casino environment yet to employ 2417 video surveillance of every game, the standard riffle-riffle-strip-riffle procedure could be effectively faked with shuffle-overs and a short base-strip.

I played with the move from the perspective of a seated poker dealer and ended up with the 'circle-zarrow' (page 212), but with no cover-cards. Split the top half to the right and riffle, starting with the left half and ending with the right half. Push the top cards of the right half over the left half by about one-half inch as you disengage the riffle under cover of the second fingers bumping into each other. Square up with good hand cover. For the complete riffle-riffle-stripriffle-cut procedure, I also incorporated a short base-strip and ended with a base-cut for the final cut. Noise Maker I'm not sure who gets credit in magic for riffling half the deck up under the top card causing it to oscillate and make a riffling sound, but it's a wonderful illusion. I liked it so much, I began experimenting with it but struggled to find a suitable card-table version. Here's my best shot.

photo 184 - noise maker

With the deck in table-position, split the top half to the right with the right hand while slip cutting the top card to the left with the left first finger. Don't split the halves all the way; instead, split them to about one inch from being squared. You're ready.

Immediately riffle the right half under the top card of the left half to create the sound of a riffle Square up with good cover. Strive to split, slip cut, riffle, and square up in one smooth, continuous action. You should be rifJling the instant you reach the end of the partial split. When the hands are positioned correctly and the shuffle executed adeptly, there's good cover, a reasonable imitation of the riffling action and sound, and a square-up before anyone has a chance to react. I always follow the shuffle with a short three-part base-strip, slapping the last packet on top with conviction. The moves flow together nicely and lookisound better than one would expect.

Faking the Cascade The idea of faking the cascade after an off-the-table riffle has an interesting underground history. According to many, credit goes to Ron Wohl in the late 1960s. I first saw a fake cascade following an off-the-table riffle by a prominent West Coast cardmen in the 1970s-along with a request to keep the move under wraps, which I did. Years later, several variations surfaced in magic (Don May, Bob Stencil, Karl Hein, and others). Since my only exposure to faking the cascade is from cardmen, no attempt has been made to document the methods. As a general statement, I have always considered the move to be too showy at the card table, especially when the riffle and cascade has to be repeated. That said, in the context of one casual riffle for magic, I've seen these moves done beautifully by several cardmen. I still remember the first time Derek DelGaudio demonstrated his false shuffle for me-it blew me away! The same is true for the best table version I have ever seen, shared with me by BJ Bueno (Muy Bueno Shuffle). Both the DelGaudio and Bueno shuffles are visually stunning, so I'm not discounting the possibility and neither should you. While faking the cascade may represent an important advance in shuffle- work for cardmen, I don't believe this is the case at the card table. Not yet anyway. An interesting side note about the table cascade is that when I first came to Las Vegas, this action was common in the poker rooms as a safeguard against push-throughs, pull-outs, table-far0 work, and related moves. But it had to be stopped due toflashing during the cascade. Shrewd players sitting to the dealer's right were able to spot several flashed cards during the last riffle before the cut. Then based on the cut, players could predict via estimation what cards were likely to be cut out of play, into play, into the flop, and so on. With players of photo 185 - table-cascadeflash equal skill, exploitation of this flaw can be a deciding factor. I have experimented with a few methods that are far less spectacular than those cited. Instead of highlighting the cascade, I've tried to minimize it, framing it as a secondary, less-important action that attracts less attention. The idea is to provide more cover while shortening and softening the cascade to reduce sound and attract less attention. Here's a solution that mimics the actual shuffle and fills the space of the average card player's cascade in terms of speed, pace, and naturalness, even when repeated.

L I4 -

Gambling Sleight ofHand

With the deck in the right hand, riffle about half the cards into the left hand. The left fingers immediately squeeze the bottom card, breaking it away from its half and forming a gap. Move the right half into the gap and forward by about one inch. Start riffling the right half. If the right half is deep enough, the cards will riffle off the bottom card of the remaining cards in the left half, creating a subdued riffling sound. Note that the left half riffles under the base of the right thumb. The left index finger rests against the left-front comer of the right half. Note that the right half is riffled onto the bottom card; at the same time, the left half is riffled onto the top half. After the riffle, turn the deck on its side for the square-up, which can simply be a couple of fake pushes and squaring actions. But you're also in perfect position to fake the cascade. Just grip the upper half with the left thumb at the right end about center. The right hand holds the lower half and cups the deck with the right thumb above the left thumb. Softly and quickly spring the cards off the left thumb and square up. The deep riffle brings the hands together for all the cover you will need. To emulate the natural traits of the true OTT riffle, the instant before the spring, lift the deck off the table about one inch and extend the fingers of both hands. As the cards spring, let all the cards fall back to the table. As you practice, check the side viewpoints.

photo 186 - deep r g l e to set up cascade

photo 187 - tight, soft cascade

Finally, note that the move described does not carry the entire deck. One card is displaced, so you must split more than the slug/stack into the other hand for the riffle. To carry the entire deck, however, just start with an OTT bottom slip-cut @age 222), stripping out the bottom half less the bottom card and slapping the half on top and onto a little-finger break. Riffle-spilt to the break and execute the shuffle as described to carry the entire deck.

Off-the-table False Cuts and Strips From a technical standpoint, almost every false cut and strip that can be done in table-position can be done with the deck off-the-table (OTT). The salient difference is that with table work, both hands approach the deck from the top, so both hands can provide cover. This is not the case for OTT work where the left hand usually holds the deck from underneath, reducing cover significantly.

From a shuffling standpoint, stripping the deck on the table is identical to an OTT running cut, so I'll use 'strip' for consistency. Stripping from the center to carry a bottom slug is probably the most common OTT false strip employed by cardmen. Although the move is easy, it's frequently telegraphed. Rotating the right hand palm up to pull a packet from the center, fiddling to grab a center packet, and openly lifting the upper half before the strip, are all examples of common flaws. In the normal OTT strip, the instant the deck contacts the left fingers, the strip begins. Immediacy is the key. With the aces on bottom, immediacy can be achieved if the slug is dropped the instant the left fingers contact the deck and begin stripping. This way, the position of the right fingers and orientation of the hand never change. There are no superfluous movements. If you drop the slug and begin the strip in the same action, you'll be executing this common move in the best possible way. To accentuate the immediacy of this approach, I like to start the move by placing the deck on the table, rubbing my hands, then picking up the deck and immediately going into the strip. If the deck is already in dealing position, I lift the deck about two inches with the right hand as I rub my left thumb across my fingers as if to wipe away any moisture, and then immediately go into the strip. The move looks best if the deck is naturally tilted downward, giving observers a top-of-the-deck perspective, which covers the gap from the front caused by stripping a center packet. Believe it or not, I've fooled knowledgeable cardmen with the casualness and immediacy of this simple method for carrying a bottom slug-a move they all know.

216 - Gambling Sleight ofHand

top slugs The standard move for carrying top slugs with OTT strips is to strip the slug into the left hand, pick it up with thc right hand and form a right-thumb break as the second packet is stripped, and strip to the break to end. The move is a favorite with cardmen for carrying small slugs and controlling selected cards. But thumb-breaks can be angle sensitive, not just to the left side but to the front of the deck; when the break is not held securely, it often extends to the front end. photo 188 - commonflaw with OTTstrip

The following method is superior. The idea is to simply substitute a little-finger break for the thumb-break. Admittedly, this doesn't sound like a ground-breaking change, but moving the break from the top to the bottom transforms the move. It's an obvious solution that will fool cardmen; the traditional handling will not.

1

Strip a small packet into the left hand and secure a little-3nger break as you strip the remaining cards. Bring the right hand over the top, fingers at the front and thumb at the back, and lift the deck to the fingertius. Let the right fingers slide across the backs of the left fingers as they move to the back. You'll reach the perfect position for the right-second finger and thumb to cut all cards below the break to the top and carry the slug.

-

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-

Combining OTT running cuts with a little-finger break is a notable improvement that offers several clever handlings.

0 After the first strip establishes a break near the bottom, you can still center-strip while maintaining the break. 0 Undercut a small packet and ship onto a little-finger break. Now strip again, but start by stripping a larger packet into the left hand without ever relinquishing its break-it's automatic and a very cool move. After the first packet is stripped and the

False Shuffles - 21 1

break retained, strip normally. End as you wish: cut to the break, strip to the break, lay a brief, etc. This is one of those feel-good moves.

0 Any time you're in a position to make the final cut at a left little-finger break near the bottom and you're carrying a top slug, undercut and grab a few more cards above the break. Undercut in a backward direction over the base of the left palm. At this point you'll want to move the packet above the remaining cards and use your leftfingers to pullistrip the cards above the break in the traditional manner and throw the remaining. cards on top to end, but avoid the temptation. Instead, use a short, soft flick of the right wrist toward the top of the deck to propel the cards above the break on top of the cards in the left hand, followed by throwing the remaining cards on top. The wrist action is excellent, and I'm betting that you'll appreciate how much easier and more reliable it is to let the break do its job automatically. It's a completely different way of handling this common actionlmove. bottom slugs

Here's a basic two-step sequence. Undercut, strip a couple of small packets, and throw the remaining cards onto a little-finger break. Bring the right hand over the top, lift the deck to the left fingertips, slide the right fingers across the backs of the left fingers in preparation for another ship, grab the slug with the right-second finger and thumb, and ship several times to carry the bottom slug. All observers see is a quick strip followed by a longer ship. The action of lifting the deck to the fingertips for the second strip serves an important purpose. It establishes two distinct stripping phases while making it easier to smoothly undercut to the break to begin the second phase.

In the section on false riffles, strips, and cuts, the concept of positioning cuts and strips were discussed in detail-recall that they represent some of the best table work I have ever seen. So, there's no reason why the same principles shouldn't apply to OTT false shuffles. To bring these moves together, here's an essential component I call the 'riffle-split' (previously mentioned bbut not explained. It's a strong ruse for a few hustlers that advances the common action preceding every OTT riffle. Instead of simply splitting the deck into two halves for the riffle, one half is uij'j'jed into the other hand.

LIO

- Gambling Sleight ofHand

With a slug on top, strip about half the deck into the left hand, ship a second packet onto a littlefinger break, and strip a few more packets. Keep the right side of the deck tilted naturally downward. Bring the right hand over the deck, fingers at the front and thumb at the back. Now instead of splitting to the break for the riffle, r q j e to the break with the right thumb, grab the half with the left hand, and rifflc to carry thc slug, riffling thc lcft half last (original top half).

photo 190 - reao,

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photo 191 - r i f f splitting bottom halfinto left hand

You can also set up a riffle-split with more than one strip. For example, undercut about onequarter deck and strip a few times, securing a break under the second stripped packet. Undercut another one-quarter of the deck and only strip a couple of times while maintaining the break, purposely changing the number packets stripped. Riffle-split to the break and riffle to carry the slug. Riffle-splits can also follow thefirstpart of an overhand jog-shuffle. The riffle-split add an element of randomness to the splitting action. It's a dynamite move that should be immediately added to your arsenal.

Off-the-table Full-deck False Cuts slap cut Most hustlers have their own handling of this brazen false cut and, more often than not, the cut is done aggressively with a slapping action. With the deck in the left hand fingertips, undercut a little more than half in a straight-back direction. Bring the half to the top and slap it on the cards in the left hand, stepped forward about one-half inch. Let the fingers of the left hand open slightly as the halves make contact-helps get the fingers out of the way. Upon contact, the right fingers are in perfect position to grab the bottom packet with the right thumb and third finger and cut the packet to the top. Strive for a smooth one-two-three tempo: undercut, exchange, throw on top.

False Shuffles - 2 1 ~ from hands

to table

Hold the deck in the left fingertips as just described for the slap cut. Turn the deck into a semivertical position and rest one end on the table. The left thumb and fingers apply pressure to the top half as the right thumb and fingers grab the bottom half. Let the right first finger rest on top of the deck at about center. Lift the deck offthe table about one inch as the right fingers briskly base cut, slapping the lower half to the table. Let the right fingertip slide down and across the top card. Carry the cut with the right hand and immediately pick up the deck. Proceed as desired. This basic false cut is known to all cardmen and it couldn't be easier, but there are still technical fine points to consider, which is why the move looks better in the hands of some cardmen versus others. Keep the deck close to the table to ensure an almost instant action and sound of the bottom half hitting the table. Base cut directly downward, not forward; otherwise, the left third and fourth fingers will get in the way and interrupt the cut's rhythm, when they can remain motionless and provide cover. To cany the cut, level out the remaining half with the left hand and grab it with the right hand, lifting it slightly before dropping it on top. These actions are designed to present a combination of vertical and horizontal cutting actions.

I like the cut immediately after an off-the-table riffle where the actions of the square-up, rolling the deck to the starting position, and base cutting all occur in one continuous sequence. Similarly, a favorite handling is to pick up the deck with the right hand and approach the left hand, doing the cut the instant the deck contacts the left fingertips, then continuing with a false shuffle. This variant seems to add a randomizer before the shuffle--for cardmen only. To carry a bottom slug, base cut the first packet, legitimately cut a second packet to the top of the tabled cards, and end by slapping the remaining cards on top. Observers may not catch the vertical cut, but ensure that they follow the other cuts.

photo 192 - rolling deck to semi-verticalposition

photo 193 - OTT base-cut to table

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220 - Gambling Sleight of Hand

off-the-table scrape-cut Hold the deck in the left fingertips with the front end pointed at the observers. Grab the back end of the upper half between the right secondlthird fingers and thumb; the first finger rests naturally curlcd on top. In a quick cutting action, move the upper half back until it scrapes off the lower half, turning it inward slightly. Strive to end this first action with the upper half below the lower half. At the same time, the lower half falls down to the palm. Bring the upper half around the right fingers, up about two inches above the deck, and drop the half on top.

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This is another one of the moves that requires a knack. It was presented in my Gambling Protection Series. The challenge was to come up with an OTT false-cut that mimicked the table version of the scrape-cut. This move gets pretty close.

False Shuffles - 2 ~ 1

Other Variants The gamblers' cut, center-top-bottom striplcut, and other false cutslstrips are all possible within the OTT framework. Here's just one example of carrying a full deck under the guise of a fourpart strip. With the deck in the left fingertips, ready for an OTT strip, grab the top half at the inner end and start with a scrape-cut, sharply stripping the top half backward with the right hand in a counterclockwise direction until it clears the lower half. Continuing, strip a second packet onto a little-finger break. Bring the remaining cards over the top of the deck, exchange the cards in the right hand with those above the break, and throw the remaining cards on top. If you beat the eye with the base-cut and the exchange is done smoothly, you'll have a reasonably good solution for emulating a four-part off-the-table strip.

heel-peek slip-cut

Like most of you, I've been playing with slip-cuts since I was a kid. After 40 years, I have learned two things: (a) these moves are not always easy to do deceptively, and (b) they are not a favorite with most hustlers. Although OTT slip-cuts have the advantage of being able to tilt the deck favorably to change the perspective of the observers, forcing them to see the move from the top versus the side, there are still technical challenges like the move's biggest tell: single-card movement. The standard off-the-table slip-cut starts with the deck held in the left fingertips. With the right hand, open half the deck from the left side-keeping the right side of the deck squared. With the left second finger, slip and retain the top card onto the bottom half as the deck is apparently cut. The top half moves back to the left and is thrown on top. Typically, however, there's noticeable movement of the slipped card, often referred to as "flutter" by cardmen. To eliminate all flutter and independent movement of the top card, here's a clever method. Start with the deck in normal dealing position and use a heel-peek to lift and secure the top card in the traditional peek-position. Now you can undercut the uppev halffrom under the top card in a slow, deliberate action without any top card movement. As the top half is cut (less the top card), move it sharply downward as it clears the deck to enforce the illusion of a legitimate offthe-table cut. Carry the cut to end.

222 - Gambling Sleight ofHand

photo IYY - slip-cut; no top-card movement

photo 1 Y X - heel-breakget-ready

bottom slip-cut Carrying a bottom slug can be enhanced with cover-cards that get killed during a cutistrip. On, method entails pinching the bottom card with the left thumb and tilting the deck slightly downward as the strip begins. The action automatically separates the bottom card from the rest of the deck, making the bottom slip-cut easy.

photo 200 -pinch botl

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For a bottom slip-cut with no get-ready, start with the deck in the left hand, dealing position. Wrap the left fingers and thumb around the deck and grip the top half. Grip the bottom half with the right fingers. As you undercut, let the patch of flesh below the left first finger hold the bottom card in place as the right hand undercuts normally. This is a common technique in many Asian false cuts and stacks.

False Shuffles - 2

WASWSCRAMBLE To 'wash' or 'scramble' the deck is to haphazardly spread the cards face down on the table and move them around in circular motions with both hands. The wash/scramhle is a form of shuffling that many casinos and cardrooms require prior to the traditional shuffle. I have never been a fan of the procedure. It always reminds me of the way kids would shuffle cards, but the wash/scramble has been around for decades. From this point on, I'll just use the term 'wash.' Several moves for faking the wash have surfaced. In one scam, the dealer faked the wash and shuffle to carry a 30-card cooler-part of a new deck introduced by management. After palming the top 30 cards, the dealer ribbon spread the remaining cards and immediately started washing them deck. After a few mixing actions, the palmed slug was tossed on top of the haphazard pile under the left hand as the right hand reached out several times to scoop small groups of random cards under the slug. The last few cards were used to scoop the deck, roll it on its side, and square up. The mechanic then false shuffled and cut. As a consultant, for baccarat, I demonstrated carrying a half-deck slug while thoroughly washing eight decks preceding the shuffle. A previously memorized slug in this game with its high limits could guarantee 5-7 cinch hands! The method was easy: only the decks on top of the slug and surrounding the slug were washed. mixed. The cards were scooped up 1-2 decks at a time making it easy to pick up and position the slug on the bottom of the eight-deck pile to start the shuffle. In this genre, here are two moves that may be of interest to cardmen.

Wash/Scramhle (top slug) Following any dealing demonstration where the cards are in a haphazard pile, but with a slug of aces on top, pick up the discards with the right fingers underneath and thumb on top and toss them to the left with enough force to slide into a ribbon spread that reaches the left hand. Immediately push a bunch of cards forward from the center, followed by sliding the slug back to the right and on top of the cards under the right hand. Use the left hand to slide a few small groups of cards into the bottom oj'the cards under the right hand, then alternately reach out with both hands to gather and drag the remaining loose cards into the bottom of the pile. Slide the pile backward into a short ribbon spread to facilitate scooping and picking it up. Turn it on its sides, square up, and let the deck fall to the table for the shuffle.

224 - Gambling Sleight ofHand

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photo 204 - top slug maneuvered to top

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photo 205 - cards gathered below slug

Once you get the basic actions down, strive to use both hands during the wash as soon as possible. Don't let the initial spreadslslides dominate the action; you don't want the action to look like you are merely tossing the cards from hand to hand. After the first slidelspread, use both hands to reach out and gather the cards, a few at a time, with tighter and tighter actions until the discards can be picked up and turned on their sides as one complete pile.

Weeding (top slug) Again, the assumption is that you've just finished dealing a poker hand. The four aces are face up on the table, and the rest of the deck has been gathered into one haphazard pile. Position the pile to your left. With the right hand, pick up the aces as the left hand lifts and tilts some cards from the top of the pile to create an opening. Apparently throw the aces into the opening; instead, close the opening as the right hand throws the aces to the top of the pile under the left hand. Immediately spread the discards backward with the left hand into a tight ribbon spread. Grab a handful of cards off the bottom with the right hand, and 'weed' them, which entails faking the insertion of these cards into different positions. Just fake sliding the cards in and out

False Shufles - 2

of the spread a few times-but don't let go-evenmally using the cards to scoop the spread. Turn the unsquared pile on its side, square the deck, allow the deck to fall to the table, and begin the shuffle. At the card table, this weeding action is done as a courtesy to players after a hig hand. Instead of openly tossing a hand like AAAKK to the top, weeding inserts parts of the hand into different places throughout the deck.

Strive to pick up the aces, toss them into the discards, and begin weeding in a smooth, continuous sequence. The entire sequence is done briskly-the way it's done at the card table.

photo 209 -squaring the discards

,,i

- Gambling Sleight ofHand

SUMMARY

1. The off-the-table riffle is a diverse shuffle with many styles and nuances. With each variant, there's a corresponding move that will fake the action, so there's plenty of room for more research, which will undoubtedly lead to more moves. 2. With table riffles, just tweaking the position of one finger can make a difference relative to cover, which is why the one- and two-hand protected-positions are so important. So, there's no reason why the same benefits can't be realized with off-the-table riffles. If you study the position of every finger in respect to cover, and incorporate the necessary adjustments, it's just a question of time before you how easy it is to cany big slugs with complete cover, yet without having to resort to more complex methods.

3. When the bottom card changes after each riffle, it adds a new dimension to false shuffles, offering visual convincers that are not possible with table riffles. Don't overlook these possibilities; in fact, take h l l advantage of them!

4. If you enjoy the older gambling moves, you should have at least 'one shuffle-over' in your repertoire. These tried-and-tested false shuffles have been largely forgotten by most cardmen, but they can still be found at the card table from time to time.

5. Faking the cascade is a worthy magical pursuit, but it's questionable whether the subtlety is ready for the card table. The idea of making the riffle the salient feature, not the cascade, has been suggested as one way to move the magic method closer to the card table. For me, the move looks best when the riffle is out-front and the cascade is soft and subdued, making the cascade a casual action of less importance. As with all moves, be objective. In terms of space, time, technical maneuvering, repeatability, and sound, does the fake cascade match up well with the default cascade? If the answer is no, or you're not sure, eliminate the cascade-as many hustlers do. If the answer is yes, have fun. 6. Don't overlook the suggestions offered for the center-strip. I acknowledge the move's simplicity and the fact that most readers have been doing the moves for years, but improvement is still possible.

7. Positioning cutslstrips are powerful moves. If off-the-table riffles and cutslstrips play a major role in your card work, I encourage you to review the section on these moves for table work, then consider adopting the same principles and handlings. 8. For carrying slugs with off-the-table strips, little-finger breaks offer a superior technical option to the standard right-thumb breaks. There's more cover and deceptiveness. There are also more options.

False S h u f f s - r .

9. Strive to master at least one good off-the-table full-deck false cutistrip and one good slip-cut. Hustlers all seem to have one or two of these moves in their back pockets should the opportunitv arise. 10. For gambling demonstrations where the cards are pitched around the table, the process of gathering in the cards can set the stage for false washesiscrambles. The weeding process can sell the notion that you are starting the next more or stunt from a randomly gathered deck.

I can envision many opportunities for cardmen to casually introduce weeding and false washes/scrambles into their gambling routines.

Vol. V Y1

March 1985

IN THE

PLUS: Uslm Fighls Nerdda: Cunis Beats Atlantic City Vegas Hmors Thorp: And Snyder Dreams of X-Ray Vision

Introduction Everyone is familiar with 'stacking the deck,' which formally defined is to manipulate desired cards into desired positions. There are three primary categories of stacking methods:

0 overhand-shuffle stacking 0 riffle stacking 0 far0 stacking

This is not a complete list. There are several other stacking methods including 'lay stacks,' 'pick-up stacks,' 'high-low stacks,' and 'multi-shuffle stacks' (each shuffling procedure contributes to part of the stack). There are also some exotic variants like the 'circle stack,' a stack that can be picked up out of its original order, false shuffled, and redealt over and over again with the same result. In chapter nine, Pseudo Gambling Stunts, several stacks are presented in the context of stunts.

LSO - Gambling Sleight ofHana

OVERHAND-SHUFFLE STACKS -Haymow This section offers a fcw idcas pcrtaining to the standard overhand 'haymow' stack. According to my research, the haymow is the only practical overhand stacking method at the card table. . . assuming there are even games worth playing where the overhand shuffle is tolerated.

photo 210 -standard milking action

A haymow is the upper part of a barn where bales of hay are stacked. Whether this has anything to do with the moniker is anyone's guess.

The haymow has also been called the 'milk stack,' a term referring to the action of simultaneously drawing the top and bottom cards off the upper half in the up-and-down action-like milking a cow. The term has led some cardmen to conclude that the stack was probably developed by a country mechanic, but the idea of milking two cards to the table in a stripping action is very old and was once commonly used in Faro. If you're not familiar with this stack, start with three aces on the bottom for a five-handed game. Milk the tophottom cards, run three cards, milk the tophottom cards, run three cards, milk tophottom cards, and run three cards. At this point, the stack is in the left hand and the remaining cards are in the right hand. The final step is determined by whether the mechanic is single-o or playing with a partner (cutter). There are several options but only two objectives: (a) bring the stack back to the top, or (b) leave the stack in the center and lay a brief for the cutter. If the brief is for an unsuspecting player, the stack may have to be repositioned around center in anticipation of where the deck is most likely to be cut. After the last card in the stack is run, here a few options to bring the stack back to the top: 0 Boldly throw the remaining cards to the bottom. 0 Jog a packet or throw a packet onto a left little-finger break, shuffle off, and use a second overhand shuffle to cany the stack to the top.

0 Jog a packet or throw a packet onto a left little-finger break, shuffle off, and carry the stack back to the top with an off-the-table strip.

0 Jog a packet or throw a packet onto a left little-finger break, riffle split to the break, and end with a false riffle like a shuffle-over.

There are two major challenges with the haymow: (a) long shuffling sequences and (b) runs of consecutive single cards. As noted previously, since these actions are not common in the hands of squares, they are not common with mechanics. The card players' perspective was clearly illustrated in a story by Tony Giorgio in the Giorgio Letters (Genii Magazine, 1991-1997). Giorgio writes about a mechanic trying to stack a hand with the haymow when a player shouts at him, "Hey, stop counting the cards." In this section, no time was spent exploring variations of Erdnase's in-joglout-jog stacks, Marlo's formula stacks, or a host of other overhand-shuffle stacks from the magic world. I call these stacks 'magic stacks,' but not in a pejorative sense; it's just that I learned them from magic sources. The Erdnase stacks are presented and exposed in chapter eight, The Erdnase Factor.

I have seen magic stacks that are probably worth an honorable mention, but my goal is to focus on the best stuff that I have learned from hustlers. In actuality, I don't recall any technical advice from cheaters regarding the haymow. But in conversations and demonstrations of magic stacks to cheaters where they could make a comparison, the sentiment was crystal clear: the haymow was the only practical method. I did make one exception: Jack Carpenter's 'Money Stack.' If you like the magic stacks, they're easy to track down. For more information about the Erdnase System of Stocking, it's addressed in detail in the Erdnase chapter. Finally, before we proceed, I wanted to share a hilarious story. The legendary Rod the Hop finas himself in a game where the sucker is overhand shuffling. He excuses himself, goes to the bathroom and calls a friend to ask, "Hey, what's that Erdnase thing with the overhand-shuffle stack; is it run two times the number of players less one, in-jog or out-jog, and then run the number of players?"

LJL

- Gambling Sleight ofHand

Segmented Haymow The best haymow stack I know breaks the standard stack into shorter shuffles, minimizing the length of the shuffle and therefore the number of consecutive single-card runs in a single shuffling action. I call the stack the 'segmented haymow.' Here's the method for stacking three of a kind in a five-handed game. Milk the top/bottom cards, run three cards, and throw balance on top of a little-finger break. I like to throw the balance with a little air. Grab all cards above the break, milk, run three cards, and throw balance on top of a little-finger break. Repeat one last time to complete the stack and end according to your goal. The term "break" is used for clarity, but the 'flat-break' (page 195) described in the 'holdback false shuffle' is the perfect move for this stack.

With the haymow, don't let one hand do all the work. The stack looks better when both hands contribute to the up-and-down movement. Let the left fingers constantly emulate a squeezing action as if helping to drag packets into the left hand. And keep the deck jiggling. You can even add a little backward-to-forward movement of the right hand, but keep it small. We're talking about movement, not exaggerated movement. The goal is a loose, casual, evenly-paced stack. Once the stack is complete, I like to shuffle off onto a break and carry the stack with an off-thetable cuttstrip. But as stated, there are several options. It's important to note that the haymow should never represent a complete shufflingprocedure. Every shuffling procedure should include one or two off-the-table riffles prior to the haymow to first establish an acceptable shuffling procedure before ending with the stack. Recall that many off-the-table riffles unintentionally flash cards, so ending with either a few overhand shuffles or off-the-table strips is common with most card players; it's their best effort to shuffle any flashed cards.

What if there was a way to do the haymow without ever running a single card? There's an obvious solution, but it's not commonly practiced. To accomplish this goal, the shuffle must consist exclusively of consecutive milks. Every throw is a milk of the top and bottom cards. For four players, start with the aces on the bottom. Milk four consecutive times and shuffle off. Then milk eight consecutive times, establish a brief, (small in-jogged packet or little-finger break, for example), and shuffle off. Depending on the application, carry the stack back to the top or positioning it near the center and lay a brief. Either way, you've just stacked the aces to the dealer in a four-handed game without ever running a single card! Like the physical properties of the far0 shuffle, the 'milks-stack' has limitations. It's an automatic stack for four or eight players, but what about other numbers of players? When the number of players change, single-card runs are unavoidable, so we simply substitute milks with the minimum number of single-card runs. For five players, aces on the bottom, assume the first sequence is milk, milk, milk, milk, and shuffle off. The next sequence is milk, milk, and run one. Repeat this sequence four times, establish a brief, and end as desired. The second sequence consists of twelve throws, which is uncommon and suspiciously long, but milks-stacks can easily he converted into 'segmented-milks,' which breaks the stack into four short shuffles instead of one long shuffle. Five throws are required for the initial sequence and only four throws for the 2"*, 3'*, and 4thsequences. Note that I include throwing the remaining cards on top as a throw, so don't confuse throws with milks. Also, changing the starting order can simplify the stack. To eliminate the first four milking actions, simply start with the aces on the bottom in the following order: AxAxAxA. Using the same structure and logic, interested readers can work out the details for any number of players. 'Double-dukes' (stacking two strong hands) are also possible. For practice, consecutively milk ten times, throw the remaining cards on top, and repeat. If you practice this extended and exaggerated sequence for a couple of hours every day, the potential will become apparent after just a few weeks. Once the milking action is comfortable and reliable, you're ready to incorporate the formulas and choose a method for ending the stack by either bringing it back to the top or positioning it in the center to lay a brief.

4 - Gambling Sleight ofHand

No-Haymow Haymow I'm not sure who was first to describe the haymow without milks. Perhaps Erdnase? If so, he advised drawing a single card off the bottom, instead of milking the top and bottom cards simultaneously. To run a single card off the bottom without the benefit of cover from milking the top card strikes me as a fundamental error. Nonetheless, I like to look at moves from many angles. After thoroughly exploring the naked option, I started fooling around with the following modified version, which gives the method a chance according to the cardmen who have seen it. I agree; I think the move has potential. 1'11 let you decide. Start with two aces on the bottom. The following stack is for five hands although the method works for any number of cards. Draw the bottom card forward and downward with a left-thumb swipe to start the stack. Moving the bottom card diagonally forward is the key change. Once the bottom card clears the deck, bring it back to the top and drag a small packet forward off the top. Run four x-cards with the same shuffling style. To end the first phase, exchange the cards in each hand and end by throwing the cards in the right hand on top. Each action (first card, run, and exchange) is done with a forward dragging action, left-thumb swipe, and similar pace.

photo 213 - returning bottom ca

+op

photo 214 - drawing upper packet bottom card on top

Repeat the shuffle one more time as described and you have stacked two aces for five hands.

and Cullink - A,.

During each exchange of the cards in both hands, keep the halves close and let them slide past each other. It's an easy exchange if you hold the upper half by the right second finger and thumb, and grab the lower half by the third finger and thumb. You may be asking, "Is there really any difference between what Erdnase described and the NoHaymow-Haymow?" The answer is yes for three reasons.

0 Theforward dragging action is smoother than the traditional vertical action. 0 After runningldrawing the bottom card forward, returning it to the top is easier and

subtler with a forward dragging action. After the bottom card is slipped to the top, it becomes part of the next packet, which is legitimately thrown in the next phase of the stack. 0 The final exchange is also facilitated by the fonvardldragging shuffling style.

The last exchange is a shuffle-cut. These cuts are common in overhand-shuffling sequences. They are also useful components in other false overhand shuffles and stacks. Consider the standard haymow. After stacking the last card, the stack is in the left hand with the remaining cards are in the right hand. To bring the stack back to the top in a reasonable way requires an additional move or sequence, and I don't know a better solution than a simple exchange or shuffle-cut, which can be done without jogs, breaks, thumb grabs, etc. If you like overhandshuffle stacks, I promise that a direct shuffle-cut will come in handy sooner or later. Moreover, who says the stack has to be brought back to the top? Not cheaters. They just throw the remaining cards on top and lay a brief-the most natural way to end the shuffle. Since the stack is already positioned about center, why bring it back to the top and then back to the center for the cut? Many overhand-shuffle stacks can be streamlined by changing the starting order. For example, start with an ace on top and bottom. Undercut, run the appropriate number of x-cards, and shuffle-cut to end the first phase, eliminating the need to drag the first card off the bottom. Changing the starting order to facilitate a stack brings up an interesting truth that shows the differences between cheaters and cardmen. If cheaters can cull two aces to the bottom for a particular stack, they can cull one ace to the top and one to the bottom. As cardmen, we tend to think of pure, convenient setups; for example, all aces start on top. Cheaters think about optimal setups. The 'no-haymow haymow' is just another solution to the problem and not automatically better or worse than the original; it depends on many factors.

z J j - Gambling Sleight ofHand

The Money Stack - Jack Carpenter Of all the magic overhand-shuffle stacks, this is my favorite. It's the brainchild of cardman, Jack Carpenter. He calls it the 'Money Stack.' The stack showcases some novel features. Most notably, instead of running individual cards, Jack runs cards by dragging them two at a time. The ball of the thumb contacts the top card at the upper edge. As the top card is dragged downward, the tip of the thumb contacts the second card enabling a run of two cards in the same action. Jack also run three cards at a time! With this skill, overhand-shuffle stacks can be shortened while making the throws more deceptive.

;-

ball of thumb dragging top card

photo 21 7 - establishing break with right indexfinger

photo 216 - tip of thumb dragging second card

The other features are best explained as we walk through the method. Start with two aces on top for five hands. Run the top card, throw a packet into a side-jog, run four cards (two cards each throw), and out-jog the remaining cards. To reset, place your right fingernail against the side-jogged card, grab the backjogged cards including the ace, throw all cards to the top except the ace, and throw the ace on top. Undercut, run four cards (two cards each throw), and out-jog the remaining cards. To end, throw the back-jogged cards to the top.

To stack three or four aces, make the obvious adjustments and run the required number of cards In Jack's hands, the Money Stack is casual and deceptive. No milks, no runs of consecutive single cards, no sustained breaks or jogs, and no complicated formulas.

d~uckingand Cullin8 - Z J

Tools for Overhand-Shuffle Stacking The 'Money Stack' requires four overhand shuffles to stack two aces (only three shuffles if a brief is set in place of the final shuffle). The sequence can be shortened with additional moves, but they don't automatically improve Jack's handling. While playing with different magic stacks, there were two moves that I found myself interjecting into these stacks repeatedly, all in an effort to create a feeding system for moving the aces from bottom to top one at a time to be stacked, or to combine two shuffles into one, and so on. Instead of presenting these stacks, I have decided to just present the two moves for those who use magic stacks in their work. Think of them as 'utility moves' that can be used in shuffles, stacks, stunts, m d more overhand-shuffle transfer The simplest way to transfer an ace from the top to the bottom is to run the ace to start and shuffle off. The move can be extended to transfer more than one card, and works similarly for transferring one or more cards from the bottom to the top. Here's an old 'overhand-shuffle transfer' that occurs during two consecutive shuffle-cuts that offers more flexibility. Although I'm not a fan of redundant actions, especially two cuts, we're talking about an informal overhand-shuffle sequence. As the right hand undercuts more than half the deck, push the bottom card up about one-half inch with the left fingers against the thumb. The right hand provides natural cover. Place the bottom half on top and position the left thumb on the up-jogged card, which forms a break. Immediately shuffle-cut to the break. You have transferred the bottom card to the top during two shuffle-cuts. An alternative method entails squeezing the bottom card backward about one-half inch with photo 218 - bottom-card brief the left fingers (photo 219). As you undercut with the right hand, the right thumb gets an easy break above the in-jogged card. Undercut half the deck while retaining the break and place it on top without releasing the half. Throw to the break. Again, you have a bottom-to-top transfer with two shuffle-cuts.

238 - Gambling Sleight of Hand

pnoro

119

- alternative bottom-cara m e j

pnoro ~ 2 -0establishing thumb areaK

center-pickup Undercut and thrown a packet onto a little-finger break. Now instead of throwing the remaining cards on top, exchange these cards with those above the break, and end by throwing the center packet on top. Note that after the exchange, the little-finger break can be easily retained. The result of this sequence is a cut, so cutting to the break, for example, carries the entire deck. As you get ready to grab the center packet, the cards in the right hand are held between the right second finger and thumb. Grab the center packet with third finger and thumb and throw to the top. Ideally, you want the packets to smoothly slide over each other.

photo 221 - ready to exchange top and centerpackets

photo 222 - thirdfingerhhumb grabbing center packet

Opportunities to employ these moves will probably only make sense to those who have worked on different overhand-shuffle stacks, but even if these stacks are not your thing, they're still worth learning. Sooner or later, you'll run into a situation where it hits you, "I know a move that will help in this situation."

xacking and Culling - 2 3 ~

Reverse-position Stack The 'reverse-position stack' offers a sophisticated handling of the shuffle in scams like the countdown previously explained. To recap, the goal is to position a set a certain number of cards from the bottom, say 13'", 141h,and 15thfrom the bottom. Here's a sophisticated overhand shuffling sequence that was designed for this scam. Start with a set on top. With off-the-table riffles, riffle the set down to the 131h,141h,and 15th positions-three riffles, each adding four x-cards. Now during a final, thorough overhand shuffle, you will reverse the position of the set, moving the desired cards from positions 13"', 14", and 15thfrom the top to 13'", 141h,and 15thfrom the bottom. Start the overhand shuffle sequence by throwing a small packet or two, ensuring that no more than twelve cards are shuffled. Continue running a handful of single cards to get past the set, then shuffle off. If the rhythm is good, the shuffle is convincing-as it should; it's a legitimate shuffle for the most part. The only infraction is the short run of single cards, which is adequately camouflaged within several throws of small packets. The stack allows five cards to be dealt to six players, leaving seven x-cards on top of the set: one bum-card and six draw cards. If the first few players draw five cards, for example, the dealer's partner draws one card regardless ofhis hand to bring the set to the top. The dealer, having randomly started with a pair (signaled previously), draws three to make a h l l house. For seven or eight players, the slug size is even smaller, which makes both the stack and the reverse-position shuffle easier. For stacking demonstrations, think about the possibilities. While traditional stacks may require carrying 30-40 cards, the countdown only requires canying a small slug in games with 6-8 players. Chapter nine, Pseudo Gambling Stunts, presents a strong stunt based on this scam

240

- Gambling Sleight ofHand

After the Stack Here's a sequence that went right by me (thanks DH). Again, the assumption is a shuffling procedure that starts with off-the-table riffles followed by overhand shuffles. DH was a top run-up man. His crew did some very clever 'signing' (signaling) and culling as the cards were gathered for the next shuffle. The crew specialized in games where table riffles were the norm, but they were prepared for softer games where off-the-table riffles and the occasional overhand shuffles were acceptable. DH once told me that with a three-man crew, the opportunity to collectively cull and stack was not only plentiful, but that there were even opportunities to double duke-the real money maker. In fact, from culling alone, he shared stories of starting the shuffle with the dukes ready to go, for example: xxKxA xxKxA xxKxA, which dealt three kings to the sucker and three aces to the dealer. The 'after-the-stack' method evolved from these opportunities. With two or three off-the-table riffles, he would add ten cards to his slug, often with 'spacerstacks' (discussed in the next section on riffle stacking). This effectively built a stack with 12 x-cards on top: xxxxx xxxxx xxKxA xxKxA xxKxA. While the x-cards are important from a positioning standpoint, they're irrelevant from a card-value standpoint. To finish the shuffling procedure, he would end with two quick overhand shuffles as follows. For the first shuffle, he would start the shufJle with a base-throw, throwing everything but the x-cards (or less), then legitimately shufle the x-cards. For the second shuffle, he would undercut about half the cards, in-jog a small packet, shuffle off legitimately, and lay a brief for his partner.

Think about the shuffle from the players' standpoint. After two off-the-table riffles that carries the sluglstack, players see an overhand shuffle that ends with legitimately shuffling the top cards, followed by a second overhand shuffle that legitimately shuffles half the deck. DH would slow down a bit after the base throw and to sell the legitimacy of the legitimate shuffling phases in each shuffle. The crew had ways to ensure that the three aces would improve if needed, but I just wanted to focus on the shuffling sequence. This concept presents an unusual example of a false shuffle based on composition, not order. It's a clever principle, and it's not the first time I have seen these principles incorporated into false-shuffle sequences. I think the concept has potential for cardmen, too.

d~ackingand Culling - 291

SUMMARY 1. If you're looking for a practical overhand-shuffle stack, look no further than the standard 'haymow.' It remains the most practical method uncovered in this research, but it's prone to two technical obstacles: long shuffling sequences and runs of consecutive single cards. Fortunately, fixes are easy.

2. The 'segmented haymow' is the best overhand-shuffle stack I have seen. 3. Rhythm is obviously a critical factor with overhand-shuffle stacks, but don't just think in terms of a steady pace. To mimic the actions of everyday card players, strive for a casual, choppy action, not a machinelike shuffle.

4. The milks-stack is worth exploring. Many years back I spent some time practicing consecutive milks and was quickly getting reliable results. If you then segment the sequences into shorter, multiple shuffles, you'll add card-table authenticity to the move. For your information, the milking action can be done with off-the-table strips too-a favorite with Asian hustlers. These methods were detailed in The Asian Hustle - Secrets ofthe Hindu Shuffle and no attempt has been made to present them here.

5. For an example of a non-haymow variant, start with Jack Carpenter's 'Money Stack. It's excellent solution that incorporates some very interesting ideas.

6. Most 'magic stacks' are hampered by complexity andlor long single-card runs. For example, I believe that Erdnase's System of Stocking (in-jogs, out-jogs, and breaks) is flawed and unsustainable at the card table under most conditions. My reasons for this harsh viewpoint is opined in chapter eight, The Erdnase Factor. In short, there are better options. 7. The 'count-down' can be presented as a very strong stacking demonstration-see nine, Pseudo Gambling Stunts.

chapter

8. Base-throws in an overhand shuffle are no different than base-cuts and base-strips from the table-position. They are core moves employed by many hustlers. They are also good examples of utility moves (as they say in magic) with other applications. 9. Complete shuffling procedures should never consist of only overhand shufles. This procedure is almost never acceptable at the card table, even in low-stakes games. These shuffles are always combined with off-the-table riffles. Should you wish to present these methods in an authentic context, always start with at least one off-the-table riffle, preferably two. 10. Every gambling sleight-of-hand enthusiast needs a good overhand-shuffle stack. This section offers your best options-based on my research.

~ 4 -iGambling

Sleight ofHand

RIFFLE STACKING Descriptions of riffle stacking appeared before the turn of the century. In Koschitz's Manual of Useful Information (1894), the author described the stack in one sentence, and I thought you might enjoy an antiquarian overview. Koschitz also noted that riffle stacking was "morc deceptive" than overhand-shuffle stacking. "The dealer, in gathering the cards up, places three aces, for instance, on top o f the pack, and having no confederates in the game, proceeds in this wise: In a four-handed game he deftly shufles three cards between the two top aces and the third one; again he shufJs three more cards between t h e j r s t top one and the second ace; now he again shufles three cards on top o f t h e j r s t ace . . . " I've had the opportunity to watch many hustlers and cardmen riffle stack. The reality of the riffle stack is jolting. For over forty years, I've only met one run-up man who fooled me: gaming expert and master mechanic, PS. (I should say one mechanic that I'm aware off.) He stacked three aces in a six-handed game and it never even occurred to me that he might be riffle stacking! Aside from this experience, I know a handful of hustlerslcardmen with acceptable riffle-stacking skill, but not to the extent that their proficiency is bulletproof-they would still have to pick their spots. In the overwhelming majority of other cases, however, I have scratched my head and wondered: Is this as obvious to everyone as it is to me that someform of manipulation is occurring? Before you accuse me of overdramatizing the move, it gets worse. For a moment, put aside the standard riffle-stack whereby a predetermined number of cards are held back on each half during a riffle, known as 'double hold-backs.' Let's just discuss holding back a single card on one half. Despite the simplicity, I believe that even the act of riffling a single card onto a sluglstack is a delicate maneuver, and that it's universally mishandled by hustlers and cardmen. But what's so difficult about riffling one card on top? Nothing from a technical standpoint, but from a deception standpoint, that's another story. It sounds easy. It's not. But it's a good place to start a discussion. One of the best cardmen I know is demonstrating a stunt that ends with riffling a single x-card on top of four aces. He stops and asks, "What do you think so far?" I respond, "Everything looks great . . . except for that last riffle." He's surprised given his perceived simplicity of the final action. So I point out what I believe to be flaws. First, he placed or lowered the last card onto the slug instead of riffling it off the thumb. Second, he overprotected the slug by carrying too many cards. Third, he moved both hands to the ends for the square-up, leaving the unshuffled cards with a single card sitting on top exposed. Fourth, he applied pressure to the ends during the square-up, flexing the top card upwards and bringing more attention to the fact that only one card was added on top. Last, when he took both hands off the deck for one final squeezinglsquaring action at the ends, he gave observers one last chance to confirm these f l a w g a n d maybe their suspicions-just in case they missed them the first time. That's five technical errors in one riffle!

oracking and Culling - 242

These kinds of flaws could prove dangerous for hustlers, but for cardmen, they're still missed opportunities. With some very simple changes, not only would the deceptiveness of my friend's riffle improve dramatically, it would stop one poorly executed move from ruining a dynamite card routine that has a shot at fooling everyone. Riffling just one card on top of a slug/stack is a move that most hustlers/cardmen consider trivial. Don't make the same mistake.

Riffle-stacking Truths

0 difficulty The difficulty factor is out of bounds. Riffle stacking is as difficult to do expertly as any gambling move. Once the deck is split and each half is lifted, it doesn't take long for the average card player to riffle two halves together. The speed of riffling each card is roughly 1150th of a second. Experienced cardmen and hustlers riffle faster so we may be talking about 100th~of a second). Riffle stacking has to manipulate and control incredibly small movements within fractions of a second.

0 the big secret The big secret is not the method, but how expertly the move can be done with dedicated practice. Should you ever get to see this work by one who has mastered it, or by one who has attained near-perfect skill, after you catch your breath, I'm betting that you'll pick up a deck and start practicing.

0 stacking and culling Cheaters want to stack the deck, not demonstrate stacking the deck! At the card table, riffle stacking is only one tool for this purpose. The stack is often combined with help from others moveslactions to facilitate the process. The best mechanics and crews will discard in particular ways and signal accordingly leading up to the shuffle whereby the preshuffle cullinglstacking often plays a bigger role than the riffle stacking.

0 culling logic If a mechanic can cull three aces to the top, he can probably cull AAxxxxA to the top, prestacking the first ace in a five-handed game. The same holds true for any other combination.

rrr - Gambling Sleight ofHand

0 cardmen Technically speaking, riffle-stacking is harder for cardmen than mechanics for several reasons. First, cardmen are forced to work with bigger slugs. If a magician were to riffle stack only three aces in a demonstration, the result would lcave audiences hanging. Second, cardmen generally start stacking demonstrations by displaying the four aces on top of the deck, eliminating the opportunity for any preshuffle culling and stacking. Third, if a hustler screws up the stack, he just waits for the next deal; if a cardman screws up, the performance is a disappointment.

0 card-table protocol Cardmen don't have to follow card-table protocol. They can create any conditions for best presenting a particular stunt ('one-riffle stacks,' 'fastest stack in the world,' etc.). Conversely, there are limitations for mechanics. For example, they can only riffle so many times. Perhaps most notably, they have to riffle stack against the backdrop of legitimate riffles, giving players a chance to compare one riffle to the next.

0 perception Laypeople will kindly tolerate poorly executed riffle stacks; gamblers are not so forgiving. But here's the good news. You can dramatically reduce the difficulty of riffle stacking by rethinking the traditional approach. At the same time, you can even make the technique more deceptive. Follow these guidelines-those employed by some of the best mechanics-and you'll be deceptively riffle stacking in no time. Guaranteed! technical observations Before we get to the methods, here are the most important technical and philosophical keys. Grasp these ideas, make a few minor adjustments, and you'll immediately improve your skill. -r@e

off the thumbs

Riffle the cards offthe thumbs; do not merely hold back the desired number of cards and lower them back to the deck. The value of this simple action cannot be understated. I've repeated the following advice to cardmen many times: "Just so you know, that's not riffle stacking; that's don't-let-go stacking." If you think about the definition of Me, which is to lift a card and let it spring off the thumb, by definition, most cardmen and hustlers are not riffle stacking-although they will swear that riffle stacking is exactly what they are doing.

xacking and Culling - 243

Allowing the cards to rifflelspring off the thumbs is a critical attribute that you mostly see in the hands of professionals. I'm not talking about cheaters who get away with the move against soft play; I'm talking about the few professionals that get away with the move against everyone.

If you're a fast-paced shuffler, slow down. Even with average speed, consider slowing down. Just slowing down a bit-not noticeably so-offers the best chance to blend and match the manipulated riffles with the normal riffles. Also, the speed of your default riffle sets the pace. Start too fast and you won't give yourself a chance. -playing

cards

Whatever your favorite brand happens to be, you'll need a deck with good 'edge singularity' that responds to your skill. How many times have you tried to riffle three cards on top-a simple, reliable task-only to repeatedly get four cards? Normal manufacturing variances often create what I call the 'svengali flaw,' making it more difficult to execute this kind of work. -the

eyes

Do not burn the riffle from beginning to end. Burning is different from casually glancing at the riffle, which is common with many card players. Most importantly, you don't want to be riffling, burning, and reacting because there's not enough time. If you bum every card as it's riffled, it's difficult to avoid a two-step, visuallphysical process. Visual confirmation is a crutch, especially for this move. Interesting side note: When PS was in the armed services, he practiced while seated in the bathroom with the lights out!

Have a reason for splitting the deck evenly or lop-sided. A common tell with riffle stacking is to keep splitting bigger halves to one side to accommodate the growing size of the slug/stack. My only advice: don't overplay your hand, so to speak. Take the time to think about the size of the sluglstack and split accordingly. Give yourself a comfortable leeway-a few cards. Any time you can split halves, or reasonably close to halves, your work will look more natural, although sometimes, as we all know, it's not practical. -beveling

the halves

Beveling the halves before riffling creates separation between the cards. Even a subtle bevel can create separation of about ,010" (about the thickness of a playing card). Creating space between the cards obviously reduces the technical difficulty of this move, which is good. But strong bevels lead to 'open riffles' that are viewed as suspicious by most card players, which is bad.

246 - Gambling Sleight of Hand

-position

of the thumbs For optimal riffling accuracy, I don't know if there's an optimal position of the thumbs, although I havc always suspected that the angle of the thumbs relative to the sides of the deck could be a key factor.

photo 223 - thumbs in line with sides of cards

When the thumbs are aligned with the sides, more of the thumbs' surface contacts the cards and increases sensitivity, which is what you want for a tactile-based skill. Interestingly, PS held the halves slightly off the table with his thumbs aligned along the sides as depicted.

It's a personal decision whether you hold the halves by the outer ends to riffle (open riffle), by the centers (normal), or by the inner ends (closed riffle). For run-up men, 'open riffles' are generally unacceptable for game-protection reasons. When the thumbs are aligned with the sides, the tendency is to riffle too high. So, it may be prudent to find the happy medium and grip the halves with the thumbs at about a 45-degree angle to the sides. David Malek believes that there is an optimalposition for the thumbs. If the thumbs are positioned at the outer ends, the result is an 'open riffle' and there's always the temptation to peer into the riffle-not to mention unintentionally flash cards. If the thumbs are positioned next to the inner comers, the result is a 'closed riffle' that forces you to stack entirely by touch. But if the thumbs are positioned about one-half inch from the inner comers, there are more options because you can stack by touch, sight, or a combination of the two senses. Excellent advice.

An 'open riffle' is any riffle that flashes cards to players on the left or right of the dealer. The photo depicts a moderately open riffle-they can get much worse. I recall taking two crusty crossroaders to a gaming conference to see an expert demonstrate some gambling moves. The guy put the four aces on top and began riffle stacking. After only the$rst vifJle(an open riffle) one crossroader immediately nudged me and said "Are you kidding me?" The other crossroader looked at me and said, "Let's get

d~ackingand Cullir~~ - L.

something to eat." They wouldn't give the guy a chance. The high riffle was so amateurish in their minds that they did not want to listen to anything else the guy had to say. I think they made a mistake, but their dogma is typical of many cheaters who contend that in their world, there's no place for dangerous, open riffles.

First, for all practitioners of riffle stacking, 'hold-back' is a familiar term, and instructions like "Hold back three cards on the left side while holding back one card on the right side" are typical. But "hold back" is a terrible term because it implies hesitation, and hesitation is the move's kryptonite. Frankly, it's probably not a bad idea to purge the concept of hold-backs from your mind. For an alternative perspective, think about riffle stacking as the act of riffling the halves together into a desired order by controlling r@ng speeds. This concept is best illustrated by a story that PS shared with me. PS was having lunch with some hustlers and was asked to demonstrate his nm-up. The only deck available was a brand of cheaper, thinner cards. When he attempted to run up a hand for six players, he inadvertently stacked a set for seven players . . . over and over again. After many years of practicing, he apparently stopped feeling the distinction between three, four, and five cards; instead, everything was based on the speed of the riffle whereby his muscle memory produced a slightly different result with thinner cards. This is an amazing story of technical skill that seems to suggest that there may be other ways to look at riffle stacking-too much emphasis on hold-backs and not enough emphasis on riffling speed. Second, the purity of your normal riffle is another consideration. We all have 'riffle signatures, although not all signatures match up well to riffle-stacking. If your riffle is normally pure and your goal is to riffle stack for several players with five- and six-card hold-backs, your true riffles and false riffles are not going to match up well-a radical option may be to increase the variance of your normal riffle. If the concept is fuzzy, we've talked about matching the true action with the false action, only here we're talking about matching up rifflepurity. For example, I drop oneltwo cards most of the time with the occasional three-card drop near the tops or bottoms of the halves. But if the plan is to riffle stack in a six-handed game that will require dropping five cards, perhaps I should start modifying my default riffle to be a little less pure. This principle has never been pitched to me by any mechanic, but it strikes me as a logical consideration that must be carefully evaluated by anyone specializing in this work. Another approach is the strategy of riffle stacking a little at a time. Instead of dropping five x-cards in a single riffle, drop two x-cards and then three x-cards over two riffles. In these situations, just let the first riffle go due to the safety factor: if you drop two cards instead of three, or vice versa, the error can be corrected on the second riffle. Even if you drop an extra card bctwccn thc accs, drop one less card while stacking the next ace and let one second deal

LYO

- Gambling Sleight of Hand

correct the problem. When you have corrective outs, there's never any reason to worry about the occasional miss. Focus on consistent riffling speed. Finally, we all know that sensation of finishing a riffle with the top card of each half coalescing together. It's the purest possible ending. It looks good to observers and suggests that the entire deck is riffled similarly. Also, when the halves are pushed together, observers get another chance see the top card of both halves interlaced, further selling the notion of a pure riffle. I call this the 'top-top' principle. This sensation of the last card from each half being riffled at the same time is important because it's the same sensation for holding back more than one card on either half. When this concept is fully realized and your riffle stacks are being done properly, you'll feel like all hold-backs are like riffling off the top cards of each half in a top-top action . . . like the purest, legitimate riffles.

Ensure that after each riffle the halves are immediatelv . vushed into the one-handed vrotectedposition. Without a protected square-up, even a perfectly executed riffle stack won't hide unshuffled slugs. The one-handed protected-position is an essential component of riffle stacking. L

For an advanced concept, assume you're stacking two aces to the dealer in a five-handed game. How many cards must be stacked in terms of 'optimal slug size'? The slug size is six cards: the two aces and four x-cards (AxxxxA). Now consider how many cards under the lowermost ace were dropped with the ace as part of an unriffled slug? The cards under the lowermost ace is the 'under-slug.' For the same reason you don't want to overprotect the aces on top by riffling the last ten cards on top, you don't want to overprotect the under-slug. I have watched cardmen riffle a single card between two aces on top with under-slugs of ten-plus cards. Most cardmen have never even considered this aspect of riffle stacking, over-protecting under-slugs to a fault. As with overprotecting slugs, three cards is a good rule of thumb, so strive to keep the underslug at about three cards, plus or minus a card or two. If you consider optimal sluglstack size and make minor adjustments as needed, your riffles will appear as natural as possible. But all it takes is overprotect the under-slug just once and you will defeat the purpose of riffle speed, timing, purity, and cover. Pursuing the minutest of technical details all comes down to your desire to achieve technical excellence. How far will you go?

"'acking and Culling - 2 we proceed, remember that laying a brief with a single cut is always the weakest, most transparent method. If you're having a problem grasping this violation of card-table protocol, the logic is quite simple: gamblers have long realized that any shuffle ending with a cut, then followed by the traditional cut (cutter), results in a redundant action that is viewed by many card players as a suspicious nullification of the cut.

,30 - Gambling Sleight of Hand

To further underscore this point, think about the violation in question form. If we were to sample 1000 card players, how many would end their shuffles with a straight cut? The result would likely be almost nil for the reasons stated. And for any shuffle ending with a cut, what would be the likelihood that the card player is a cheater? Depending on the game, it could be very high. We can also ask the question in magic terms. The aces are on top. You crimp the deck, cut it once, and present the deck to an observer for the cut. The observer cuts. You carry the cut and turn over the four aces. Strong effect? Deceptive method? I don't think so, nor do I believe that readers of this research would think so. The method is easy to re-engineer and couldn't be more transparent, even for laypeople. If you agree, now consider the same method at the card table. While there will always be some players who are oblivious to the dangers of a cut before the cut, how long do you think it will take an experienced player to wake up and question the practice? Don't get me wrong; I have seen two-cuts-don't-make-a-cut sequences in games where you wouldn't expect the players to go for it, but they did, over and over again. You just never know. What we do know, however, is that the approach is shunned by many of the best mechanics in most games. One hustler tells a story about laying a brief with a cut. He then notices one of the legitimate players ending his shuffle with a cut-something he had never done before. Then another player starts to follow suit. The players were copying the mechanic's shuffle because they viewed him as a respected, legitimate professional player. Another story goes that after losing a few pots, the victim looks at the dealer and the cutter and asks, "Why is it always a cut for you and a cut for him; isn't that like washing your feet with your socks on?" Briefs are very important to mechanics. When asked about the best way to take off the local poker action, one legendary hustler always responded with a smile, "The Three B's: briefs, bottoms, and balls!" Note that he never mentioned a false shuffle to carry a bottom slug because he didn't even consider it to be a real move: "Squares do it all the time by accident!" Laying briefs for legitimate players is an art. Success depends on a thorough understanding of a player's cutting habits. As a general rule, crimp-based briefs are reserved for legitimate players-whether the crimp be a single card (comer crimp), group of cards (bridge), or the entire deck (full-deck crimp). These moves are obviously 'percentage moves' and don't work all of the time. As with any brief set for a legitimate player, when they miss, they only cost cheaters time. Conversely, laying briefs for the dealer's partner is usually a sure thing because the cutter is a willing accomplice who has practiced cutting to a specific kind of brief at a predetermined position. Briefs for cutters can be any form, although jogs and bevels are most common. Jog and bevel-based briefs have to be subtle because if spotted, they can still be viewed as a natural unsquareness. If they are too obvious, however, players may see the unsquareness of the deck very differently.

Beating the Cut - 33

The cutter provides the last line of defense in the minds of card players who believe that the cut ensures a random outcome despite the whims of another player's shuffle. The cut is also viewed as an act that is independent of the dealer and an opportunity for a second player to protect the game and ensure fairness. As you will see, the best mechanics are experts in the art of 'laying' and 'setting briefs,' while most could care less about shifts, hops, and false cuts.

Briefs offer a rare combination of simplicity and sophistication, and their value to cheaters is priceless, which is why so much time has been spent on the development and handling of these moves.

Briefs for Cutters

slide-brief With the deck in table-position, the most common brief is a 'slide-brief.' Grab the deck in the protected-position and slide the entire deck to the left about one-quarter inch-leaving the bottom cards jogged to the right. Double cut to bring the brief to about center before presenting the deck for the cut. This double-cut sequence couldn't be more elementary, yet it's often handled poorly. Here are two of the most common tells. First, don't grab the deck with both hands and slide the deck to the left along with evevything else (head, body, arms, hands). Instead, grab the deck with the left hand by the left end slightly ahead of the right hand. The instant the right hand grabs the right end, slide the deck to the left with the left hand as the right hand simultaneously makes the first undercut. This creates a completely different look: instead of everything moving to the left, the hands move in opposite directions, negating any unnatural, directional movement. With a double-cut, there's always the risk of exposing the brief as the right hand undercuts a second time. So how do you double cut and keep the brief hidden during the entire cutting process? This is a good problem for cardmen. Any ideas? Here's how to solve the problem and, as often is the case, the solution is both obvious and elegant: Simply keep the right hand glued to the right end of the deck during the cuts.

JJL

- wambling Sleight of Hanu

Undercut about three-quarters of the deck with the right hand and slap on top, perfectly squared except for the brief. Then without releasing the right hand, undercut three-quarters of the deck again and carry the cut. This move allows the right fingers to provide cover for the brief during

photo 342 - undercutting with right-hand cover

photo 343 -Jirst cut; brief near the bottom (exposedj

photo 344 - second cut; brief near center (exposed)

photo 345 - ready topresent deck for the cut

L

With double-cuts and short strips, you will often end up with more than one brief, but it's only the lowermost brief that matters. Also, with many of these briefs, a squeezinglsquaring action can be added with the right hand to minimize the brief before the right hand presents the deck for the cut. Don't overlook this clever sequencing; it's actually a glimpse into the minds of the best cheaters. It's a simple, effective solution that gets the job done safely.

oeating the CUL- J J

squeeze-square brief

This move epitomizes the directness, subtlety, and deceptiveness of the best hustlers' moves-shared with me by a top-shelf mechanic who prefers to remain anonymous (not even his initials), but who had no problem tipping the move because in his view, it's invisible whether you know the move or not. As a collector of these moves, I've never seen the 'squeeze-square brief in the hands of cardmen, which is too bad. I know of no other brief that accomplishes so much for so little. Think about the following advantages:

0 no superfluous actions needed to lay the brief 6 works with any false shuffling or cutting sequewe

v brief formed at last possible moment 0 complete cover

0 unintentionally laying too big a brief is not possible Assume that you have just completed the last part of a shuffling procedure, whether it be a double-cut, strip, or false shuffle, ending with the deck in table-position and with the left thumb holding a break about center. It's time to lay a brief at the break. Apparently, both hands will give the deck one final, subtle squeezing/squaring action. Move the upper half about 1/16" to the right and then immediately back and squared with the lower half. If you force the upper half against the lower half during the squeezingisquaring action, a tiny brief is formed. The movement of the upper half is so minuscule that it shouldn't even be perceived as movement, just a final, tiny squeezinglsquaring action of both hands the instant before the right hand presents the deck for the cut.

.~. .?

photo 346 - top halfslightly off-set to the right

For an advanced version, keep the second fingers of both hands against each other in front of the deck during the squaring action. Now instead of moving the top half to the right, it's swivelled away from the left front comer by about 1/16" with the right thumb. Finish with the same squeezingisquaring action as described. Initially, the jogged card will not not align perfectly with deck, but it straightens out into the desired position during the final squeezing/squaring action.

334 - Gambling Sleight ofHand

What makes this variant so good is that it minimizes the already near-imperceptible squeezinglsqueezing action of the first method. Since the fingers do not move (only the right thumb), there's nothing to see. When you first start playing with this move, you will wonder if there was enough movement to even lay a brief, only to find that every thing was perfect. pnoro

34)

- squeezelsquare orrej

overhand shuffle briefs True story: Two players decide to play a high-stakes freezeout in a hotel room. One players is a hustler; his partner, a mechanic, is sleeping on the couch when the players enter the room. The hustler had previously wrapped his hand with a bandage so he could not shuffle. A few minutes into the freeze-out, the hustler yells at his buddy on the coach, "Hey KP, can you shuffle?" The guy wakes up, "No, I'm not a good shuffler." "Perfect, we need your help," pleads the hustler. After sloppily dealing a few rounds, the hustler demands that the mechanic just spread the cards on the table and deal from the spread. The mechanic riffle-stacking with an off-the-table riffle. When signaled by the hustler, strong unexposed hands were dealt back to the hustler; weak unexposed hands were dealt to the sucker. After the stack, the mechanic would do one overhand jog-shuffle to position the stack at about center. The deck was presented for the cut in an unsquared, but natural condition, and the hustler had no problem hitting the brief. The play netted several hundred thousands. Later, when the victim described what happened to friends who raised questions about the dealer, the victim described the dealer: "He was half-asleep and had hands like a truck driver . . . he was so bad, we had him deal from a table-spread." The moral of the story? There's a time and place for every move. After carrying a sluglstack on top with a few off-the-table riffles, perhaps the easiest way to end the shuffle and lay a brief is with an overhand jog-shuffle. Undercut, in-jog a single card, and shuffle off. Grab the right end of the deck with the right hand and fingers at the right end and slide the deck to the right for the cut. Let the right hand rest in a loose fist, palm-down, next to the deck's inner comer to provide cover (photo 351). Using the jog-shuffle in this way avoids all of the flaws caused by canying the slug back to the top. Instead of shuffling the slug to the middle and then back to the top before laying a brief, the stack is just shuffled to the middle. In the context of a demonstration, lay the brief as described, slide the deck to your right, and immediately reach over with the left hand to cut to the brief. Carry the cut with the right hand and place the deck in the left hand for the deal.

Beatzng the Cut - 33d

I

pnoco 349 - right hand over enu uj uecnjur cuver

-

photo 350 -presenting the deck for the cut with cover

photo 351 - right hand rests at the corner for cover

In games where off-the-table riffles are common, many of these shuffles are done with the faces toward the players so many cards are flashed. To counter this problem, it's common for players to end their shuffling procedures with an overhand shuffle (or off-the-table strip). In these situations, an overhand-shuffle brief is a near-perfect option for a dealer-cutter combination. Moreover, following an overhand shuffle, it's also acceptable to present a less-than-perfectlysquared deck for the cut, which sets the trap for this particular brief. Interesting side note: This is the best brief in The Expert at The Card Table . . . but it was never presented as a brief. The details are opined in chapter eight, The Erdnase Factor.

22"

- uumbling Sleight ofHana

reset-brief

This brief introduces a resetting action that's about as good as it gets. TJndercut half the deck, f-strip a small packet off the side to lay a brief, and strip the rest of the deck. Holding the deck by the left hand at the left end, point the right first finger at the front right end and apparently squeezeisquare the brief as the finger slides across the end from front to back. The squaring action moves the brief to back left comer. As the right hand grabs the deck at the right end to slide the deck to the cutter, the left thumb pushes back on the brief and resets it! Players only see the deck being stripped, squared, and presented for the cut. There are no interim steps and definitely no any hesitation during the sequence.

Try the following exercise. Strip, square up with the right fingers at the right end, and present the deck for the cut. Repeat the sequence ten times to get a feel for the timing. Now f-strip, fake the square-up, and reset the brief the instant the right hand begins to slide the deck to the right for the cut. Release the right hand and rest it at the inner comer of the deck to provide cover. When working with jogs and bevels, the safest orientation of a jog is protruding directly from the back end in perfect alignment with the sides. In this orientation, there's only one discrepancy: the gap created in the front end by the jogged card. If the jog is angled out a side, the exposure is tripled because discrepancies are visible from the end and sides. When you see pros work with briefs, the cutter is alwavs reaching for the deck as it's

It's also possible to subtly bevel the deck forward just before it's presented for the cut, which can provide additional cover for the front end. Finally, single-card jogs need to be handled with care. A single card jutting out of the deck does not look like an accident. Adept execution and older decks tend to facilitate this kind of work Also, multi-card bevels tend to blend in better with less-than-perfectly-squareddecks. In most of the photos depicted, assume that the briefs have been exaggerated for clarity. With these moves, your goal is the smallest brief that can be cut reliably and naturally. For an accurate representation of a small brief, see photo 347. Depending on the situation, however, much larger briefs can be set with complete safety.

dating

cf

riffle-brief

Here's a very sophisticated brief. It's a jog-based brief that is held through a table riffle, allowing the shuffling procedure to end with a riffle before presenting the deck for the cut. Assume the goal is to carry a set on the bottom. After a few riffles andlor strips/cuts, undercut a small packet to the top of the deck and 'slap-bevel' it on top. Let the packet hit the top of the deck stepped to the right about one-half inch, then continue sliding it to the left until it's flush with the left end of the deck, creating a small bevel-brief. Split the top half with the brief to the right and riffle it down into the deck. Grip the brief with the right-third finger and thumb and push the halves together. The square-up may take one or more pushes depending on your riffling style. Maintain the grip on the brief. As the halves are pushed together and apparently squared, you'll end up with a small bevel-brief to the right under the right hand, which presents the deck for the cut. The brief can be adjusted if needed, although with practice, the move should simply look like a riffle, square-up, and presentation of the cut.

photo 353 -squaring while maintaining bevel-brief

photo 354 -presenting deck for the cut

When the slug is small, say three aces, it's also possible to carry the brief through multiple r@es, which is very impressive! Do you know any moves that can accomplish this goal? Just keep the first bevel-cut small to start the sequence say and riffle down into the deck under a few cards. For the second riffle. riffle under a few more cards. In the section on false cuts and strips, recall Ron Conley's sequences for carrying slugs through multiple riffles withoutjogged or beveled cards, but with a break. Maintaining a break during the riffle results in a stiffer more difficult handling (unless you're Ron). Maintaining a joglbevel brief during a riffle is more casual-it's a favorite feel-good move.

- ~ ~ ~ n b lSleight i n g ofHand

Briefs For Squares Next we look at briefs for unsuspecting players. As stated, in these situations, laying briefs are 'percentage plays.' The better the mechanic, the higher the percentage that an unknowing player will hit the brief. Also, the better cheaters like to personalized their briefs for the individual player to increase the chances of success. overhand-shuffle bridge A 'bridge' is a group of crimped cards. After carrying a sluglstack with off-the-table riffles, undercut half the deck for an overhand shuffle, throw and jog a small packet (in-, out-, or sidejog), and shuffle off. As the deck begins to level out and the right hand comes over the top to help square the deck, establish a break under the jog and with the left third and fourth fingers, firmly grip and squeeze the lower half, bridging the back end concavely. Square up and present the deck for the cut. The details of the bridge depends on how the player cuts the deck. If the player cuts by the ends, a concave bridge at the back end is the best option. If the player cuts by the sides, a concave bridge on one side is the best option, but it's an awkward move. As the right hand holds the deck by the ends, fingers at the front and thumb at the back, at the break, press the lower half forward to bend it concavely. In both cases, the brief is only visible from one perspective: the back end or one side.

photo 333 - cnmpzng lower hay widthwise

photo 356 - crimping lower half lengthwise

Convex crimps are possible, but they can be exposed to more endslsides. They can also be set with less force than with concave crimps because the instant the deck is contacted by some cutters, pressure on the top of one side of the deck tends to accentuate the brief on the other side-like applying pressure to one side of a seesaw.

oeating the Cut - 3 j v

off-the-table strip-brief This is a super off-the-table brief-the favorite brief of master mechanic, PS. The following method is superior in every regard to the previous approach, but the differences are subtle. The key attribute of this method is that the brief is set di~ringthe shuffle, not after the shuffle. In this case, the brief is set during an off-the-table strip. Other attributes include maximum cover while allowing an ultra-clean removal of the deck from the left band as it's presented for the cut. After the deck is stacked, all you see is a short, legitimate off-the-table strip that ends with a perfectlysquared deck being presented for the cut. Holding the deck with the right hand at the end, strip the top half into the left hand and firmly secure it between the base of the left thumb and the third and fourth fingers. Come over the top with the cards in the right hand and strip a second packet, grabbing it momentarily with the left second finger - and thumb as the left third and fourth fingers crimp the original top half at the back end. Strip a few more packets, square up, and present the deck for the cut. The crimping action is completely covered by the stripping action. L'.

--

After the brief has been set, there is still work to be done: the deck must be presented correctly! If the deck is presented for the cut with the end pointed directly at the cutter, the deck is in a neutralposition, making it just as easy for the player to cut by the ends or sides. Laying briefs, however, is about restricting the cutter's options and directing him down a certain path that yields the highest chance of success. When the brief is at the back end, the deck must be presented in an orientation that encourages cutting by the ends. Hustlers accomplish this goal with a '25-degree rotation rule.' If the deck is rotated 25 degrees clockwise, it's now perfectly natural for the player to cut by the ends, but unnatural to cut by the sides. If the player favors cutting by the sides, the deck should be rotated 25 degrees counterclockwise as it's presented. This strategy assumes that the cutter is righthanded, so reverse these instructions for a left-handed cutter. The force required to crimp the inner end is a function of deck condition. New decks require a very light squeeze while the typical used deck requires a little more force. When the cutter unknowingly hits the brief, the bridged half is brought to the top and immediately exposed, so the work can't be too strong.

340 - Gambling Sleight ofHand

As for straightening out the bridge, in theory, this can be done the instant the cut is carried and placed in the left hand for the deal, but it's dangerous. Some mechanics never straighten out the deck after laying a brief, contending that if you have to straighten out the deck, the brief was too strong. The goal is to carry the cut cleanly and immediately commence dealing. Curiously, some mechanics opt to take out the work at the beginning of their next deal, openly crimping and squeezing the entire deck before shuffling to flatten out the cards. Why? Because it's common to see card players try to flatten out the deck as it begins to show wear and tear. The practice also facilitates shuffling the cards. In fact, you see cardmen so the same thing all the time. full-deck crimp

photo 358 - full-deck crimp

With the deck in left-hand dealing position, bring the right hand over the top, fingers at the front and thumb in back, and fake a short forward-and-backward squaring action as the back end of the deck is bridged convexly with the left third and fourth fingers against the base of the thumb. The crimping action bends the inner ends of the bottom cards at a sharper angle than the top cards resulting in a skewed bridge of the entire deck. Now any cut, strip, or shuffle that brings the bottom cards to the center on top of the sluglstack creates a subtle full-deck crimp at the back end.

To position the brief at about center, double- and triple-cuts are obvious options. With a strip, strip half the deck followed by a base-strip, then legitimately strip the remaining cards to end. With a riffle, any shuffle-over, Zarrow, or 'reverse push-though' (results in cutting the deck, not restoring the deck) are all examples of moves that will position the brief at about center. Just but don't over-complicate everything. I try to avoid moves that are familiar to cardmen, or even actions that they might perceived to be moves. To keep it simple, to cany a sluglstack on top after a 'full-deck crimp,' riffle a couple of times with soft riffles, cany both the top and bottom cards. To position the brief at about center, cut about one-quarter of the deck to the top and immediately repeat-appears to be a double-cut. As you pick up the original top half to carry the cut, glance at the bottom cards of the bottom half. A subtle tent-like crimp at the center end confirms a successful hit.

Other Variants I have been collecting briefs for many years; here are ten more from my notes. open square-up bevel-brief

In addition to the 'slide-brief,' here's another option. With the deck in table-position, instead of sliding the deck to the left to jog the bottom cards to the right, the right fingers openly squeezelsquare the right end at an angle to create a subtle bevel. From here, position the brief at about center with any cut, combination of cuts, half-strip, etc. one-handed square-up brief

Undercut about half the deck. Carry the cut and photo 359 - squeeze/square the end to create bevel openly place the bottom half stepped to the right aboutone-half inch. Hold the deck~irmlywith the right hand and pushlsquare the halves together with the left hand. With the proper pressure between the halves, the left-hand squaring action will cause the lowermost cards of the upper packet to joglbevel to the right, conveniently covered by the right hand. Present the deck for the cut. The unique feature of this brief is the open squaring action. Also, note that hands don't directly create the brief; it's the action of the lower half sliding across the upper half that creates the brief. pinky bevel-brief

As both hands grab the deck, the left little finger rests on the table pointed at the center of the leir end. Push the deck into the left little finger, causing the deck to naturally hug the little finger and bevel the top cards over it. There's no overt sliding or squaring action. The little finger does all the work and creates a bevel the instant the right hand grabs the deck. To position the brief at about center, undercut twice, each time cutting one-quarter of the deck. bounce-brief

Undercut one-quarter of the deck and throw it on top (with air), but purposely short of landing squared, causes a subtle bouncing action that creates a small bevel-brief. Undercut another onequarter of the deck and throw on top. You can present the deck as is (unsquared) or adopt one of the methods previously explained. For a neat variant, I use this move all the time with a 180-degree turn of the undercut half as it lands on top.

Jri -

Gambling Sleight ofHand

up-the-ladder Do an up-the-ladder that cuts the deck as follows: undercut half the deck, strip and step a packet to the right, slap the remaining cards on top, and end by stripping the stepped packet to the top. As discussed early in the book, a natural gap is formed at the back left comer during the last strip. Establish a left-thumb break above the lower half and end with the squeeze-square brief. Rod the Hop brief During an undercut, Rod carried the cut by letting the upper half slide off the side of his right third finier onto the deck. This action created a bevel-brief that was easy to adjust as the deck was squared with cover from both hands.

I

It's notable how manv wavs have been de\ eloped by hu>tlcrs to accomplijh juch a snnple task 3s logging a single card or

photo 360 -packet slides on Y d f n g e rto create brief

corner crimp Many cardmen cardmen are fond of using a comer-crimped card as a brief, but it's rarely employed at the card table. There are two problems with this method. First, since the brief is at the extreme comer, it's never optimally positioned because most card players don't cut the deck near the comers farthest away from them. Second, the crimped card has to be cleaned up, which is easy when it's cut to the bottom; not so easy otherwise. photo 361 - bending broader corner of lower half

If you like this move, instead of crimping a single card, consider a 'comer-bridge.'

Let the right thumb crimp the lower half at the left inner comer before cuttinglstripping the sluglstack to the center of the deck. The result is still a comer crimp, but it extends farther to the center of the deck, making it more reliable. While a comer-crimped card has little value at the card table, the crimp has many applications in magic, which is the reason for its inclusion.

double-strip Undercut one-quarter of the deck, strip the first packet onto a left-thumb break, and throw the remaining cards on top. Lay a squeeze-square brief and immediately undercut another onequarter of the deck and strip it openly and legitimately. After the second strip, there may be more than one brief, but only the lowermost bevel-brief at about center matters. Here's a sequence where a strip occurs after laying a squeeze-square brief.

casino riffle-brief This sequence was once used by blackjack dealers working with agents. After identifying a winning slugistack and maneuvering it to the top of the deck. Assume the shuffling procedure is riffle-strip-riffle-riffle. Riffle once to carry the slugistack. Base strip the entire deck. Split the top half to the left and aggressively riffle the inner comers of the left half, allowing the slugistack to riffle last. The aggressive riffle creates a bridge. Split the top half to the right and riffle the slugistack under about ten cards. Square up and present the deck for the cut. Since the location of the brief is always known to the dealer's partner, it's easy to cut by the ends and hit the brief. To recap, carry the slugistack with the first riffle. Substitute the strip with a base-strip. Riffle to create the bridge while carrying the slug, and riffle to position the bridge down into the deck. The agent generally sits to the dealer's right and cuts the deck at the ends, hitting the brief with the right thumb. Although the brief is close to the top, there's nothing unusual about the player cutting thin to win. In a private game, the bridge can be positioned in the center with a doubleor triple-cut, or a host of other cuttingistripping sequences. Remember, only the bridge needs to be preserved, so there are many legitimate cuts and strips that can achieve this goal. Interesting side note: When the casinos introduced the plastic cut-card and no longer allowed the public to cut by hand, it didn't slow the hustlers down. The very next day, the same crews were working the same angles!

~ r - rGambling Sleight of Hand

cut-card briefs Instead of cutting to a bridge, here's how casino crossroaders beat the cut after the cut-card was introduced. After the dealer carried a sluglstack on top, during the last riffle, the sluglstack was riffled down into the deck under about ten cards. The right half was pushed in at an angle to create a brief at the back left end, then immediately hid with the cut-card that was pinned on the deck by the right index finger as the deck was presented for the cut. The dealer's agent would slide the cut-card down the side of the deck and onto the brief. Crews welcomed the new protection-measure because beating the cut was even easier than before and bridges were no longer necessary.

photo 363 - si~gLstnckriffled doi~winto deck a17d ailgleri

photo 364 - cut-card hides brief

cascade-brief The 'cascade-brief was first presented in the original Gambling Protection Series. Hold the deck in the right hand by the ends, riffle about half the cards into the left hand for an off-the-table riffle. Riffle the slug down into the deck under about ten cards. Let the cards fall to the table on their sides. Cascade the deck in the traditional manner but bend the left half more than the right half, which remains relatively straight. The result is that the x-cards on top of the sluglstack are bridged convexly, forming a brief at the sides. photo 365 - more pronounced bending of left half

If required, the sluglstack can be positioned closer to the center in a variety of ways.

Ron Conley - moving brief Expert Ron Conley is the source for this sophisticated method that moves the brief as the deck is presented for the cut. For a basic sequence, start with a sluglstack on top. Undercut for an overhand shuffle, in-jog one card, and shuffle off. Grab the right front comer of the deck with the right hand and roll the left hand on top, grabbing the left end. Begin to pass the deck to the cutter with the left hand. As you do, with the left little finger, push and square the jogged card at an angle to form a subtle one-card brief that barely protrudes from the back side of the deck closest to the cutter.

'ion

photo 367 -jog moved to side brief with one hand

natural riffle-brief One mechanic would give the deck a slight convex bend before the shuffle to ensure that the deck was reasonably flat. As we all know, if the deck is bent too strongly in a convex direction-pposite to the natural curvature caused by riffling-it can be difficult to riffle legitimately. The mechanic culled the desired cards to the top and stacked the deck with riffle stacking over five riffles. During each riffle, the cards were naturally bowed in a concave direction, while keeping most of the other cards relatively flat. To lay the brief, he would end by undercutting about half the deck, base stripping a small packet onto his stack, and legitimately stripping a few more packets to end. The strip positioned flat cards on top of the lightly concaved top cards (slug/stack), which were subject to the majority of the force imparted by normal rijjjes. The deck was presented in an orientation to encourage cutting by the ends. The mechanic estimated the success of the player hitting the brief at about 60%-70% depending on the deck's condition. What makes this approach so intriguing is that the mechanic never laid a brief. It just happened automatically due to the normal physical properties of the riffle shuffle. Now there's a method to stop and think about . . . a no-brief brief!

J7w

- Gambling SleigL

vJ

..

Lugs The genre of briefs also includes a few 'prop-briefs.' Cardmen are probably most familiar with using a grain of salt to help locate a selected card. In several casino scams, cheaters used a small piece of rubber band tied in a knot to mark the location of a sluglstack in multi-deck games. The brief was called a 'lug.' After half the shoe was dealt and placed in the discard-rack, one cheater would throw the lug into the rack to mark the beginning of a slug-the previously dealt cards were electronically recorded. When the dealer removed the decks from the discard-rack to the center of the table, it was easy to split the decks at the lug and proceed with the false shuffles.

Gaffed Cards Gaffed cards can also be used as briefs. During my early consulting days, I demonstrated a keycard brief that consisted of a single in-stripper. I made this stripper on a Kem card with a razor in about ten seconds; thanks PMH. If the mechanic could cull a sluglstack to the top, his next step was to bring the brief to the top of the sluglstack. If the brief was about center, it was easy: he split to the brief and riffled it on top of the sluglstack. If the brief was about one-quarter from the top or bottom, he riffled normally and let the brief naturally double its position and move to about center-then splitting to it and riffling it on top of the sluglstack. Once the sluglstack was positioned at about center with the in-stripper on top, he also had ways to maneuver the sluglstack to the center while riffling around the sluglstack. Now he could square up, cleanly take both hands off the deck, and cut with one hand-as procedures mandate. To cut and hit the brief, only a light touch is required, and there's never a riffling action near the center as if feeling for a short card. When you hit the brief, there's tactile confirmation. Also, since you know that the brief is at about center plus or minus a few cards, it's relatively easy to hit the brief with consistency . . . with a little help from the in-stripper. Finally, note that the instripper became part of the sluglstack. This is very sophisticated card work and not surprisingly, PMH is the same guy who shared with me the best faro work I have ever seen.

New-Theory Brief This is an idea based on something I saw in magic. Let's say the game is gin rummy and the KKKK and 6789 hearts has been culled from the previous hand to the top. Riffle a couple of times and carry the slug. Undercut about one-quarter of the deck and legitimately strip the packet. Square up. Split the top half to the left and table faro the ha1.i~Push the halves flush to within 1/32", creating an impromptu svengali deck.

oeating the CUL- 3

Present the deck to the player, oriented to encourage cutting by the sides. If the slug is positioned just below center, the player is likely to unknowingly hit one of the protruding cards just above the slug or as part of the slug, cutting one of these cards to the bottom while leaving an x-card on top. When the cut is successful, x-cards are dealt to the player and cards from the slug are dealt to the dealer. In gin rummy, twenty-one cards are dealt to include ten cards for each player and a knock card, so the slug doesn't have to be perfectly positioned, just below center. Once the deck is in the svengali state, a cool attribute of this brief is that the deck can be picked up by the ends without disturbing the brief (photo 369)! One could even fake a squaring action: hold the deck with the right hand by the ends, fingers at the front and thumb at the back, and slide the left thumb along the left side once before presenting the deck for the cut. When the brief hits perfectly, it looks like magic, if you'll pardon the expression.

photo 368 - new-theory brief

photo

j 6 Y - holdlng

deck by ends; brief not disturbed

Fake Briefs Here's a dodge for when the players start getting suspicious about the cut. The move lays a subtle brief in the traditional manner and then lays a not-so-subtle brief that is a fake and easy to see. As the cards are cut, an observant player may anticipate a cut at the fake; instead, he sees a cut that's clearly deeper in the deck and a safe distance from what appears to be an obvious brief. For a basic example, use the slide-brief to jog the bottom card and undercut about one-third of the deck. Everything should be reasonably squared except the brief. Undercut another one-third of the deck and slap on top, but purposely step the packet backward to the extent that the step is subtly noticeable. When the cutter hits the brief, any player burning the cut will clearly see that the deck was not cut at the step but at an apparently random spot deeper in the deck.

3rd

- Gambling Sleight of Hand

False Shuffles and Briefs For any Zarrow or shuffle-over where the bottom half is slid up and onto the top half, the action of the two halves is essentially a hidden cut. This means that you can lay briefs in the same way. More importantly, shuffling procedures can end with a riffle and not a cut. For example, assume that you're zarrowing the right half under a desired number of cards. During the final push of a Zarrow, apply pressure to the bottom cards of the right half to create a bevel-brief at the right end. Square up, angle the bevel to the back left comer, and establish a break. Either end with the square-squeeze brief and present the deck for the cut, or in the case of a house dealer, eliminate the square-squeeze brief, cut the upper half forward at the bevel with the right hand and carry the cut with the same hand. An excellent sequence for the riffle-riffle-strip-riffle procedure is to start with a full-deck crimp and the sluglstack on top. Start with a shuffle-over that positions the brief near center. A second shuffle-over essentially restores the order, bring the sluglstack back to the top or bottom, or very close to the top or bottom. The split can be off a few cards without affecting the sequence. The next step is a short base-strip. And the final shuffle-over positions the brief back to about center, exactly where it needs to be as the deck is presented for the cut.

eating the Cur - 2

SUMMARY 1. Even the most basic of all briefs-the slide-brief-is a delicate move that needs some attention to detail before the move is ready. Avoid the most common tell of having the deck, hands, and body all slide to one side at the same time to lay the brief.

2. Don't overlook the subtlety and deceptiveness of square-squeeze brief. It's a dynamite brief that should be in the repertoires of all cardmen. If you always end your shuffling procedures with a barely noticeable squaringlsqueezing action (default action), the square-squeeze brief is imperceptible. I have had the opportunity to watch the move demonstrated repeatedly and was never sure if a brief was being set or not! That's the acid test. 3. The elementary overhand in-jog shuffle is a great action for laying a brief. The deck can be presented for the cut in less-than-perfect squareness along with the right hand resting at the back inner comer to provide perfect cover-and all of the overhand shuffle's flaws are eliminated!

4. The reset brief is a feel-good move and it's convincing. I use it all the time 5. If you work on methods for retaining a brief during one or more riffles, you will be pursuing some of the most advanced work in this genre. These are some of my favorite methods for cutting to the aces, but they offer so much more-a true utility move with many applications.

6. Review the bridge-based briefs, especially the PS brief. It's perfectly constructed. Several other briefs have been presented and whether it's Rod the Hop's brief, the natural brief, or other method, you have to admire the cheaters' quest to develop practical briefs at the card table. It's also interesting how hustlers approach the problem differently, which is reflected by the amazing variety of briefs.

7. After a brief has been set, the deck must then be presented in the optimal orientation for the greatest chance of success. Briefs are not just present-the-deck-for-the-cut-and-hope-for-thebest moves. There's logic and purpose. Approach the problem accordingly. 8. Many cardmen are fond of using 'breather crimps,' short cards, double cards, and other gaffs, but the best briefs can accomplish the same goals without the gaffs, which is always a critical factor at the card table.

9. New-theory briefs and fake-briefs are examples of offbeat solutions and ruses, both from a technical and psychological standpoint. 10. Get a handle on briefs. They're worth your full and undivided attention! They are not only ubiquitous at the card table, they are a staple tool in dozens of stunts.

JANUARY - MARCH 1994

Poacher Turned Game Keeper!

M;i.:ya ore rhan 2W casino Executives

from London

seties OF seminars held at rhe Kensmmon Palace Hoel. organlsed by Mr Nisei Kent Lemon, Chairman of Ciry Clubr Lrd. The Wec~rerheld over Four days were prerenred by Mr StP-. President of lniemarional Gaming specia1isrs. Formerly a h s Vegas casino manager rumed pmfesional gambler. he is now a cansulmnt to many of he Las vews casino opemom as well as rounng the casino world with his amazing array of ingenious gadgetry, concealed card counting computers and other woes .. of elecmnic cheating devices. For rhe game of Blackjack m e presenmtion overed in-demh "shufne ~racklng","slug"s c a m , marked cards that muld only be distinguished by the trained eye, chip rheh and various Punto Banco and Poker scams.

His final demonsuario" included how to spin dice and how to switch dice, along with orher "scams" associaIRl wirh mar game. On the subjecr of Raulerre wheels, the techniques used for wheel prediction wcre demonsuared. "Wheel Clockings, Roulerre compuren and methods the wheel used to ''fl were aim dirclmed in demo. We are pleased ro rake this oppoifuniry ro say rhar Mr Forre was vely complimenlary of the research and developmenr thst have gone into all Huxley Roulerre wheels and quote from him, he Huxley wheel ir by far the best on rhe market! Their -arch and development expens deserve special mention they know more about rhe physics. mechanics and inVlecies of rhe wheel rhan anyone in the world." meIecrure extremely informative and well received.

Introduction For all practical purposes, at the card table, there are only two false deals that deserve our attention: the 'second deal' and 'bottom deal.' After that, with few exceptions, everything else is for fun. If you were hoping for information on dealing thirds, Greeks, and centers, my apologies, but the research didn't unveil any substantive information to pass along aside from a few general observations. If you want more information about these false deals, magic sources are your best bet, although a few methods are presented in the context of stunts in chapter nine, Pseudo Gambling Stunts. For both seconds and bottoms, each section begins by exploring the fundamentals and various technical nuances associated with each deal. Several methods are presented next. The goal is to present a wide variety of options so you can let your own style of dealing take over and home ir on the best methods for you. After a few standard methods are presented, we'll take a look at one-handed methods, although as a general rule, these deals are best suited for demonstrations. Finally, a few 'new-theory' false deals are also presented. These are nontraditional methods that have yet to be fully explored.

JJL

- Gambling Sleighc q

"unu

STRIKE SECONDS --The research presents the second deal in four categories: strikes, pushoffs, one-handed seconds, and 'new-theory' seconds-the latter could also be characterized as novelty or non-traditional seconds. Strikes are the cornerstone of the genre, pushoffs are the more advanced variants, and onehanded seconds and new-theory seconds are the outliers. I'm a big fan of any second deal done well, even the most esoteric. But there are limits. In magic, there are no creative restrictions; at the card table, however, there are practical restrictions-you obviously can't magically flip the second card face up and spin it three feet into the air in a card game . . . all with one hand! The strike second played an important role in my desire to offer this research. For what is conceptually a simple move, there are surprisingly many theories and opinions about which techniques are best. I once asked a seasoned mechanic for some advice on dealing seconds. He responded, "It's easy, make' em look the same." I inquisitively repeated his quip and he said, "Yup, the one and the two." If this is the perspective of a bona fide 'deuce dealer,' perhaps we're making the move grander and more complex than it deserves . . . or maybe it's one of the most profound statements ever made about the second deal. If you think about the hustler's laconic wisdom, when your tops and seconds look the same, you have accomplished a lot, and whether you know it or not, you've probably addressed many of the core technical challenges including grip, left thumb movement, take, rhythm, speed, and so on. Sure, it's still an overly simplistic perspective, but it's tough to rebut, nonetheless. The basic move can be described in a few words: move the top card, strike the exposed part of the second card, and deal it. But let's not fall into the trap of taking moves for granted because of their perceived simplicity. Experience suggests that the biggest technical mistakes are often made with the simplest moves, which is why it's prudent to abandon any preconceived notions of the second deal and start fresh. Then, whether a move appears simple, complex, or esoteric, dig a little deeper before coming to any conclusions. The 'strike second' is generally the first false deal attempted by cardmen. Curiously, the strike also seems to be the gambling move most adeptly executed by cardrnen, which is probably due to (a) the ease of practicing the move on any surface, and (b), the time-tested practice regiment of alternating tops and seconds-the most effective practice regiment.

I classify strike seconds into two general categories: card-table strike seconds and demon st ratio^ strike seconds, although admittedly, the distinction can be hazy. . . not to me, but to many cardmen.

Demonstration Strike Seconds A 'demonstration second' is a false deal that is openly presented as an exhibition of skill. Typically, after showing the top card, a few seconds are dealt before showing that the top card remains on top. The deals can also be done with the top card face up. For this purpose there are no rules. Any method may be adopted. If the seconds can be demonstrated with reasonable skill, they're likely to impress laypeople. if you're a practitioner of the strike second and not sure if your method is a demonstration second, here are the most common tip-offs: 1. Any method dictating that you push the top card off the deck one-quarter inch or less is probably a demonstration second. Why? Because card players don't stop after pushing the top card off the deck one-quarter inch or less. They push the top card off the deck tofacilitate dealing it, which as a general rule is a distance equal to about the width of the ball of their right thumb (a little less than one inch for most). The most eye-opening statement I've ever come across about dealing seconds can be found in The Phantom At the Card Table where the brief used by Walter Scott was described.

'Yust as the right thumb covers the right hand corner ofthe deck, the left thumb pulls down the top card about lU64th of an inch. The left thumb does not pull this card straight down, but at an angle. The ball ofthe right thumb HITS the second card, this hit starting the card out." Incredulously, McGuire went on to say:

"A good second-dealer never misses his second Both statements are ridiculous! If Scott could reliably deal seconds with a 1/64" brief and never miss, he was either the greatest demonstration-deuce dealer of all time or the real Spiderman! Don't get me wrong, I have no reason to doubt Scott's skill, but 1164" is half the size of the manufacturers' acceptable manufacturing tolerances (1132"), and it makes you wonder why McGuire didn't just go all the way and claim that Scott could deal seconds from a squared deck and never miss! A much deeper aspect of this claim is the question: Why would any mechanic want to cheat with strike seconds from 1164" briefs?

Moves that garner oohs and ahhs are usually not movesfrom the card table.

1- Gambling Sleight of..,,.,

2. Most demonstration strikes tend to minimize movement of the deck-hand thumb and the top card. But less movement is not always good as evidenced by the response I once got from a mechanic. After flipping an ace face up on the deck and dealing a demonstration strike to the table, he blurted, "What the hell was that? The hand didn't move, the thumb didn't move, the top card didn't move; it looks like you plucked a card from somewhere and the face-up ace stayed on top!" The response speaks to being startled by something. This is not the desired goal of mechanics, although it may be the desired goal for those presenting gambling exposes. In Seconds, Centers and Bottoms (Marlo, 1960), Marlo discussed left-thumb movement.

"Thefiner the brief the more imperceptible is the movement ofthe left thumb. " But why would you want to hide the pushing movement of the left thumb? It's an integral, natural part of the normal dealing process.

3. Also from Marlo; he speaks to a contrived grip and unnatural dealing action "One may have to spend more time learning how to deal the top card rather than the second one. " When the typical player deals the top card, you often see an open, relaxed, dealing action that starts with the left thumb pushing the top card off the deck. With demonstration seconds, you see tight, contrived, striking actions with little movement of the dealing thumb and therefore little or no movement of the top card. This is the primary reasons why most demonstration seconds offer a poor representation of the normal dealing action. The following statement from Expert Card Technique hits the nail on the head:

"The great detect in this method [strike second] is that very few card players deal cards in thisfashion; the action is abnormal and hence open to suspicion, no matter how excellent the technique. " Some strike seconds are best suited for demonstrations; others are best suited for the card table. If a second is good enough for exhibitions, it's good enough to cheat many players, but only temporarily. Demonstration-seconds can be problematic in games with street-smart gamblers, especially when the guy with the unusual deal is winning all the money.

Just because a move is both invisible and spectacular doesn't automatically qualzfi it for the card table.

Marlo's No-Touch Second One of the best examples of a demonstration second is Ed Marlo's 'no-touch second.' The principle is simple: the left thumb starts at the front right corner and moves the top card down and to the right, only allowing the striking thumb to contact the second card. I've seen many cardmen perform impressive exhibitions of skill with this move, but I've never understood the logic of the dealing action. First, you can start with the left thumb in any position along thefront end of the deck and still adhere to the principle of the no-touch second by pushing the top card down to the right and striking the second card directly in front of the left thumb. Second, positioning your dealing thumb on the right comer is not a natural or logical starting position for pushing the top card off the deck. If your car runs out of gas and has to be pushed down the street, you're either going to push it from the back or open a door and push from the sides, but you're never going to push it from the front. Yet this is the presumed action of the dealing thumb when it starts at the right comer. In this position, the only logical pushing direction for the left thumb is down and to the right, and the only logical and natural way to take this card is for the right thumb to reach below the dealing thumb, not in front. Last, after the top card is pushed to the right during a normal deal, card players do not reach past thepushing/dealing thumb with their right$ngers for the take. In fact, most card players do not reach past the right side ofthe deck to take the card. That's the reason the top card is pushed to the right: to facilitate taking and dealing it! To overtly reach in front of the dealing thumb with the striking thumb is both artificial and illogical for the proposed grip. For me, technical details aside, the most intriguing aspect of the no-touch second is its peculiar resemblance to another second deal, credited to legendaly mechanic, Walter Scott. Let's take a closer look at the two methods

2,"

- wambling Sleight ofHanu

Walter Scott's Second Deal Most gambling enthusiasts are familiar with Scott, known as the Phantom of the Card Table. Scott published a second deal in 1931 that's often demonstrated by cardmen. Incidentally, the deal is credited to Walter Holman, the gentleman who taught the deal to Scott, hut for familiarity, I'll continue to call it the 'Scott second deal.' The grip features bevels at the left front side and front right end. In Phantoms of the Card Table, Gazzo appropriately called the grip a "double fan." To create the beveled grip, simply rotate the deck clockwise in the left hand. In the Marlo deal, the left thumb is at the comer; in the Scott deal, it's almost at the comer. Other differences, if any, are minor. But it's the action of these deals that warrants a few observations.

photo 370 -Walter Scott's second-dealing grip

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- ~a imarlo no-touch second-dealing grip

Every time I have watched cardmen demonstrate Scott's deal, it exhibited the same traits as other demonstration strikes, especially the no-touch second, that being minimal movement of the top card and deck-hand thumb. With a rapid deal, minimal movement looks like no movement, which results in a machinelike, contrived, artificial deal. These are not the normal dealing traits of card players, making the action of the deal detectable across the room-whether you can detect the second card being dealt or not is irrelevant. I have often thought about taking ten short video clips with nine legitimate card players dealing around the table and one cardmen dealing legitimately with Scott's grip and strike. You would be shocked how quickly the mechanic is identified. The other notable tell with these deals is the action of the right thumb taking the second card in front of the left thumb. The following photograph of Scott holding the deck and beginning to deal the second card was taken by Cardini and sold at auction. The photograph of Marlo just about to deal are from a Marlo video. In both cases, we're not watching the normal dealing action. To understand why, think about the default deal. What legitimate dealing action are these legends trying to emulate with their second deals?

It looks like the deals entail striking the top card at the forwardmost edge from a squared deck with the right thumb, but who deals from squared decks? Not card players. Again, they push the top card off the deck to facilitate dealing it.

photo 372 - Scott 'taking' infront of left thumb

photo 373 - Marlo 'taking' infront of left thumb

To be fair to Scott, I don't know if this is his 'game-deuce' or the demonstration-second he reserved for magicians-only magicians would find his demonstration second more appealing. Although I'm sure that Scott did his deal expertly given the accolades of the magicians who witnessed his demonstration, accolades from magicians does not automatically anoint a move as the work of a master mechanic-ne of the key reasons there's so much misinformation in magic relative to gambling moves. If you use the Scott deal for demonstrations, don't exaggerate the bevels on the left side and front right end of the deck. For some cardmen, the bevels are excessive, unusual, and suspicious. Also, strive to hit the top card at the sameposition as you hit the second card, which is more difficult with this deal because the left thumb gets in the way when dealing a top. If your goal is to only demonstrate a handfd of seconds with the top card face up and you never plan to deal a top, here's an alternative grip. Hold the deck with a pointed bevel at the front right comer. Place your left thumb on the corner and left first finger under the comer. Firmly grip the top few cards-almost pinching them-and execute a strike second. You may find that this modified grip offers more control than Marlo's or Scott's deal. I don't want to imply that demonstration-seconds can't cheat players who don't know any better-any second deal can do damage under these conditions. But just for a moment, assume you are a veteran card player who has watched hundreds of legitimate card players deal. One day a player starts dealing with Scott's grip and striking style. The actions jump out at you as unusual, but you cautiously accept the gripideal as the dealing style of the player. Then the player wins and wins. Two weeks go by, and you run into another player dealing with the identical gripideal. He also wins. Do you see where I'm going with this?

J

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- ~Gambling Sleight ofHand

A player with an unusual gripldeal may get a pass the first time around-and generally does-but when the same player continues to get lucky, he's going to attract attention and the unusual deal is going to be viewed suspiciously. That said, it's important to point out that mechanics have ways to mitigate these problems, such as dealing winning hands to partners, but that doesn't remove the uneasy presence of the unusual deal. Moreover, winning patterns relative to playerldealer combinations do not go unnoticed by typical, observant, naturally suspicious players in money games. I recall reading that Vernon used Scott's deal and challenged cardmen to catch him dealing seconds. With invisible seconds, I can see cardmen going crazy. But once you move the challenge to the card table, I doubt Vernon would have gotten very far without being bombarded with questions. What are you trying to do? What are you trying to hide? Why are you dealing cards off the edge? No one deals like that. Something is definitely wrong. The takeaway is never obvious to cardmen with no experience at the card table, but simply stated:

What looks great to cardmen doesn't always look great to seasoned card players. Before you accuse me of overstating the problem, it all comes down to a simple question, which may be difficult to answer if you haven't been around card games for many years. How many card players frame the deck with a full grip, double fan, and strike the front edge of the deck in front of the left thumb to deal cards with almost no movement of the top card? In forty years, I have never seen these kinds of demonstration-deals at the card table by legitimate card players-only in the hands of cardmen for magic, gambling demonstrations, and expos&. Here's the reality. While the no-touch second and similar seconds deals can be used in exhibitions of technical skill to achieve the so-called melting action that is possible with small briefs, they will never offer a perfect representation ofthe way most cardplayers deal cards.

Standard Strike Second

Following the same format of the previous chapters, whether you plan to use the second deal for exposes or a secret sleight, here's a list of technical challenges and observations, all of which explore the scope of this classic move. technical observations

The term "strike" is a misnomer for many methods because the right thumb doesn't always strike the second card, but merely contacts it and drags it.

'Conditions' refer to the environment including the table and chair, table surface, and the position of the observers. If possible, you always want to sit at a comfortahle height relative to the table. Sit too high or too low than you're accustomed to and everything changes. When you modify the position of the deck-hand, you modify the take, angle of retraction, pitch, etc. The table's surface can affect false deals when you're pitching. Pitching cards on a hard surface can send cards flying off the table-forcing you to slow down your normal pitching action. On some cloth surfaces, a pitched card just dies, and it's difficult to get a nice professional spin after the card hits the table. If you work with close-up pads, the bigger the better. I've seen several gambling demonstrations on small close-up pads where the cardman was cramped, where the pitch was constrained, and where the cards were dealt too close together in an attempt to keep all cards on the pad. A little more room can make a difference and allow for more natural, comfortahle conditions. Last, conditions for the second deal obviously change based on the number of observers and their positions. Distance between the dealer and the players and especially the number of observers who can view the top of the deck as a second is dealt is a very important factor. The best mechanics are keenly cognizant of this principle and so should you. --playing cards Feel free to pick your favorite brand. It's well known that all-over backs like the Bee card facilitate most false deals by adding an illusive quality, as the back designs blend into each other, making it difficult to know when one card stops and another card starts. They are also more tolerant to large briefs and less-than-perfect retractions. But this presupposes that observers can see the top of the deck during the second. When this is controllable and the top of the deck is not visible during the deal, all-over backs lose their visual edge. Also, for some methods, white-

360 - Gambling Sleight ofHand

bordered backs are better, as is the case where you want observers to see the top card get pushed off the deck. It's also interesting to note that some mechanics and cardmen specializing in the false deals can only work with all-over backs. Put a white-border deck in their hands and they feel naked! (I've always been one of those cardmen.) Either way, depending on the application of the strike second, you'll want decks in reasonable condition because sooner or later, a beat-up deck in poor condition will cause a problem. Pushoffs are even more sensitive to deck condition.

Some recommend that you bevel the deck, others oppose, but either approach is perfectly okay. Frankly, it's difficult to frame the deck without some degree of bevel. For most, the deck hugs the contour of the hand and bevels naturally. Others overtly bevel the deck with help from the right hand so it feels more secure. You'll occasionally see strong bevels, which in the hands of a legitimate card player is nothing more than an effort to facilitate the deal. A strong bevel in the hands of a mechanic, however, could be a tell. A beveled deck is more tolerant of less-than-perfect retractions. When we get to pushoffs seconds, a bevel provides a headstart for pushing off two cards. But the primary advantage of a beveled deck is comfort, which translates to a more secure grip. Start with your natural, default grip and don't change it unless there are compelling technical reasons to do so. -fuming the deck (grip) The strike second can be dealt from any grip, so don't get hung up about which grip is considered best. If you're learning or relearning the move, just pick up the deck and put it comfortably in your hand. That's your default grip and it's probably as good as any. For beginners, lean toward a 'natural grip' with the left finger on the side and first finger at the front. You can always experiment with different grips later. An important goal of the left fingers is to gauge singularity and prevent more than one card from being dealt. The tips of the fingers should be level with the top of the deck; otherwise, they will impede the deal and require unnecessary, corrective movements of the fingers. Even today, if I don't think about it, I tend to frame the deck too deep in my hand with the tip ofthe leftfirst finger higher than the top ofthe deck. This is a flaw in any method where the cards are dealt forward because the first finger has to get out of the way to make room for the card to clear. You can see this flaw in the original Gambling Protection Series, and remnants of the flaw were still detectable in the seconds I dealt on The Hidden Secrets ofMagic. (The old adage is definitely true: bad habits are tough to break.) Avoid dealing the cards up and over the fingertips-many card players exhibit this flaw and often unintentionally flash the cards. Even professional dealers can exhibit this flaw.

-mechanic's grip The so-called 'mechanic's grip'-index finger at the front and three fingers at the side-is an enigma for two reasons: (a) mechanics can false deal from any grip, and (b) most card players frame the deck the same way. I've always argued that this grip should be called the 'natural grip' because it's the most common dealing grip for card players by a long shot. The next most popular grip is a 'full grip' (four fingers on the side). If fact, from this point forward, I'll be using the term 'natural grip.' Forget that you ever heard the term 'mechanic's photo 374 - mechanic S grip grip' and you'll be doing yourself a favor. Incidentally, the origins of this term appear to have started with Mickey MacDougall in the late 1930s. It was later perpetuated by other gambling experts. John Scame, for example, stated that the index finger at the front was used to "square up the pack when a second or bottom was dealt" and that anyone framing the deck this way was someone "who probably knows entirely too much about cards." All utter nonsense. -dealing thumb The left thumb is a pusher. Its sole purpose is to push the top card off the deck for the deal, return to its starting position, and do it again. For this objective, as a general suggestion, start with the thumb in a natural position for pushing. Anywhere from about front-center to left of center is most common. Avoid positioning the left thumb too close to the right front comer as was discussed for demonstration seconds; it's not a natural starting position. Strike seconds can also be dealt with the left thumb positioned down from the front end of the deck, but they're more difficult due to the perception of less control. Try it. It will feel awkward and less secure if you have never experimented with this approach. The farther you push the top card off the deck, the longer the retraction, which can be more difficult to synchronize and hide. It's all about balance, an attribute that takes care of itself when you deal naturally. If pressed to describe how far most card players push the top card off the deck for dealing, I would say, "The width of the ball of the thumb or greater," but generally not less, and often farther for many card players.

- uumbling Sleight ofHand

Whatever the method, the primary goal is to match the normal left thumb action with the thumb's action during a second deal. When minor differences exist-as they often do with many false deals-they can be neutralized by other components of the deal including speed, rocking the deck-hand, and many others. -dead thumb The infamous 'dead thumb' is a reference to the left thumb not lifting off the top card as a second is dealt. This nuance is also known as the 'stiff thumb' and 'iron thumb' and no doubt other monikers. Frank Garcia described the action in Marked Cards and Loaded Dice (Garcia, 1962). "Keep an eye on the dealer's left thumb. I f he is dealing honestly, it will lift a bit as he moves it back to the left preparatory to pushing out the next card to be dealt. I f it doesn't lift, he obviously is moving back the top cardpreparatory to pushing it out again." This is not always true. Some card players slide their left thumb back across the top card as it gets ready to push the next card. There's really no physical reason why the thumb must lift off the top card to get back to its starting position; it's just that lifting the thumb after a deal is apparently most comfortable and therefore most common. In a moment, we'll be addressing the possibility of purposely adding a lifting action of the thumb to many deals.

The 'brief refer to how much of the second card is exposed during the deal. Once the top card is pushed downward, exposing the second card, the brief is measured as the greatest distance between the front edge of the top card and the front edge of the second card. The perfect brief for the strike second depends on many factors. But for good, sound advice, here's the general rule: If you're striking the second card with the ball of your thumb, the brief should be about the width of the ball of your thumb. This rule automatically calibrates brief size for the individual. It also seems to imply an advantage for those with thinner fingers. Generally speaking, however, any brief smaller than this guideline will require more skill and precision to deal the second card, which creates unnecessary technical challenges in my view. Some mechanics strike with the side of the thumb, therefore reducing the contact area (brief), but it's not common. For clarification, the distance the top card is pushed off the deck doesn't dictate the size of the brief. You can push the top card two inches off the deck and perfectly aligned with the front of the deck, yet there's no brief at this point. Briefs are formed only after the top card is moved downward and the second card is exposed, even if only by a fraction of an inch.

One of my favorite statements from magic can be found in The Lost Inner Secrets - Volume One (Stephen Minch, 1987). Vernon offered his thoughts on the size of briefs, which he called a "breach." "Final[v, there is the much discussed topic of how large a breach should be used when dealing seconds? One most often hears that nothing greater than the width of a white border is permissible, and the finer the breach, the better the second. Mr. Vernon suggests that this is nonsense. Ifthe action of the deal is natural, the rhythm smooth, the hands relaxed in appearance, the size of the breach is of little consequence to the illusion of the false deal." I couldn't agree more, and I'm willing to bet that all mechanics would unhesitatingly agree with this viewpoint. I'm also willing to bet that cardmen would be shocked at the size of briefs employed by many hustlers-as you will see.

-right thumb The right thumb is the "striker" (a term used in many sources), although for most seconds, the thumb would be more accurately described as a 'taker,' or 'puller,' or 'dragger.' As noted, card players rarely strike the top card to deal it; they simply take it. In terms of a horizontal plane, the right thumb can approach the top right comer of the deck from three angles: in line with the front-end of the deck, in line with the side of the deck, or diagonally across the comer. I prefer diagonal takes, which match the takes of most card players and dealers. I have seen recommendations to strike the second card with the tip of the thumb. This has never worked for me, nor is it a normal trait of card players. Others strike the second card with the lower part of the thumb (below the ball of the thumb). Again, this feels uncomfortable to me. For starters, keep it simple and strike the second card with the ball of the thumb.

,"-,Gambling Sleight ofHand The key to the correct right-thumb movement is that the thumb always approaches the deck the same way, whether the goal is to deal a top or second. Just before the point of contact, the thumb should be in a position where either the top or second card can be dealt. To test this idea, turn the fifth card from the top face up and begin dealing, studying the position and path of the right thumb each time. When you reach the face-up card, deal a few seconds. When you can transition into the seconds without changing the deal in any notable way, you're on the right track.

It's possible to fake a lifting action of the right thumb to accentuate a striking action. Lifting the right thumb a little higher seems to say, "I'm getting ready to strike and deal the top card." It's an interesting ruse but not consistent with the actions of the normal deal. When card players deal the top card straight down with any force, there is no pronounced lifting of the right thumb in readiness to strike downward. They just deal the card with above-average force.

After the top card is pushed off the deck, retraction is act of moving the top card back to its original position after a second is dealt. I like to assess most false deals in four steps: (a) starting position of the handsideck, (b)first action: moving the hands together, (c) the false deal, and (d) the retraction of the top card and separation of the hands. Experienced cardmen will probably find this breakdown elementary, but it provides a standard by which all variations can be evaluated. The standard describes the normal deal. For now, generally speaking, strive to begin retracting the top card at the centerpoint in the dealing action. At a minimum, this will help to avoid retracting too soon or two late, which are common tells. Some of the esoteric methods presented will purposefully call for early retractions, partial retractions, and even no retractions, and the results will probably surprise you. A common question asked about retraction is if a pivot point at the base of the thumb facilitates a cleaner retraction. In theory, yes, but it's not necessary and not commonly adopted by card players and most mechanics.

I first saw the left thumb purposely lift off the top card as each second was dealt in a video of John Scarne. The thumb lifted and bent at the knuckle after each second was dealt, but the ruse looked forced and artificial. I like the thinking behind this handling because it's consistent with many card players, but I'm not a fan of an exaggerated lift. The action looks best with a small, natural lift of about one-half inch while the thumb remains relatively straight. Strive to avoid any component of a move that attracts special attention. They are contagious and they have a way of ruining the entire move.

False deal^ - J U .

-dealing-thumb ending position Thinking about a move from beginning to end is an important principle in all sleight of hand. Here's a great tip for finishing and selling the legitimacy of many false deals. As the left thumb retracts after a second deal, continue to move it off the deck to a resting position on the side. This is a position that can put observers at ease and definitely create a different look when compared to a cocked dealing thumb stuck on the top card ready to deal again. It's the basis for a dynamite second deal I call the 'natural second deal' (page 381). -the take The 'take' is a function of dealing style. For example, when pitching, I take the card between the ball of the thumb and the side of the first finger at the secondjoint. This is a 'deep take' that positions the top card for casino pitching the instant the second card clears the deck. Several takes are possible, each with minor changes in finger position. One take you almost never see is taking the top or second card by the tip or by a thin sliver of the edge. photo 377 - deep take: right thumb across deck's corner

Another unusual variant is a 'rolling take.' Here the right side of the ball of the right thumb (looking at the back of the thumb) first contacts the second card before rolling into the normal position with the entire ball of the thumb contacting the card. This is a good example of different strokes for different folks. Whatever works. It's not always about the method; it's about what the method produces that counts. -deck-hand movement I'm a strong believer in deck-hand movement during most deals-provided it's reasonably natural. I like the premise of a starting position, a contact or dealing position, and a return-tostarting position. Deck-hand movement, even when subtle, is not only natural but a deception booster. Card players do not deal from a stationary deck-hand and neither should you. In addition to a swing, some players lower the deck-hand when dealing to themselves, creating vertical movement. Some exhibit rotational movement as the deck-hand turns inward at the wrist to meet the taking hand. Deck-hand movement often changes based on the number of players. Call these actions "swinging," "rocking," or other verbs, but there's absolutely nothing wrong with deck-hand movement during the deal. Dealing on the move is a good thing.

z o o - Gambling Sleight ofHand

dealing down When dealing seconds to the dealer's position, there are options. The card can be dealt straight down in the traditional manner. It can be dealt with notable 'snap,' which is nothing more than dealing the card with more force. Conversely, a disarming option is to deal the second and simply drop the card to the table. --dealing direction Dealing the second card off the side clears the deckfaster than dealing in any other direction. This is a small technical advantage, but it's not a critical factor. Also, most seconds change based on direction of the deal. Strikes can be dealt forward, diagonally forward, to the sides, even over and under the deck-hand when dealing to the 'one-seat' (first player to the dealer's left). When the deck-hand is extended to pitch cards around the table, the dealer's cards can even be dealt backwards. Each direction has its pros and cons relative to method and cover.

To 'pitch' a card is to deal it with a spinning action like a professional dealer. 'Pitch' is the standard casino industry term although the term 'sail' can be found in many older sources. As a former dealer and Las Vegas dealing-school owner, here's the process for learning to pitch. Before students could even put the deck into dealing position, the cards were picked up one at a time and placed in the proper pitching position. The right first finger is under and aligned with the front end of the card, extending about three-quarters of the card's width. The thumb is on top with fingers curled; specifically, the back of the curled second finger contacts the side of the card. Without moving the arm or wrist, the second finger snaps forward to propel the card into a spin. Instructors would occasionally hold the wrist of students, forcing them to pitch the cards using only the second finger. The goal was to eliminate most wrist/arm action and to keep the hands relativelv close to each other while vitching-large bands were sometimes used around both hands at the wrists.

photo 378 - carinopitch

photo 379 - right secondfinger propels card

False Deals - 30)

The reason for this method is professionalism and productivity. Swinging the right handlarm forward and backward during the deal looks amateurish. But when the card pops out of the hand, the pitching action is more efficient because minimal movement translates to a faster deal and more hands per hour, and the casino industry is very keen on maximizing productivity (time and motion). The professional pitching action also looks more impressive. I remember a young lady who worked in Downtown Las Vegas with me (Patti). She would aim the deck upward and pitch with sharp, quick, snapping actions. The players' first cards were all in the air as she dealt her upcavd! Her pitch was amazing, attracting players to stand outside her game just to watch her deal. As a boss, I used to challenge her to see if she could pitch to a k l l table and keep all cards in the air before dealing her upcard (seven cards). She could get very, very close! -little-or-no-spin pitching In private games, cards are often pitched more casually with minimal spin or no spin, which is more of a tossing action.

I have witnessed many excellent demonstrations of second dealing that incorporated no-spin pitching. This does not automatically weaken demonstrations, but working in the casino industly can jade your viewpoint, Since there's always the anticipation of seeing the seconds dealt with professional pitching, I've always felt that professional pitching enhances any demonstration. Under fire, however, many mechanics prefer to pitch more deliberately and casually-not too much polish and definitely no excessive spinning. More than once after witnessing some of the best seconds I have seen, my only criticism was that the move looked too "perfect," as if being pitched by a machine. If you use the second deal for demonstrations and don't pitch-generally worth the practice to acquire the skill.

dealing into piles-it's

-early pitching An advanced variant of the pitching action is to pitch the second card before it clears the deck. This creates a different look to the deal. The benefit is the pitch's immediacy. -stud deals Dealing a face-up hit-card in blackjack and dealing a face-up card in stud are two distinct dealing actions, although both start the same way. To deal a hit-card in blackjack, the top card is taken by thc right hand, right fingers on

photo 380 - early pitch before second card clears deck

,"8

- Gambling Sleight of Hana

top and thumb underneath, and dealt face up on the table, end for end with the end pointed at the player. To deal an upcard in casino stud, the top card is also tuned face up, end for end, but then pitched face up to the player.

photo 381 - beginning ofstud deal

photo 382 - turning/huutlilg the top caiad face

LIP

In private games, however, there's a fuzzy line between the two deals. Stud deals can be used in blackjack and vice versa. Face-up cards can be dealt overhand, underhand, or in a variety of novel ways.

photo 383 -pitching the face-up card

When I was 18-years old and came to Las Vegas on my first junket, I was mesmerized by blackjack dealers with a smooth, machinelike pitch, but equally impressive were the best poker dealers who could deal rounds of consecutive face-up cards in stud, each with a soothing snapping sound.

-'necktie the deck'

The phrase 'necktie the deck' comes from an earlier casino era when many blackjack dealers wore neckties and cowboy-style bolo ties, and where the standard procedure after the initial deal was to hold the top of the deck against the tie, around the chest area. This procedure, along with a special way to frame the deck known as the 'protection grip' (front of deck positioned behind the left first finger), were designed to protect the top of the deck in casino blackjack, making it almost impossible for hustlers to read a marked card on top or near the top. The grip is still practiced, although not as extreme. Today the deck is still necktied hut held away from the body, another safety-measure that prevented stealing checks that were stolen, maneuvered under the deck, and dropped into 'subs' (hidden pockets).

In theory, there will always be more noise when dealing a second because the second card slides between two cards, and it's not just 2X as loud because the top card can be lifted off the deck and dealt, reducing contact and making the normal deal virtually silent. To reduce sliding noise, I've experimented with methods like lifting the top card as the second card is dealt (sticking to the thumb) and pushing the top card farther off the deck before dealing the second to reduce contact area, but neither approach is practical or necessary. In most situations, second-deal noise isn't a problem. A light touch reduces both sound and resistance, and if that doesn't get the job done, the other equally obvious solution is to increase noise when dealing tops. This can be done by dealing with a slightly more aggressive style, snapping each card against the deck before dealing it normally. Twenty years ago I'm flying back to the East Coast; the flight was smooth and quiet with only a dozen passengers. I begin hearing cards being shuffled, then I hear snap, snap, swish, snap, snap, swish. I look to my left and a few rows behind me are two dealers from my favorite poker room (Stardust), a club once plagued by cheating and known to employ mechanics. For another funny story, I've only done a few television shows where I demonstrated cheating moves-not my thing. On one show I had a microphone hooked to my shirt. The chair was not the right size for the table so I was sitting low, holding the deck higher than normal and precariously close to the microphone. I started dealing seconds and the sound was distinctly different from the tops, so I made the proper adjustment . . . I demonstrated a few false shuffles and mucks. In both stories, the cards were plastic, which definitely make more noise than paper cards. Given the physical properties of the second deal, there will always be a theoretical noise factor, but it's generally a non-factor. Admittedly, some private games can be eerily quiet (in some European casinos, too), but I have never heard of a mechanic getting nailed for dealing noisy seconds, so unless you happen to be movingiperforming in church, normal ambient noise provides all the cover you will need. speed In the private world of hustling, speed is generally frowned upon. From a gambler's standpoint, blowing your money is tough enough let alone losing it at the speed of light. Strive for average or just-below average speed. The best mechanics don't pitch the cards like speed demons; in fact, they generally don't do anything abnormally fast.

The rhythm of the deal is all about uniform pace and movements, which is critical when you are switching from dealing tops to dealing seconds.

370 - Gambling Sleight of Hand

There's a natural rhythm to everything at the card table, especially the deal, and it can vary from player to player. Some players deal faster than others; some deal with distinct actions, and so on. Movements in a card game are often watched rhythmically and, after a few times around the table, there is the anticipation of each player's individual rhythm, which is why any departure from the norm stands out. As stated previously, without watching the dealer, you can still subconsciously detect breaks in rhythm. Rhythm is often the ultimate judge of one's skill with a particular move because optimal rhythm is only possible once you have mastered a move. While perfect rhythm will garner compliments from fellow cardmen, not all hustlers agree. One hustler asserted that an imperfect rhythm that changes capriciously from deal to deal is a better strategy. He would take a card and hesitate as if trying to ensure that he was only dealing one card. He would deal short, then push the card to the player, effectively interrupting the deal's rhythm. After he dealt himself four cards, he would stop and spread his hand to count his cards. He created the facade of an amateurish dealer with imperfect rhythm and used it to his benefit. -dealing tops Keep in mind that instead of altering your false deal to match your default deal, it may be more prudent to alter your default deal to match up the false deal. As we get into the different methods, remember that every second must have a match. If you come up with a fancy onehanded second, for example, you should be able to emulate the same action with a legitimate deal. -viewing angle One of the most important considerations when dealing seconds is managing the viewing angle. How many observers can see the top of the deck as the second is dealt? If observers are in front and only a few feet away, it takes very little rockltilt to aim the front end of the deck at their eyes to cover the top of the deck. Even with observers on both sides, if they are a few feet away, there's natural cover from both hands. Players on the left predominately see the back of the deck hand, especially if the right side of the deck is tilted slightly downward. Players on the right predominately see the back of the right hand, and more cover is possible with different takes. But if one or more observers can bum the top of the deck, you'll have fewer options. You may even decide to avoid some methods. Conversely, for demonstration seconds, you want observers to bum the top of the deck. Most blackjack mechanics like to aim the deck at the players' eyes. I know short-card mechanics who know exactly how far away their opponent has to be for their false deals to be safe. When the top of the deck is protected, mechanics can use bigger briefs, deal slower, deal more seconds, and make more money. To appreciate this principle, let's say you want to demonstrate a second for a fellow cardman. You turn to your left and demonstrate the move, prompting your friend to say, "Wait a minute, I can't see anything from this angle." Exactly.

In short, the best mechanics are always cognizant of the top-of-the-deck 'viewing angle.' Based on viewing-angle conditions, they may opt for a different method, speed, timing, or strategy. It's a fine point, but it's absolutely part of the better mechanic's thought process. -the body

So far the observations all pertain to methods and dealing actions, but it's also important to maintain a natural posture and consistency relative to your body and arms when you legitimately pitch tops and seconds around the table. Everything must match. If you really want to get pedantic, study the movement of your eyes during the normal deal and match it while dealing seconds. I'm sitting with two cardmen. One is dealing amazing pitch seconds. But the minute he started dealing stud seconds, everything changed. He lifted his elbows off the table and almost hit the cardman sitting next to him on the chin. I commented that it looked like he was ready to "fly away." We couldn't stop laughing. -dealing skill

Show me ten cardmen, all with equally good second deals, each with slightly different grips, deck-hand movements, pushingitaking actions, and dealing styles, and ask which second deal is best, I would pick the second deal that most closely emulates the legitimate dealing actions of card players. There's also the question of overall technical prowess. After recently sitting down with one of the best mechanics I know, and watching super false deals, I was struck by the uncomfortable assessment that he was toopolished. He literally dealt like a machine with blazing speed. His card handling looked so good, it shouted out artist. It was the kind of skill that grabbed you and the kind of skill that could be svotted across the room. Recall mv comments about the famous high-limit blackjack games at Binion's Horseshoe Casino in Las Vegas and the reason they removed the strip from their shuffling procedures-it showed too much dexterity. In a demonstration, this level of skill will get oohs and ahhs from laypeople; at the card table, however, it could have just the opposite effect.

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Questionable Information Every once in a while I meet a cardman adhering to an odd technical principle that he picked up in magic. Here are just a few examples. delaying the left-thumb pushing action

A young cardman once demonstrated his strike second for me and asked for advice. It looked okay but there was an awkward hesitation. He explained that the "secret" of the move was waiting to push the top card until the last possible moment, advice he picked up from Expert Card Technique. I asked, "Why would you want to do that?" I had him deal a few cards and pointed out that in his normal deal, the deck-hand moved to the right as the top card was pushed to the right, while at the same time, the right hand approaches the deck to take this card and deal it. Here's the specific excerpt from Expert Card Technique. "The left thumb does notpush the top card to the right until after the right thumb has begun its return sweep to the right. . . " The phrasing "return sweep" is odd since we're not talking about a back-swing in tennis or golt: Why would you want your right thumb to come over the top of a squared deck and have it pass the contact point only to strike the second card on the return sweep? This is a completely unnatural action, so unless it leads to some extraordinary result, I'd hesitate to heed this advice. elliptical path Another theory suggests that the left thumb move in an ellipticalpath (Dr. Elliot). The thumb first pushes the card forward slightly over the front edge of the deck, then to the right, then down and back to the starting position, but in an elliptical path. The purpose is to establish a smooth, continuous path for the left thumb that will eliminate the "dead spots" in all other methods, which is defined as a point at which the action is interrupted and reversed, giving an undesirable appearance of jerkiness to the dealing action. If you want to start a second with the top card forward and slightly off the deck, I like your thinking, but once the retraction begins, the shortest distance back to the starting position is a straight path, not elliptical. Sorry, but I remain puzzled. emerging angles With white-bordered cards, if the second card simultaneously protrudes from both the front and side, is the technique flawed? Perhaps if observers are burning the top of the deck. But not for casino mechanics who violate this principle every time they deal a pitch strike second. Jump to page 377, 'casino pitch strike seconds,' to see the principle in action (photo 391). This is a good example of valid information from one perspective, but not from another. It also shows the difficulty for cardmen to get complete and accurate information about the best techniques.

False Dears - J ,

melting action The so-called 'melting action' refers to the illusion of the second card melting through the top card as it's dealt. These deals are most often demonstrated with all-over backs like the Bee card due to the sustained illusion of the back designs of the top two cards melding together. But the melting action is not limited to all-over backs and can be just as impressive with white-bordered backs, as the better cardmen know. '

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- no memng actzon w m wnne ooorers

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merczng acrzon wzrn arr-over oucks

If your goal is to demonstrate seconds with tiny briefs to showcase the melting action, that's fine, but mechanics don't think this way. Don't ever assume that your method is sub-par because it lacks a melting action. The best seconds I have ever seen didn't have a melting action. Why? It was overkill . . . I never got the chance to see the top of the deck as the second was dealt. Mechanics specializing in tiny-brief seconds are rare. If I had to guess, I would put the odds at 100 to 1 or greater. I have only met a handful in my entire career, including a dear friend who specialized in the deal (GM). He once told me that his brief was so fine, there were times when he wasn't sure if he dealt the top or the second card! (Fine, not 1/64"!) Incidentally, as you will see, there are other ways to create the melting action without dealing strikes, without tiny briefs, and without all-over back designs.

difJulQ factor Finally, consider the following statement from Expert Card Technique.

"The second deal is generally conceded to be the most dqficult of all card sleights to master, a statement the ambiguity of which has clouded thefact that it is not the action of dealing second which is d$fficult,but the method of gripping the pack with the left hand." This is a particularly odd statement about the second deal. It's also patently untrue. It's highly likely to have been influenced by El-dnase who stated "To become adept at second dealing is as

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difficult a task as can be given in card handling." Honestly, the assertion is bizarre. I have watched hundreds of cheaters and cardmen deal invisible seconds but have only met a handful who could riffle stack, for example, with any card-table proficiency. And the same is true for many other moves. The second deal is far from the "most difficult of all gambling sleights to master" and it's not even close. Furthermore, the grip is one of the least important factors because strike seconds can be dealt deceptively from almost any imaginable grip! Before we proceed, it's not my intention to cheny pick statements from magic so they can be rebuked. I'm trying to show that it's not always easy to get the truth. So much misinformation. So many contradictions. Context is all over the place or completely absent. Whether the false deal is used for demonstrations or secret sleights adds even more confusion to the discussion. But it's not all bad. There's plenty of accurate and useful information, if you can find it. here'^ solid advice from two magic icons. Vernon:

". . . using a j n e breach makes the sleight more difJicult while it does not improve the deceptiveness signzjcantly. " Marlo:

"Remember that thefellow with a j n e brief who has tipped off his second deal is worse offthan the one who pulls his card halfway down but hasn't tipped his deal. Lulling the minds ofyour company is more important than dazzling their eyes." There's no doubt that hustlers would be in complete accord with this advice. If you are learning or relearning- the strike second, the following- advice will save you countless hours of research and experimentation. Managing the viewing angle is more important than technique. Managing the viewing angle and rhythm are more important than technique. Managing the viewing angle, rhythm, and guts are all more important than technique . . . according to many mechanics. When all is said and done, understand that every move is comprised of several components. They help define what the move is all about, especially the move's construction, technical challenges, and common flaws. For the most thorough evaluation, every component must be studied. But if you're looking to expedite the learning process and take the short course on dealing deceptive seconds, just follow the advice of the mechanic mentioned earlier and "make' em look the same. . . yup, the one and the two."

METHODS Having discussed many different aspects of the strike second, here are several of my favorite methods. The methods have been selected to hightlight a variety of technical features.

Deal-down Strikes VO was a mechanic who dealt dynamite seconds, but one in particular featured a timing element that I wanted to share. What makes the element so interesting is that VO used it during the most basic of all dealing actions: dealing a single card to the table. The essence of this method is plainly and openly pushing the top cardforward and to the right before a second is dealt. Push the top card forward and to the right about the width of the ball of the thumb. Do not push the card down and to the right, which prematurely exposes the second card at the right comer. As the right hand approaches the pushed forward card, tilt the deck slightly back as the left thumb safely moves the top card back to create the brief. The right thumb strikes the second card and deals it straight down to the table. This instant the card hits the table, the deck-hand lowers with the top card retracted and squared with the deck. Keep the left thumb relatively straight during the pushing and retraction because bending the thumb at the first joint creates a more noticeable action. The deck-hand rocks on the knuckle of the little finger which rests on the table. The deal is brisk hut not hurried, although there's a subtle increase in pace as the hands come together and the second card is dealt. In VO's hands, you would swear that the top card was dealt because no other conclusion makes sense. You see the top card pushed off the deck. The second card is never exposed so dealing it doesn't seem like a possibility. The right hand approaches the deck and apparently deals the pushed-forward top card with a snap to the table. The deck is seen to be perfectly squared. VO also had many touches afer the second card was dealt. He liked to deal the second to the table and push it or slide it with the right hand to the appropriate player. He would also turn the deck-hand over and slide it with the left fingers, or if he needed to follow tighter procedures, he would slide the card with the back of the deck-hand to keep the deck level, which is a common procedure enforced in casino poker whereby dealers are taught to keep the deck level at all times, even when gathering dead cards, moving bets into the pot, etc. Starting with the top card offthe deck changes the dynamics of the strike second. It's a starting position that emphasizes, "I will be dealing the top card . . . the card I just pushed off the deck."

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The idea of starting a strike second with the top card pushed to the right is not new. Despite references going back over 100 years, the idea is undoubtedly older. What I find most interesting is that the basic idea is known to most cardmen, but the significant improvement in handling is either unappreciated or overlooked with the more common methods prevailing. When you compare this method to the look and feel of the standard strike second, this method lets you push the top card off the deck without exposing the second card near the right corner. This is finesse worth pursuing. It's not that the method better emulates the normal deal--even strikes that expose the second card can be perfectly natural-it's that it better sells the deal with more conviction.

Casino Pitch Strikes This is my favorite strike second for pitching, and a favorite of many casino mechanics from the past. For the purpose of dealing strikes around the table to save a teniace for the dealer, there are basically two dealing actionu: (a) forward, and (b) off the side before dealing forward. To deal forward, line up the right thumb with the front end of the deck. Push over the top card and the instant you strike the second card, move the right hand forward in an almost machinegun-like pitch to deal each card. By comparison, to deal off the side before dealing forward (photos below), place the right thumb diagonally to the comer. Push the top card to the right and back, strike the second card, and drag it to the right until it clears the deck before pitching forward.

plzoto 390 - beginning the slrike

p/mto 391 - dimgging second ca1.d to the nghr

photo 392 - clearing the deck beforepitching

photo 393 -pitching

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I prefer dealing off the side before dealing forward because it's most consistent with the way dealers pitch cards. It was once a better choice for casino mechanics; an unsuspecting player moving from Sally (legitimate dealer) to Tony (mechanic) wouldn't sense that anything had changed.

In more detail, hold the deck in a natural grip with the left thumb just to the left of center at the front; the thumb does not extend past the front end. Push the top card to the right and down creating a brief about the width of the ball of your thumb. Approach the deck with the right hand and with the right thumb crossing the comer. As the ball of the thumb contacts the second card, the lower part of the thumb should be directly over the top card; when positioned correctly, either card can be dealt from the same position. The second card is dragged to the right and slightly backward as the top card retracts under the thumb. Given the curvature of the ball of the left thumb, the top card actually slides under the edge of the thumb, but does not make contact. The second card moves forward and slightly over the front end of the deck, but continues to the right until it clears the deck. By the time the second card clears the right side, the top card is fully retracted. Take the card with the ball of the thumb on top, and the side of the first finger at the second joint. This take enables the top card to be pitched the instant it clears the deck. There's a very subtle rocking action of the deck (back-to-front and side-to-side) and swinging action of the hands (in and out) as they approach each other, then separate. Recall the importance of managing the viewing angle. In casino blackjack, and many underground blackjack games in clubs, the dealer stands as the players sit, which positions the deck at the players' eye levels. Under these conditions, the 'emerging-angles' action is not an issue. As with many second deals, the deck tilts slightly backward to meet the right thumb, momentarily hiding the top of the deck. The deck only lowers-allowing a viewing angle of thc top of the deck-after the second has cleared or almost cleared and the top card has been fully retracted. This is the second deal that I most encountered in the hands of blackjack mechanics.

False Deals - 2

Top-side Brief Here's an unusual strike second that starts with pushing the top card slightly forward and to the left, creating a brief along the right side. This is the opposite of most pushing actions. Once in this position, the right thumb lines up with the side of the deck and completely covers the brief as the thumb contacts the second card and deals it off the right side. For a curious reference, here's how Scarne described the strike second in Scarne On Cards (Scame, 1949): "The thumb of the left hand, in which the pack is held, pushes the top cardforward as if topeel it o f fand deal it with the right hand. But the thumb ofthe right hand darts in and slides out the second card, the No. 2 card, instead." Although the photograph in Scarne's book is not consistent with the explanation of this move, he did advise to "push the top card forward," which may have been the seed for this method; I recall playing with the method when I was a kid. To initiate the deal, as the hands come together, the left thumb moves the top card forward and to the left. The brief at the top can be slightly thinner than normal, but it's longer, so there's plenty of area to contact. Both the left index finger and right thumb lightly make contact as the right thumb contacts the second card and completely covers the brief. At this point the card can be dealt straight down to the table, pitched forward, dealt face up in an underhanded deal, or face up in a page-turnover photo 394 - top-side brief-exposed deal, flipping it face up on its left side.

photo 395 - topside b r i e f a i k i n g the second card

photo 396 - top-side take

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Middle-side Brief This second deal appeared in the segment, '52,' on the Gambling Protection Series (DVDs). According to magic sources, the technique is credited to Dr. Elliot (early 1900s), although the method is likely to be much older. Here's a method that works for me. Start with the deck in a loose straddle grip with a bevel of about one inch. The fingers are naturally extended, including the thumb, which lies across the center (width) of the card with the tip about one-half inch short of the right edge. The top card is pulled to the left to create a brief, but the thumb does not bend. It lies dead on the top card. To pull the top card to the left, relax the deck-hand and move the base of your thumb to the left, which in turn moves the top card to the left. As the second card is taken, raise the right side of the deck slightly up above its horizontal plane; this makes the take easier and more sure. As the card is taken, the left thumb retracts the top card to the right and square with the deck, or even slightly past the right side of the deck to deal again.

photo 397 - middle-side brief;.pulling top card to left

photo 398 - middle-side second deal

Back-corner Strikes There are situations at the card table where it's common to take and deal the top card by the back right corner. You will see poker dealers deal bum-cards in this manner as do blackjack dealers when dealing double-down cards. Strike seconds can be dealt in the same way. Follow the initial action of pushing the top card slightly to the right, but forward just before the take. With the right thumb, strikeltake the second card at the back outer corner. My preference for this dealing objective and style is with a pushoff second, described later.

Natural Strikes Under technical obsewations, the idea of finishing a strike second by sliding the dealing thumb off the left side of the deck to a resting position was presented. But this finishing touch can also be used as the stavtingposition for the deal. Start with the left thumb on the left side of the deck and go directly into the second deal, retracting the left thumb all the way to the left side to end. The method takes a little work. As cardmen, we're technically conditioned to start with the dealing thumb on the deck before dealing a strike, but for this deal, the thumb starts on the side of the deck and has to hit the correct spot on thejly in one continuous action. When the deal starts and finishes with the dealing thumb off the deck as described, and the move is done smoothly, it's one of the better second deals, especially for demonstrations. For cardmen who have already mastered one or more second deals, play with this approach and I promise that you will immediately appreciate the difference. To kick the method up a notch, instead of just retracting the thumb to the left side, let the left fingers extend and move the deck away from the base of thepalm. This further accentuates the end of the deal. Now you're introducing an aspect of casualness into the beginning and end of the deal. For stunts, this is the perfect second for dealing face-up cards around the table with an underhand stud deals. After dealing a round of natural seconds, I've had cardmen ask, "Were those seconds?" It's not the seconds that fooled them, per se, it's the way the seconds were framed that offered a completely different look than what most cardmen expect. These changes are simple, but they transform a simple move into a sophisticated second deal. The open, casual beginning and ending of the deal can be used for other seconds and bottoms,

382 - Gambling Sleight ofHand

pnoto

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- left thumb retracts

photo 4U1 - endlngposltlon; left thumb away from deck

Hit-card Strikes As stated previously, a 'hit-card' deal is a specific dealing action for dealing face-up cards in casino blackjack. There are two technical challenges. The first is striking the second card with the right$ngertips, not the thumb. The second challenge is eliminating the flutter that often occurs if the second card is turned face up before it clears the deck, which lifts the top card at the back right comer and destroys the illusion. Here's how some mechanics address these challenges, turning a negative into a positive. To ease the striking action, push the top card down and to the right and strike the second card with the right second, third, and fourth fingers. That's right, a three-finger strike! Due to the inordinate cover, don't be bashful about the size of the brief; a little more than normal is okay.

photc

,sition

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Keep the right hand naturally flat but avoid a strained flatness. As the right fingers strike the second card at the front end, the right second finger lands on the left front comer while the right little finger lands on the right comer. Push the second card forward until it can be taken by the right fingers and thumb. Continue pulling the card forward on a horizontal plane until the second card clears the deck, and deal to the table in what one mechanic called the "whip," referring to a dealing action that picks up speed as the card is dealt and turned face up to the table at the lastpossible moment. To eliminate flutter, ensure that second card is pushedlpulled forward and forced to ride under the dealing thumb throughout the entire dealing action as depicted.

photo 405 - dealing forward under left thumb

photo 406 - dealingface-up strike second with noflutter

I had always struggled with this move, opting to spend most of my time working on pushoffs for dealing hit-cards, but I have seen these strikes done slowly and deceptively. For readers who have worked on hit-card seconds, I think you will immediately see and feel the difference of doing the move with a three-finger break. It made the move doable for me. Apparently, during the old days, the hit-second were deemed easier to teach dealers with larceny and ambition to be bust-out dealers, so the move got plenty of table-time . . . although its cousin-the pushoff hit-second-was still the go-to method for dealing hit-cards by the pros. Stud Strikes There are several strike variants for dealing upcards in stud. Here are just a few examples. In most instances, only minor changes are made to the previous methods. In other instances, the changes are dramatic. standard stud strike For an obvious method, instead of dealing a hit-card as described in the previous deal, as soon as thc sccond card clcars the deck, turn it face up and pitch it with a flexinglsnapping sound.

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underhand pause and pitch

After an underhand strike second, place the card face up on the deck's right edge, momentarily pinned by the left thumb before gripping the card with the right hand and pitching it face up. The pause is natural in stud as it allows the dealer to 'call' the hands ("kings on top," "possible flush," etc.). underhand snap-scissors pitch

For an unusual action, deal a strike second, but as the second card clears the deck, the right second finger slides on top of the card and snaps it underhand and face up off the right thumb, which rolls over the end to get out of the way. The snap is almost instant as the second card flips face up between the first and second fingers. From this position, it's pitched.

photo 407 - .strike n i ~ dh n g secoiid cmcl to the side

photo 408 - secoiid fiilgei- 1i7ove.s oii top of.secoiii1 ciini

Slappers Slappers was an old-timer who ran an underground blackjack game. He was not a polished dealer, but he jumped in and dealt the game from time to time. He dealt the players' initial facedown cards with no spin, essentially tmsing them to the players. He dealt the hit-cards in an underhand-slapping action. As you probably surmise, Slappers was a mechanic. Slappers only moved while dealing hit-cards. His method entailed putting his right thumb on the center of the top card to deal it-kids often deal this way. A friend of mine knew Slappers well enough to get behind him one day and watch him work. Believe it or not, Slappers was a 'deucedealer' who used a brief about halfthe size of the card! The move went by everyone. As the hands meet for the deal, push the top card to the right and down about four times the normal brief size. Approach the deck from the front with the right hand as the thumb contacts the center of the top card. Drag the second card forward as the left thumb retracts the top card and lowers the deck-hand. Once the second clears the deck, gently slap it face up on the table.

photo 411 - natural grip

I

photo 414 - gently slapping second card on table

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Hanging Seconds After learning about Slappers' second deal with a half-card brief, I wondered if the concept could be taken even further. After demonstrating the following second for several cardmen, the answer appears to be yes. This method utilizes a brief that's almost the size of the entire card! Push the top card off to the right as far as you can. In this position, dealing traditional strike seconds is unaffected. Just rock the deck-hand slightly backward to block the top of the deck, move the top card down the width of the ball of the thumb, strike the exposed comer with the right thumb, and deal a normal underhand strike second.

If dealing only one second, retract the top card before the deck-hand returns to its starting position and the top of the deck is visible. If dealing consecutive seconds, retract the top card only ajler dealing the last second. Dealing consecutive seconds with no retraction is surprisingly deceptive. Since the retraction is abnormally long, after the second, separate the hands farther than normal and move the left thumb to the left side or off the left side.

photo 415 - top ca~dpiu/~edahi,i~o.st qfjtlie deck

pl~oto41 7 - reti-action as ia.sl second is dealt

pliotu 41 6 - standaid stl,ike despite iianging top ca1.d

False Deals - zo

Maintain a gentle rock/swing with the deck-hand and focus on rhythm. You'll find that the right hand provides enough cover to hide the protruding card during the take. Deal in a forward direction with the hands relatively close together to provide more cover. I'm not sure what's going on, but one cardman described the action as looking like the second card was melting through the hanging top card. The concept is admittedly extreme, but I wanted to include the move to (a) emphasize the importance of managing the viewing angle, and (b) proving that we can never take any move for granted and assume that we know everything about every move. After many years of reading about tiny briefs for second deals, my knowledge was shattered after learning about Slappers and having success with the Hanging Seconds. And it didn't stop there. More extreme methods are presented in the following section on pushoffs.

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PUSHOFF SECONDS The pushoff second is considered the advanced method for dealing seconds as compared to the strike second, and rightly so. Anyone can push the top card off the deck and contact the second card with thc right thumb, but pushing two cards off the deck in almost perfect alignment, as is generally required for most pushoff seconds, is markedly more difficult. And when consecutive pushoffs are required, difficulty increases exponentially. I like to ask cardmen what they think is the primary difference between the strike and pushoff, other than pushing two cards off the deck. Very few can respond definitively. The difference with pushing off two cards is that the right thumb doesn't have to reach past the right side of the deck to take the second card, which is inconsistent with the normal dealing action.

Here's another common question. Since most seconds have both a strike and pushoff version, why use the pushoff! Why use the more difficult variant? Is it worth it? In most cases the answer is yes. I've been fooled many times by good pushoff seconds. I've been impressed many times by good strike seconds. The biggest challenge with pushoffs is technical sustainment. Sooner or later only one card gets pushed off, or three cards, or the cards don't get pushed off with the same spacing. These are all mishaps that can disrupt the deal. When mechanics are faced with these problems, they immediately recover and go into deal-off-the-top mode, but how do cardmen correct these problems in the middle of a stunt? technical observations -fvaming the deck ( g ~ Comfort is the key. Also, a small bevel tends to facilitate pushoffs, which is why it's commonly adopted by mechanics and cardmen. --dealing thumb There are essentially two basic pushing actions: push two cards off the left side or push them down from the front end. Which method is best? For most card players, the deck is generally beveled to the right to some extent. For a left-side pushoff, the bevel offers a head start as the ball of the left thumb can apply pressure to two cards at the same time. I have also found that pushing off the side offers more taking options and methods, which is important to cardmen as they can never learn too many methods. But having a variety of methods is irrelevant to mechanics. They generally only need one solid method. For a front-end pushoff, pushing down from the top offers more cover because you'll be generally taking below/behind the left thumb-when you push off the side, you'll be generally

r a s e Deals - 3ar

taking to the right of the left thumb. Since most players generally don't bevel the deck backward, the method can't easily take advantage of a beveled deck. Many cardmen use the tip of the thumb to push two cards down off the front edge, which is more difficult for me than the side pushoff, but definitely doable. Finally, 'long pushoffs' are more difficult with a front-end pushoff (described next). Although I have found side pushoffs to be more natural and reliable, I've seen the front-end pushoff done deceptively. Finally, for most pushoffs, the closer the alignment of the top two cards, the better, but it often depends on the method, cover, and viewing angle. -brief size

Brief size for pushoffs is the distance the two cards are pushed off the deck, referred to as 'short pushoffs,' 'medium pushoffs' and 'long pushoffs.' A short pushoff is the shortest distance possible while still being able to tactilely discern that two cards have been pushed off and apart from the third card. For medium pushoffs, push the cards off the deck a distance approximately equal to the width of the ball of your thumb-this is the normal pushoff for most cardmen. With long pushoffs, push the cards past half the card's width. The difference between short, medium, and long pushoffs is not trivial. Some methods are best with a short pushoff; others are only possible with a long pushoff.

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-push off and retraction To synchronize everything, keep it simple with the following three-step guideline. Stcp one is to assume a starting position for both hands. Step two entails bringing the hands together, leveling the deck, pushing off two cards, and gripping the cards in taking position with the right fingers. The moment you reach this contact point, the left thumb should be in the pushoff position, whether it be a short, medium, or long pushoff. The right fingers should be in the taking position. For step three, both hands change directions simultaneously. The left thumb retracts the top card as the deck-hand move to its starting position. The right fingers take the second card and deal it to the appropriate position. In short, step three begins the retraction. The timing of the pushoff is critical. It starts the instant the hands begin to move together The timing of the retraction is equally critical; retract too fast or too slow, the movement will stand out. For practice, get to the middle point where two cards are pushed off the deck and the right fingers are in take-position, then stop. Proceed with step three in one smooth action. Repeat several times. The objective is to lock into muscle memory the simultaneous movements of step three. Another way to reinforce these actions is with a slow-motion deal. When you can start the pushoff the instant the hands begin to move, and both hands reach each other at the middle point in the deal, and both hands simultaneously reverse their actions as the top card is retracted and the second card is dealt, slow-motion pushoff seconds are possible. Ensure that the pushoff is from the edges and that the take is from the edges to minimize resistance. If the ball of the left thumb pushes off, or the right finger grab too much of the carub (before the retraction), the deal is more difficult. Strive for a light touch from both the left thumb and right fingers. Finally, don't view these observations and suggestions as theoretical musing. The pushoff second is all about optimal timing and synchronization of movements. It's difficult to acquire the most deceptive deal without attention to the details . By the way, the same guidelines hold true for strikes. I opted to opine them here because the more difficult technical aspects of the pushoff are less tolerable to deviations from these guidelines. --consecutive seconds

Of all the second deals, consecutivepitchpushoffs are most difficult. The deal often starts okay, but after dealing two or three seconds, the required precision and timing can be difficult to maintain. Consecutive pushoff seconds are by no means impossible, but if this is your goal, be prepared for some serious practice as a difficult challenge lies ahead.

b o r d e r subtlety With white-border decks, here's a little-known dealing-thumb subtlety that can make a big difference in many deals. Instead of pushing the top card off the deck from the center-side, pus,, it from the top left side. Using a medium pushoff, after two cards are pushed off, the left thumb splits the back designs between the top card and third card, which gives the deck the appearance of still being squared. With the dealing thumb laying on top of the border, there's more natural cover because the left thumb hides the movement of the border, resulting in a subtler retraction.

photo 422 - no border siibtletj

With white-bordered cards, depending on conditions and viewing angles, it's generally more difficult to deceptively deal pushoff seconds due to the need for perfect timing of the retraction. This subtlety helps mitigate the problem.

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- Gambling Sleight of,,,,,,

METHODS Pitch Pushoffs I have played with several different pushoffs and takes. I'm partial to a few standard methods but nothing outside the norm. Although I don't have a favorite method to pass along, I do have a test for evaluating pitch pushoffs versus pitch strikes. When the early crooked casino operators auditioned 'bust-out' dealers, the mechanic was asked to put an ace on top and deal around the table, seven spots, and deal the ace to himself. He was then asked to place the ace 2ndfrom the top and repeat the test. The testing continued with placing the ace in different positions until the ace was placed 7" from the top-requiring only one second. If the mechanic had good rhythm and there was little change in the position of the left thumb and take, heishe was hired (yes, female mechanics were not only common, they were often the most dangerous). With just this one move, players had no chance. The increase in high cards dealt to the dealer's up-card position ensured that players were always on defense. Since players double down and split less against high cards, volatility is low, and there's less chance for lady luck to get in the way. When mechanics were called in to cheat winning players, it was known as 'putting out the fires.' For our purposes, it's interesting to note that the crooked operators were most interested in looking at the rhythm of the deal. They had almost no interest in method and brief size, I'm told. When I'm in stroke, I can rip strike seconds starting from any position at normal dealing speeds. But I have yet to find a pushoff second that achieves the same goal with the same pace, rhythm, and reliability of my strike seconds. For this reason, I've never fully explored pushoff seconds for pitching. When mechanics whacked out, seconds were coupled with a system for peeking the top card or 'reading paper' (marked cards). For the top mechanics, the preferred approach was to use strike seconds for pitching cards and pushoff seconds for dealing hit-cards and double-down cards. True story. My dear friend and mentor, Big JB, won millions playing blackjack. He's playing at a major strip casino when a female mechanic was sent to his game. He starts to run bad when the dealer goes to deal a hit-card but doubles clutches-the mechanics' worst nightmare: the classic 'hanger.' Big JB immediately surmises what happened. He looks around and there's not a boss anywhere near the game, and he's the biggest player in the joint-the bosses obviously gave the mechanic room to work. Big JB stands up and stops the dealer, "Okay, nice and slow." With a ten as the up-card, the dealer flips the hole-card over to reveal a six. Big JB holds his hand above the deck, instructing the dealer to slowly deal the hit-card. It was a five! Speaking of pushoff hit-seconds, here's my favorite method.

Hit-card Pushoffs This is the first pushoff second that I ever spent any serious time to learn. It was taught to me by expert and legendary crossroader JB. At first glance you may interpret the method to be pedestrian. However, if you carefillly study the technical nuances, the method stands out from similar moves. I learned the move standing at a blackjack dealer, so start with the deck in a normal resting position with the right side of the deck pointed slightly downward and tilted slightly inward. The reason this detail is important is because this pushoff second-and many other false deals-benefits from having a distinct starting position, then moving from the starting position to the contacthaking position. Conversely, if the deck starts in a horizontal position and remains the same from beginning to end, you'll be missing an opportunity for maximizing deceptiveness.

Start with the left thumb at the top left comer to minimize bending the thumb at the knuckle during the pushoff. Push off two cards with a medium pushoff as the deck-hand moves to the takinglcontact position. Bring the right hand over the top at the front right comer of the deck in a diagonal alignment, letting the right first finger land on the nail of the left thumb (photo 426). The right thumb moves under the two cards. You're now in the takinglcontact position with both hands centered relative to your body. To facilitate the deal, raise the right side of the deck up and offits horizontalplane just a bit to help better fit the pushed off cards into the natural curvature of the right fingers. Keep the right fingers together but relaxed. Begin the retraction, and take the second card between the fingers and tip of the right thumb between the left second and third fingers, gripping the edge of the card. As the second card is dealt and clears the deck, continue retracting the top card, and lower the deck-hand to the starting position. Deal the card forward and face up to the table, end for end, as with the traditional hit-card. The right fingers provide strong cover as the second card clears the deck before moving forward. The move works with different takes, but all four fingers on top is best. Approach the takinglcontact position without breaking either wrist-just bring the hands together naturally and with most pushoffs, strive for a light pushoff and take. When I'm in stroke with the move, the sensation for me during the take is that I'm grabbing air. I know this sounds weird, but it's as if I don't feel the second card until it turned face up on the table. Downward pressure during the take can produce a light snap that blends in nicely for stud deals, pitching the face up at the last moment.

394 - Gambling Sleight ofHand

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photo 426 - dealingface-up hit-card

The method also works equally well when you're seated, but for standing mechanics dealing to seated players, the advantage is enormous relative to managing the viewing angle. Mechanics would keep the deck relatively flat and aim the front end of the deck at the players' eyes to block the top of the deck. Note that this position is more open and casual than when dealers necktie the deck up against their chest. Finally, this is one of those moves that benefits from a slower-than-average speed. Given the strong cover, mechanics would go for the money in virtually slow motion!

False Dear- -

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Combining the pushoff second deal with the 'max-cover' taking style is a strong, deceptive action. Max-cover refers to taking the top or second card with the four fingers at the front of the deck and the right thumb at the back (like getting ready to top palm). The method is a favorite with many private-game mechanics. Max-cover takes can be done with short, medium, and long pushoffs. Although short pushoffs are not the norm with legitimate card players, they are perfectly acceptable with this taking action because the cards are dealt by the ends and with more cover, so the degree of the pushoff is difficult to discern. Short pushoffs with max-cover takes can lead to a moveless, streamlined appearance. At first the taking style will feel restrictive. Once the card is taken into max-cover position, you may question your dealing options. Do not. Surprisingly, the max-cover second is exceptionally versatile. Start with a short pushoff from the top-left comer. As the hands reach the contacthaking position, the ball of the right index finger should be above the nail of the left thumb. Deeper takes are also possible by positioning the right second finger above the nail. Take the second card with the right thirdfinger and thumb at the top and bottom right comers. Drag the second card off the right side of the deck and slightly backwardidiagonally as the left thumb retracts the top card. The right first and seconds fingers remain naturally extended but do not contact the deck; their sole purpose is cover. This action can be done at natural speed or sharply based on the dealing style.

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I also like the following taking action. As the card clears the deck, the right first andlor second finger lightly graze the top card in a downward, diagonal direction off the back right comer.

396 - Gambling Sleight of Hand

Once the second card clears the deck, the deck-hand will be resting on the table with the dealt card held in max-cover position a fraction of an inch off the table. At this point, here are some of your options.

0 In one continuous action, let the right thumb slide under the card and turn it face up in the traditional end-for-end action for a hit-card deal.

0 Move the second card back to the deck and place it on top of the left thumb causing the card to snap into dealing position for hitlstud deals. 0 The card can be pitched from the max-cover position with just a little twist of the wrist. This is generally not an action for pitching consecutive seconds; it's more practical for pitching a single card. 0 My favorite way to pitch a card is with a 'scissors pitch.' Just as the second card clears the deck, let it slide between the curled right first and second fingers. Extend the fingers to pitch the card as depicted below.

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0 Simply drop the card to the table and push it to the appropriate player. This action can be very disarming. For a good follow-up action, the instant the second card lands on the table, bump it with the right thumb to propel it forward. Or, slide it in the direction required, but with only the right first finger on the center of the card, creating the appearance of dropping the card on the table and moving it with a single finger. 0 The card can be also be dealt sharply and aggressively to the table and pushed to the appropriate position. This is not uncommon. Instead of pitching the 'river card' in a game like seven-card stud, for example, dealers will often deal these cards straight down to the table and slide them to the players to avoid flashing.

False deal^ - J r

0 For dealing multiple cards in games with draws, second deal and drop the card to the table, followed by second dealing again and using the card to scoop the first card and pitch them. Or, deal consecutive seconds without releasing the dealt cards from the right hand, then deal the cards in the same action. Or, pushoff three cards but only take the bottom two; immediately move the cards to the appropriate position and ~preadthem. These are all ways to second deal multiple cards and save the top card. Scissor Seconds The term 'scissor' refers to a taking style. Most commonly, the top card is taken between the right first and second fingers and snapped face up. The card is then either placed on the table like a hit-card or pitched face up, stud style. To deal the second, the hands come together as the left thumb pushes off two cards. The right first and second finger sandwich about one inch of the pushed off cards with the right thumb underneath and with the thumb nail contacting the second card. As the hands begin to separate, the left thumb retracts the top card. The instant the second card clears the deck, the right thumb snaps the card face up off the second finger. The speed of the snapping action can vary depending on your goal. When the card is snapped sharply, the illusion is very good that the card comes off the top, although the deal does not have +obe done aggressively or excessively fast ~

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I know one mechanic who used this style of dealing to whack out in Las Vegas. All hits were legitimately dealt with a soft, almost silent scissor take, which matched his scissor second perfectly. To have fun with the players, he would often leave the card between the right fingers until the last possible moment before snapping it face up-as if to 'sweat' the card with the player (take a moment to hope for a favorable result).

398 - Gambling Sleight ofHand

BH scissors second For one of my all-time favorite seconds, here's a novel false deal that I have kept to myself for many years. As with many of the deals described, it appears in print for the first time to the best of my knowledge. I credit this method to a hustler/con man who was known by the moniker of Houdini. I mentioned him briefly on page 286 and the ballsy hop he employed. Although I wouldn't rate BH as a top-shelf mechanic, he definitely had a style all his own. Just to quickly put his career in perspective, the last time I saw him, he was leaving a hospital dressed as a doctor with his wife in a wheel chair. He was meeting with a bookmaker to turn in action on sports and the ponies, ostensibly booked from other doctors. To make a long story short, it was all a con. He earned his nickname after devising a diabolical way to 'past post' the bookmakers. The bookmakers eventually woke up and realized that something was wrong, but they never figurea out exactly how they were getting beat, which prompted them to say, "The son-of-a-bitch is a Houdini." The dealing action is uncommon, but features a powerful principle known to most magicians: the 'retention of vision.' The method requires a long pushoff. The right hand approach the deck for a scissor take, but with threefingers on top and the littlefinger below. In this position the forward right comer of the cards sticks out between the third and fourth fingers. This is the key. When this second is dealt, you first see what appears to be the top card pushed off the deck and taken in the scissors position with a comer protruding from the fingers. As the right hand moves away from the deck, theprotruding corner remains visible, subconsciously suggesting that the protruding comer must be part of the top card. As the second is dealt, the deal slows down a bit to sell the image depicted in photo 435 on the next page. When the timing is right, the action is superb!

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photo 435 - dealing the second; retaining take position

photo 436 - dealing face-up for stud or hit-card

Cheat-seat Seconds Here's a second deal that targets the one-seat or 'cheat-seat' (first position to the dealer's left). By "target" I mean friend or foe because the false deal can help the player or cheat the player. Turn to the left and do a long pushoff. Approach the pushed off cards with the right hand and take the second card with the fingers below and thumb on top as the top card begins to retract. Lift the second card about six inches above the deck and toss it to the table face up in front of the player. Continue dealing face-up cards with the same pushing, taking, and dealing action.

After the take, the right hand moves the second card forward and directly in front of the deckhand, which provides strong cover. Now add the natural cover from the right hand and there's not much to see from any angle, especially when seconds are only dealt on the first card and is always immediately followed by legitimate deals. The method works well with peeks and paper.

400 - Gambling Sleight ofHand

Early-retraction Seconds Normally, after the pushoff, the right fingers can only take the second card after the top card begins to retract; otherwise, the right fingers would be taking two cards. The timing for this method is different. After the pushoff, the instant the right fingers reach the taking position, the top card is already retracted and squared with the deck, leaving the second card protruding. Each pushoff consists of pushing two cards off the deck, but retracting the top card as the right hand reaches the deck. When the right hand actually reaches the contactltake position, the top card is fully retracted (photo 439), leaving the second card protruding for an easy take. Start with the deck in left-hand dealing position, turned inward with the right side slightly tilted downward. Begin the pushofflretraction as the hand rotates to a horizontal position, simultaneously contacting the top of the top card for the take. Take the second card by its edge with the first three fingers on top, thumb on bottom. The right hand moves to the right until the second card clears the deck, and ends the deal normally by turning the card face up, end for end, and dealing it to the table. Also, the instant the second card clears the deck, begin returning the deck-hand to its starting position.

photo 439 - top card retracted before take

photo 440 - dealing second with squared top card

I like to rotate the deck hand strongly forward, giving observers a top-of-the-deck viewpoint. This apparent openness better showcases the deal. When done adeptly, the method creates the melting action since it appears that the top card never moves.

I have also found that dealing hit-cards as you move to left adds another dimension to the deal. With the body moving to the left, deck-hand moving to the left, and the right hand moving to the left, the early retraction blends in with the surrounding movements. Although the initial pushoff is to the right, it doesn't register with everything else moving to the left. I have dealt consecutive hit-cards in this fashion for many cardmen and have never had one question the Lechnique; instead, I get compliments on the timing, which is ironic because the

method alters the deal's natural timing! A possible reason why this counter-intuitive action appears to be so deceptive is the moveless top cavd as the second is dealt. When there's no retraction, there's no opposing movement and therefore nothing else for the brain to interpret. tap second

For another novel variant, start with a short pushoff. Come over the top with the right hand and begin the retraction. Place all four fingers on top of the deck, and take the protruding second card by the back right comer between the second joint of the index finger and thumb. Pull the second card to the right and let it clear the deck first to avoid flutter, then casually toss it face up to the table. Strive for a single tappingldealing action. The right fingers tap the deck, take the second card, clear the deck, and immediately move upward in a casual, face-up tossing action. Toss the card at least six inched into the air. You can also snap the card backward for a different dealing style.

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402 - Gambling Sleight ofHand

No-retraction Seconds It's also possible to deal deceptive seconds with no retraction. Depending on the context, these deals can look surprisingly good. Here's one of the few examples in the book that describes an application, but it's necessary. The game is hold' em. Assume the deck is marked and the mechanic has read the top card to be an ace. He has an ace in his hand and wants to deal the ace into the flop, but procedures call for burning a card before dealing the flop, so he needs to second deal the burn-card to save the ace. Rotate the body slightly to the left and push off two cards as the hands meet. The right hand approaches the pushed off cards with the right second finger under the front right corner. Lightly deal a second to the table with a snap, but do not move the top card. There's no retraction. Without breaking the normal dealing rhythm, deal three additional cards for the flop. The burn-card and flop are dealt in a 1-2-3-4 rhythm. It's not clear how the action fools the brain. But after dealing the second, the instantaneous appearance of a partially dealt top card is simply perceived to be the next card-even though there's no pushing action. What I can say is that the method has found its way to the card table and it's extremely deceptive. The theory also works for other dealing styles.

photo 443 - medi

The move requires a knack for taking the second card, but it's easy to acquire. To practice, push two cards off the deck and freeze, then practice taking and dealing the second card without any movement of the left hand, left thumb, or top card. Both the early-retraction and no-retraction seconds are stark departures from traditional methods, but they work. They also teach us to embrace the traditional methods as a starting point, but to never stop researching and experimenting with different variants and handlings. Other good, nontraditional methods may be right around the comer, but they wont just appear. It will take dedication to find them.

Swipes A 'swipe' is an artificial swiping action of the right thumb that plays no physical role in the deal. It only adds a visual convincer. Adding a swipe enforces the illusion that the right thumb openly and positively struck the top card. I have seen swipes with seconds and bottoms and the results can be visually spectacular. One problem, however: card players don't swipe the top card to deal it; the right thumb simply moves to a contact point and begins the deal. Nonetheless, I have found that short swipes can add visual authenticity to many false deals without standing out as artificial actions. For a favorite method, I like a short pushoff from a straddle grip. The right fingers approach the pushed off cards at the front right comer of the deck as the right thumb starts over the left back comer. In a continuous dealing action, slide the right thumb across the back of the top card from the back corner to the front corner in a swiping motion, eventually taking the second card between the tips of the right second finger and thumb for the deal. Once the second card clears the deck, deal it down to the table, pitch it, or deal it face up.

photo 445 - take starts with the right thumb at back end

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photo 446 - beginning of swiping action

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- Gambling Sleight ofHand

Novelty Seconds

I have been collecting nontraditional, novelty deals for many years; here are a few.

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Jim Keller, the inspiration for Casino Game Protection, was pitching cards around the table one day and showed me this second deal for alter the dealer's upcard in blackjack. To deal the upcard legitimately, push off the top card, grab it by the right side with the right fingers on the face and thumb on top, and drop it off the fingers, causing it to flip sideways and face I up. To deal the second, push off two cards, contact the second card at the face as described, and exert a combination of upward pressure with the right fingers and downward movement from the deck-hand. The opposing actions will cause the second card to flip face up to the table.

pushdown snap second This second was demonstrated in the Gambling Protection Series (DVDs). Start with a medium pushoff. With the right fingertips, sharply push down on the right side of the second card as the top card is retracted. The second card will snap against the side of the deck and flip face up into the right hand. This can be a good, unusual, fancy, legitimate deal, too-perfect for demonstrations. photo 450 - rightpgers snap second card face up

cigar second Most readers are probably familiar with Marlo's 'cigar bottom.' This second has similarities. Holding a cigar between the right first and second fingers, the mechanic would push off two cards into the right fingers, retract the top card, turn the deck-hand palm down to grab the secona card, and flip it face up in an arc to the appropriate player. The right hand never moves, a justifiable action that prevents ashes from the cigar falling on the table.

False Deals - r c

get-ready seconds

If you start with a little-finger break under two cards, it's easy to pusboff two cards in nearperfect alignment, which makes dealing all pushoffs easier. I like to gesture with the deck-hand, moving it forward and barely pushing off two cards, then retracting the cards into a little-finger break as the deck-hand returns to its starting position.

I met one mechanic who started every pushoff second with a get-ready. He simply pushed the top card over about one-eighth of an inch and rested his left thumb on the top two cards. This was his get-ready position, and it gave him a tactile confirmation that ensured consistent pushoffs of two cards. The method didn't ensure pushoffs in perfect alignment, but it did guarantee that only two cards would get pushed off-a good tradeoff in his view. He also never retracted the top card perfectly. He stopped short of being squared, which put him back into his get-ready position. In my view, this is an approach that needs to be more h l l y explored. The possibility of a system that makes all pushoff second more dependable is definitely work thinking about. Here's a method that allows you to deal seconds from an apparently squared deck and achieve the melting action. Start with a two-card break and hold the deck lightly in dealing position with the left thumb resting across the center of the top card with the lightest possible pressure. Use the max-cover take with no pushoffto deal the second card by taking the second card by the front and back edges! The left thumb holds the top card in place as the right fingers and thumb deal a second from a perfectly squared deck-aside from the break. For another unusual get-ready, after getting a two card break, pull down on the top two cards with the left third and fourth fingers and pivot the top two cards off the base of the thumb in perfect alignment-producing the same result as a short pushoff. After the cards pivot about half a white border, pin the cards in position with the left thumb and relax the rest of the hands, allowing all cards to lay flat with the fingers naturally extended. When ready for the deal, continue with the standard method, which is easier due to the get-ready. It's rare to run into mechanics who employ a get-ready for dealing seconds. Nonetheless, they can definitely come in handy in the right situation.

406 - Gambling Sleight ofHand

ONE-HANDED SECONDS -Sooner or later, all cardmen with an interest in false deals will experiment with one-handed deals. They are too fun to resist and are great for demonstrations. Although they are rare at the card tablc, hcrc are a few that havc surfaced over the years.

Standard Methods Most cardmen are familiar with the standard methods for these false deals. After a pushoff, the second card can be pitched, turned face up on its side, flicked, or flipped face up in a variety of ways. To help with the explanations, a 'flick' is a sharp turn of the deck-hand that propels the second card forward. A 'flip' is a much softer, turning action where the deck is lifted and the second card is generally dealt face up.

dealer's thumb-off Legitimate card players sometimes adopt one-handed deals. Some will pitch around the table in the traditional two-hand fashion, but turn the deck-hand inward to 'thumb off a card to the dealer's position. I've also seen legitimate players use a one-handed deal to the firstposition, but pitch to the other players in the traditional manner. Interestingly, dealing to the first position with only one hand is the standard operating procedure for casino dealers. It prevents dealers from turning their backs to the positions on their right as they deal to the early positions on their left. The procedure is designed to help dealers 'walk the game' (maintain peripheral awareness of all action). The easiest of the standard methods is dealing a second to the dealer's position. Use a short or medium pushoff and maintain the lightest possible pressure with the left thumb. Turn the deckhand inward and slightly downward. This turning force coupled with a soft touch on the top card is enough to let the second card slide face down to the table. Turning the deck-hand inward also provides cover. After dealing a second with more cards to be dealt, don't retract the top card; instead, just keep moving the deck-hand to the left and pitch the partially-dealt top card to the first player with one hand. Also, when a one-handed second is the last card dealt in a round, immediately grabbing and tabling the deck with the right hand provides strong cover.

pitch Pitching one-handed seconds should always occurs when dealing to the left side of the tablethere's no reason to deal to the right side of the table with the left hand. The following method is excellent and virtually ensures a clean deal. The method utilizes a novel pushing and get-ready action.

False Deals - 407

Do a short pushoff as the deck-hand turns to right and inward. In the same action, pull the top card back as depicted. This is the crux of the method. Move the deck-hand outward with a sharp, tossing action to the desired position and the second card will fly out onto the table with good spin. Once the top card is retracted, hold the deck lightly and maintain the lightest pressure on the top card with the left thumb throughout the. dealing action. Since the top card is flush with photo 451 - get-ready for one-handed second the deck before the forward pitching action, there's nothing to see after the second is dealt and the deck-hand abruptly stops. The short backswing is normal for a one-handed deal; when the deck-hand stops, all the observers see is a spinning card and a squared deck. Don't skip this method. I've played with other pitching methods before stumbling on this one. The method not only creates the melting action, but also works for dealing consecutive onehanded seconds, creating an opportunity for a super demonstration. table-brush second After a medium pushoff, turn the deck-hand inward and retract the top card. Slide the face of the second card against the table as the deck-hand moves forward and palm down. When done properly, the top card brushes the second card face down and forward. Instead of brushing the card forward, deal the second card to the table, turn the deck-hand over, grab the card by the sides with the left fingers and thumb, and toss it to the appropriate player.

408 - Gambling Sleight o f Hand

Most cardmen have a favorite method for flipping the second card face up. I like a medium pushoff as the deck is lifted about four inches off the table, moves to the left, and rotates so the right side of the deck points directly downward. In a continuing action, move the deck-hand downward to release the second card, turning the deck-hand palm down at the lastpossible moment to cause the second card to land face up on the table.

At the end of a short pushoff and retraction as described for a 'pitch second,' a sharp flick of the wrist, turning the deck-hand from palm up to palm down will send the second card flying face up on to the table.

stab After a long pushoff, the deck-hand turns over as the top card retracts. End the deal with the left-middle finger stabbing the face-up card to the table. One can envision a hustler reaching for a cigar or drink with the right hand, creating the justification for a one-handed deal. The action is very much like holding a double-lift face up in the right hand, grabbing the double with the deck-hand, and dealing the second card, only this method is done entirely with one hand.

table snap-down After a medium pushoff, move the deck-hand to the left and rotate the deck into a vertical position close to the table. Begin retracting the top card. Rotate the deck a little more to let the back of the second card near the long edge contact the table. Turn the deck-hand face up as the top card is fully retracted; the second card will snap face up to the table.

As soon as the second card snaps face up to the table, I like to push the card from the face and slide it to the appropriate player. If you learn to snap-down and slide the second card all in one smooth action, it's a cool combination.

photo 457 - secorid curd s n a p f u c e up

table snap-down #2 Start the same way as just described, but let the edge of the face of the second card contact the table. Continue turning the left hand palm down and retracting the top card until the second card snaps face down to the table. The left fingers, while holding the deck, grab the card by the sides and toss it to the player. Medium and long pushoffs work best for this move.

No-spin Seconds The first notable departure from the standard methods that caught my eye was shown to me by gambling expert, JP. What made the method unique is that JP dealt the second face down with no spin. After a short pushoff, the deck-hand moved forward in a subtle, soft whipping action that caused the second card to shoot out the front of the deck and land with no spin. JP ended with the deck parallel to the table and frozen for a moment to sell the move. He would point to the player position as if saying, "There you go." Depending on the action of the deck-hand, the second card will either move in a straight line to the table, or follow a more casual, over-the-hill path. With the casual variant, if the tossing action is faster than the card's movement, there is an instant where the second card is directly above deck, which is very convincing. Experiment with grips, pushoffs, shortloval and longloval dealing actions, and the force to find the combination of technical components that work best for you. Apparently, simplicity of movement relative to the deck-hand and the second card (no spin) seems to preclude manipulation and add to the deceptiveness of the deal.

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- Gambling Sleight ofHand

Blackjack Double-down Seconds Ready for some practice time? The following method was employed by blackjack mechanics to deal double-down cards and hit-cards with one hand-another deuce shared with me by JP. After a medium pushoff, the ball of the left second finger begins to pivot the second card out of the deck in a counterclockwise direction. As soon as the right comer of the second card juts past the front of the deck, the leftjrst and secondfingers grab the card by its front right comer. The fingers straighten to pull the second card clear of the deck as the top card is retracted. The deck moves to the player and lays the second card face down with the side facing the player, generally just in front of the face-up double-down cards. When executed adeptly, it looks like the deckhand moves forward with a face-down card between the fingers as depicted below.

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If you find it difficult to take the card between the fingers, you're probably not positioning the deck deep enough in the left hand. The front end of the deck should be aligned with the left second finger. This is the casino's protection-grip, which frees up the first finger and makes it easier to get it on top of the top card. Also, pushing the top card diagonally forward with a counterclockwise twist also helps facilitate this deal. First practice dealing tops with this one-handed style. Once the action kicks in and begins to feel comfortable, start practicing the seconds. As with many one-handed deals, they are worth learning even if you only use them to deal off the top.

r u s e Deals - 41 I

One-handed Pop Deals Blackjack dealers are taught to frame the deck back in the left hand but beveled forward with their first finger across the front end-the protection-grip. This makes it easier to push the beveled cards back, secure the deck with only the thirdlfourth fingers and base of the thumb, and leave the other fingers and thumb free to pick up losing bets, pay winning bets, and pick up cards. When it's time to deal a hit-card from this grip, it can be difficult for the dealing thumb to reach back and push the top card to the right, so to make the dealing action easier, dealers will either push the top card forward and lever it up and off the front of the deck with the left first finger (default action #I), or pull top card off the left side to lever it up sideways (default action #2). These are the default dealing actions we are trying to emulate in the following false deals.

photo 460 - default action #l;front-endpop-up

photo 461 - default action #2; side pop-up

one-handed pop-second (jiront end) For this method, follow the explanation for the 'double-down second,' but once the second cam clears the deck, instead of extending the left first and second fingers with the pinched second card, bring the card back against the front end of the deck into the front-end pop-up position. The left hand can also move forward and let the card fall face up in front of the player, which is a hue one-handed deal. Or, the most common way to complete the deal is to simply take the card in the right hand and deal it in the traditional manner, which mimics the way most blackjack dealers complete the deal.

412 - Gambling Sleight ufHand

one-handed pop-second (side) With the left thumb, lever the top card off the left side. Approach the levered card with the right hand as if to deal it face up. Instead, slide the second card forward with the right thumb as the right fingers contact the left side of the second card and turn it 180 degrees clockwise before it's flipped face up on its side. The instant the second card clears the deck, the left thumb pushes the levered top card back on top as the deck-hand returns to its starting position.

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photo 464 - taking second card by left side

photo 465 -flipping second card face up

I like to deal one second and pause-suggesting to cardmen that I'm only going to do the move once-then deal two or three more seconds in rapid succession. If the take occurs the instant the top card pops off the side, and the retraction is covered by turning the deck-hand inward, believe it or not, the move flies. By the way, I have never had the chance to see this second deal demonstrated for me. I heard about it (happens all the time in this hobby). The only information I had was a vague description of a mechanic dealing one-handed seconds where the top card "popped off the side of the deck."

r u s e Deals - 41 J

From what I recall, the mechanic was from Kentucky-home of many of the best card mechanics-and his nickname was Silky or something similar. After whacking out in the South, he ended up in Las Vegas. I used to watch him at a distance from the bar. After a few visits to the casino where he worked, I was getting ready to cut into him when he disappeared. I never saw him again. What is presented is my best method for dealing seconds as the top card pops up off the deck. The illogical handling is not a perfect solution, but it's bold, surefire, and visually stunning. Variants Here are a few thoughts that should interest any cardman who has spent time learning some of the most popular methods. buckle second - Marlo In Centers, Seconds and Bottoms (Marlo, 1960), Marlo suggested buckling the top card (like a bubble peek) and dragging the second card to the left with the left thumb until it clears the deck. The buckled card flattens out as the second card pops up off the left side. The buckle is unnecessary. To eliminate the buckle, which can unintentionally bend the cards, move the top card to the right about one-half inch and drag the second card to the left as described. The only change required at this point is to secure the top card with the left little and thirdfingers as depicted below; otherwise, the dealing action will send the top card flying. The default action is the side pop-up deal.

photo 466 - dragging second card off the side

photo 467 - second card clearing left side; no buckle

414 - Gambling Sleight ofHand

Chinese second As a young cardman, I played with the Chinese Second from Vernon's Inner Card Secrets (Lewis Ganson, 1960). The move was brutally difficult and even after developing some speed and reliability, it was nearly impossible to covcr thc flutter as the top card openly levered up and out of the way to make room for the second card to be dragged over the front end into a front pop-up position. If you like the move for demonstration purposes, here's a better get-ready. Start with the left thumb at the front-right comer. Push the top card down and to the right about one-half inch and then back to the front-right comer, dragging the second card with it. This causes the front right comer of the second card to jut past the front end of the deck. With the left first finger, apply sharp downward pressure to this comer while the left thumb moves to the left side of the deck while softly laying on top of the deck. The downward force will snap the second card face up under the deck and held by the left-first finger.

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photo 470 - Chinese second deal

photo 471 - endingposition

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False Deals - 41 3

mechanical second - Marlo Of all the novelty, one-handed second deals, this is the method that works best for me. It's a minor variant of Marlo's 'mechanical second.' The move starts with good cover and an apparently sqmred deck, and the second deal is instant. Use the same get-ready just described. Push the top card down and to the right about one-quarter inch, move the second card forward just past the front end, and re-square the cards to end up with a tiny break secured by the ball of the left first finger. Complete cover is possible by moving the left fingers forward to meet the thun~band first finger. For the deal, turn the deck-hand inward and slide the left first finger inward and under the second card about one-half inch. Immediately extend the first finger in a sharp, snapping action to propel the second card forward to the front of the deck. Hook the first finger around the left thumb, ending with the index finger resting on the thumb's nail with the face-up second card between the finger and thumb.

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photo 473 - second card swivels to righi

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416 - Gambling Sleight ofHand

It takes very little inward swing of the deck-hand to start the deal, and the card flips face up faster than other methods.

I like the legitimate, default deal with this method too; it's a good, fancy one-handed deal. For demonstrations, push two cards off, take the top card, retract the second card onto a break, and now turn the top card face up on top. You're ready for a super-fast one-handed second.

I've never had any success with this deal but have seen it done well. I have my doubts about viability at the card table, but I use the legitimate one-handed deal all the time. It's worth learning even if you never try the second deal. For the legitimate deal, move the top card to the left just a bit at the left side near the comer. Move the left thumb under the protruding comer of the top card and lift it upward. With the index finger curled over the end of the deck, continue lifting the top card against the index finger until it snaps face up on top of the deck. The position can be seen in photo 475. Grab the faceup card and pitch it with the right hand.

False Deals - 41 1

NEW-THEORY SECOND DEALS

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The term 'new theory second deal' was first used in magic by Vernon to describe a pushoff stud second where the second card pivoted backward on its back left comer against the base of the thumb to clear the back end of the deck before it was dealt. This may be a new-theory method in magic, but it's not new to mechanics. If you have ever watched stud games, the action of pivoting the top card off the back end of the deck before pitching is common. After several conversations with experienced cardmen about other new-theory seconds, two methods were mentioned several times. The first was Ghostly Seconds (Vynn Boyar, 1949), which entailed hitting the dealing thumb with the right thumb causing it to move the top card over for the strike. The other was a stud deal in The Card Magic of Paul LePaul (Lepaul, 1949). after a pushoff, the right indexfingerpushed the top card back and square with the deck, eliminating the normal retraction by the dealing thumb. Another method mentioned was D'Amico's one-handed second. There are plenty of one-handed seconds, but they tend to be fancy seconds best suited for demonstrations. But I agree that the Vynn Boyar and LePaul methods could be characterized as new-theory seconds, although as stated previously, it's impossible to know who truly deserves credit for gambling moves. The concept of new-theory moves has always fascinated me because it implies that there may be methods for many gambling moves yet to be discovered. New-theory push-throughs? Newtheory hops? Searching for new-theory methods has been one of the most satisfying aspects of my research. Every time I gather information about a move, I generally classify it as common knowledge, novelty, or fringe, hut the search never ends there. It's just a convenient way to organize the research and to reach a point where I can ask the question: Okay, this is what we know; what don't we know? Once I began thinking like this, each session with a hustler would always prompt questions like, "Have you ever seen or heard of anyone doing anything like this?" Now and then you would get a tidbit of information that led to more questions, which led to more possibilities. The information presented in the following section is based on my philosophy that there's nothing wrong with unusual actions, but there has to be a reward . . . something special, something unexpected. Here are ten more new-theory second deals. Some may break new ground and have real potential; others are exploratory ideas.

- Gambling Sleight ofHand

MD Cover Stud Second

The theory behind this second is to start with a specific take that's generally associated with a specific dealing style, but change the position of the card in the right fingers during the take to emulate a different dealing style. In this example, a max-cover take is employed until the instant the second card clears the deck, then the taking position changes to emulate the normal stud deal. The distinction is subtle, but from a deceptive standpoint, it makes a difference. During the normal stud deal, the top card is taken by the right hand with the fingers on top and the thumb on bottom; the right hand then moves forward as the card is turned face up and pitched. To emulate this action, do a medium pusboff and grip the two cards for a 'max-cover take' (fingers at the front end, thumb at the back). But the moment the second card clears the deck, allow it to spring into the normal taking gripfor a stud deal. This is done by allowing the card to slide softly off the thumb, which ends with the right hand holding the face-up card by the back-right comer, fingers below and thumb on top-the same position before pitching the card in the normal, face-up stud fashion. A slight pause is normal between dealing cards in stud as dealers pause to call out the hands. The springing action is soft and instantaneous, not a snapping action, and the dealing action is diagonally forward about 6" off the comer of the deck before pausing. With practice, the deal will eventually look like one continuous action up to the slight pause. Also, there should be a slight rocking action of the deck-hand, rising slightly to meet the right hand, then lowering naturally. Lightness and smoothness are the keys.

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The idea of changing the take can be found with a few bottom deals, but I have never seeniheard about it with second deals. The advantage changing the take is that the max-cover take provides more cover than the normal hit-card deal, allowing it to be done slower and closer to observers.

False Deals - 419

The key to this deal is the transition from maxcover take to stud take. After the second card clears the deck, the right thumb slides under the dealt card and moves forward to the front. The card is now gripped as if it was taken from the deck for a normal stud deal-right fingers on top and thumb underneath. Put another way, this deal capitalizes on the cover from the max-cover take, yet the perception of a traditional stud deal. pnoro + / a - max-cover raKe

Strive for the take, transition of grips, and the display of the face-up card slightly forward of the deck to all occur simultaneously.

photo 479 - left thumb slides under second card

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Right-thumb Retraction In early 2013, I received an email from Meir Yedid asking me about a novel second deal. Meir had seen it demonstrated by a legendary East Coast mechanic (BB) almost twenty-five years ago. Interestingly, around the same time, I had the technique tipped to me by another legendary mechanic and dear friend (MD). Although the dealing actions were slightly different and used for different purposes-MD deal face-up cards; BB pitched them consecutively-the approach was the same. Immediately after hearing from Meir, I fired off a short video clip for comparison purposes. Given that two extraordinary mechanics found merit in the method, it behooves us to take a closer look. Meir briefly mentioned this second deal in the introduction to Second To None (Simon Lovell, 2013). In a nutshell, with this method, the right thumb is solely responsible for the retraction of the top card, pushing it back onto the deck as the second card is dealt. This allows the dealing thumb to push the top two cards off the deck, reach the thumb's extended position, and remain motionless as the second card is dealt. Why is this important? With pushoff seconds, especially consecutive ones, synchronization of the deal and retraction is critical; if retraction of the top card is too early, too late, or just plain noticeable for other reasons, the move can never be perfect. This method has a way of synchronizing everything with less effort-almost automatically. For this deal, I like a straddle grip, although others will work. The left thumb starts about one inch down from the front end and pushes two cards off the side (medium pushoff) as the hands come together. The right hand approaches the deck with the right thumb perpendicular to the right side of the deck with the thumb pointed at the center of the top card. The thumb contacts the top card at center and pushes it back onto the deck, perfectly squared, as the right fingers take the card and deal it face up in an underhand action. If you strike the top card too aggressively, it will jut past the left side of the deck and diminish the deal's illusion. Strive for a soft dealing action at average speed. Although I like the straddle grip to facilitate squareness immediately after the deal, other grips work fine too. After each second is dealt, pause for a second or two before slowly moving the left thumb to the side in preparation for the next deal; otherwise, you miss the opportunity to sell the motionless left thumb the instant the second is dealt. This timing worked perfectly for MD since he used the move in games with built-in delays (blackjack, red dog, acey duecey); after a card was dealt, there was generally a few seconds before another card was dealt as the players pondered their decisions.

False Deals - 421

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photo 483 - take second card at,front right comer

photo 484 -second dealt face up or face down

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To recap, there is no traditional retraction. After the pushoff, the right hand does all the work. To ensure the least resistance, the lighter the left thumb rests on the deck, the better. When the retraction is swift and the top card retracts perfectly (the reason for the straddle grip), it's one of the most deceptive seconds you will ever see, even though the top of the deck is completely exposed during the deal. By the way, I was surprised to hear that BB was dealing consecutivepitch seconds with this method; this is very difficult to do . . . could be a stoly move if executed flawlessly.

422 - Gambling Sleight ofHand

Gravity Second This unique variant employs the idea of using gravity to begin the dealing action. Hold the deck about one inch off thc tablc in dealing position with the deck-hand turned slightly inward and the right side of the deck tilted downward. Do a short-pushoff. Given the angle of the deck, if you reduce pressure on the top card with the left thumb, the second card falls out of the deck onto the table, but will remain leaning on the deck. Approach the deck with the right hand in a modified max-cover taking position. The instant the right hand provides complete cover, let the second card fall to the table. With the right palm on the table and the first finger at front right comer of the deck, take the second card by the ends, clear the deck, turn the card end for end, and deal it face up to the table. When the timing and cover is right, the illusion is excellent.

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photo 485 -gravity second exposed

photo 486 - g ~ m v i vsecond nith cover

There are other one-handed seconds that utilize gravity to facilitate the deal. With this method, however, the deck is stationary during the take, and the second card is openly dropped with cover, resulting in a standard two-hand deal.

I like to demonstrate this method as a slow-motion second deal.

Above-the-deck Seconds

Of all the new-theory seconds, this is the one I have the most fun with when sitting down with cardmen. I like to demonstrate it once or twice and keep them guessing without giving them a chance to think about what they just obsewed. During every hitistud deal there's a point where the top card is naturally lifted off the deck. What if the second deal could be done with the same lifting action? In other words, what if observers could see the top card openly lifted off the deck before the second is dealt? Start with a short pushoff of the top two cards. Approach the deck with the right hand, palm down, fingers at the front and thumb at the back-basic position for dealing most hit-cards and stud-upcards. Continue moving the right hand to the left, sliding the right thumb under the pushed off cards. The right thumb should contact the face of the second card at about center as the right second, third, and fourth fingers provide cover across the front end of the deck. To deal the second card, apply forward pressure to the face of the second card with the right thumb and begin dealing a hittstud card in the normal fashion. Let the second card clear the front end of the deck, and continue dealing it face up to the table as the top card squares with the deck and the deck-hand turns slightly inward. The top two cards lift as if connected to the deck by a hinge that runs along the left side. Both cards lift about one inch. Inserting the thumb as described naturally begins to lift the two cards and make it easy to reliably move the second card forward. In fact, the dealing action ensures one of the most reliable takes of all the hitistud deals. Strive to get into the raised position at average speed-you want observers to see the lifted top card right up to the last moment-then deal the card slightly faster. For cardmen, I prefer the method presented in the pseudo chapter, which starts with a littlefinger break, although the get-ready is not necessary. Also, I always demonstrate this second as the deck-hand moves to the left to deal to the first position, another example of a second deal that targets the cheat-seat. Dealing consecutive above-the-deck seconds is possible, but it's not easy. You'll have to take my word for it, but for cardmen who have watched the same second deals for decades, this method gets their attention.

424 - Gambling Sleight ofHand

photo 489 - above-the deck second deal

photo 490 - stud deal

Single-Card Pushoffs For this method, the left thumb moves the top card out of the way andpushes the second card off the deck as if it was the top card! Start with the dealing thumb on the right side of the deck just below the corner. Push the top cardfornard about one-quarter inch and angled to the left. With the thumb now resting on the second card, push it to the right, which simultaneously retracts the top card. At this point, the partially dealt second card can be taken behind the left thumb and dealt in any desired dealing style. The starting position of the dealing thumb is admittedly unnatural. If your thumb doesn't comfortably stretch to the right side of the deck, try moving the deck deeper in the left hand I like to gesture with the deck-hand as the top card is moved forward, then get into second-deal position as the deck returns to the contacthake position. As the hands meet, I immediately deal the second. In this way, I'm setting up the move more naturally and providing a little cover. Instead of taking the second card as described, try a 'max-cover take.' Let the right little finger

False Deals - 425

rest on the front right comer of the second card, thumb at the back, and right first finger naturally curled on top of the deck. There's complete cover. Slide the second card out to the right with a max-cover take until it clears the deck and proceed with the deal. This is the way I demonstrate the move.

photo 491 - startingposition

photo 492 - top cardpushed up and to the left

I urge you to experiment with this unusual method. It's a completely foreign sensation to be pushing off the second card as if it were the top card. Last, avoid holding the deck in the grip depicted (photo 493) for any length of time. It's unusual and unnatural. Only move into dealing position as the deal starts. For example, one option is to start with a natural grip and move the deck-hand forward to gesture. As the deck-hand returns to its starting position, move the Ieft thumb to the right side and immediately execute the deal.

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426 - Gambling Sleight ofHand

Two-step Seconds This second deal features a get-ready that occurs two cards prior to dealing the second! The deal can be used in any game where marked cards are read down into the deck. The best way to teach the deal is with a few examples. Let's say you spot an ace third from the top, but there are four players in a game. The normal course of action is to deal a second on the third card. Here's the dealing sequence with the two-step second. The cards can be dealt face up or face down, but the assumption is face up for the explanation. Push off two cards and deal the top card while leaving the second card hanging over the side. Push off two more cards and deal the hanging top card. At this point there are two cards pushed off the deck ready for a pushoff second, so deal a pushoff second, and end with dealing the ace to the dealer's position. You have just manipulated the dealing order by dealing an easy pushoff second on the third card that was set up during the previous two deals. When it came time to deal the second, no pushoff was required. Again assume the third card down in a four-hand game is spotted to be an ace. Push off two cards and deal the top card to the first player, leaving the second card hanging over the side. Push off two more cards and deal the hanging card, but purposely deal it a few inches short in front of the second player. Deal a pushoff second on the third card, hold the card face down in the right fingers for a moment as the left hand nudges the card purposely dealt short to the second player. Deal the card in the right hand face up to the third player. And deal the ace to yourself. Nudging the second card seems to back up the deal and start dealing an ultra-clean round with the second player. Players see the dealer nudge a dealt card to the second player cleanly. The dealer then cleanly deals the card held in the right hand. And the last card is cleanly dealt to the dealer. The sequence allows you to apparently deal the last three cards in the round slowly and convincingly, starting with the nudge. When you start the deal with a two-card pushoff, the front left comer of the third card is exposed. With a marked deck, there's plenty of time to decide if the third card will be a top or a second. You can not only anticipate the second, but if you need a second, the pushoff is already done. Practice by first exaggerating the pushoffs with the goal of transitioning to smaller, almost indiscernible pushoffs. You can also start with a loose, lightly beveled deck to both facilitate the deal and present a casual, informal dealing action. Two-step seconds are not limited to four-handed games. To better appreciate the move, I conducted an experiment for head-to-head five-card tonk-a popular game in some parts of the country and a game I played every day on my breaks as a casino dealer. With a high-low combination, peeking the third card only twice during the deal and dealing seconds if needed to save a high card for the dealer, the scam would crush any opponent. In chapter nine, Pseudo Gambling Stunts, a stunt is presented that applies the two-step second without marked cards.

False Deals - 42 i

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photo 497 -pushoff two more cards; deal hanging card

photo 498 - automatically ready forpushoffsecond

Finally, none of this is necessary in the hands of a top mechanic-they just read down and manipulate the deal as needed. But two-step seconds mimic the dealing actions of many novice card players who frequently push off more than one card by accident, or deal from a perpetually fanned deck. The two-step second deal offers a disarming, casual, overt ruse that is different and effective.

428 - Gambling Sleight ofHand

Back Strikes The max-cover take has been previously described in this section. This method utilizes the same dealing style but features a 'back-strike' . . . along with the melting action. The right hand approaches the deck for a max-cover take. The instant the fingers cover the front end, the top card is pushed slightlyforward, creating a back brief. The brief is smaller than what has been previously suggested because the second card is not struck with the ball of the thumb; it's struck with the side of the thumb. Once the back of the second card starts to move to the right, causing the front right comer to jut past the front of the deck, the right third finger and thumb can take the second card and deal it in a variety of ways. The retraction requires only minimal movement; in fact, the top card should be squared before the second card clears the deck, which produces the melting action.

--

photo 499 - back-brief exposed

photo 500 -striking back-brief with right thumb

photo 501 - max-cover take

photo 502 - dealing second card with maximum cover

False Deals - 429

No-finger Strikes Other than the fingers or thumb, is there any other part of the hand that can strike the second card? Surprisingly, yes! The story goes that a mechanic went to deal a strike and something weird happened: the second card had almost completely moved and cleared the deck before he actually took the card in the right fingers. It was a mishap that ended in a successful second deal For this method, push the top card forward about one inch and angled to the left with the dealing thumb. The right hand approaches the deck with the palm down, index finger pointed and the other fingers curled. As the right first finger covers the right side of the deck, the basc ofthe vight thumb contacts the brief at the back right comer. The right first finger lies on top and along the right side of the top card, but the right thumb is still above the deck about one inch. Lower the photo 503 -palm strikes back-briefto start the deal right hand whereby the base of the right thumb contacts the second card at the brief and begins to drag the second card down and to the right. Take the second card with the right fingers, which are curled around the front right corner and deal an underhand second face up as the top card retracts. The 'no-finger strike' probably reads like a fantasy. I felt the same way until I played with the move for a few days. To better assess the move, several hours of experimentation are needed. Partially dealing the second card with the base of the right thumb before the take is obviously an exploratory idea. That said, the method results in a cleaner deal than one would expect. I can't help myself. . . evaluating all possible taking options is fun

430 - Gambling Sleight of Hand

Straddle Buckle Second There are a few one-handed seconds that require buckling the top card; this second is a two-hand deal that combines a buckle with the straddle grip. The straddle grip is not conducive to strike seconds because the first and little fingers act as stops that prevent the top card from moving forward or backward. But with a small buckle of the top card and the natural rocking of the deck-hand that accompanies most strikes, seconds can be dealt as depicted. My favorite dealing style for this move is an underhand studhlackjack deal. photo 504 - buckle second deal from straddle grip

Does the notion of holding the deck in a straddle grip for a strike second add any deceptive quality? Does the typical player understand that a straddle grip prevents the top card from moving forward or backward, and that when the right thumb contacts the top card, it must be dealing the top card? I doubt it, but from a psychological standpoint, there may be a little more going on than meets the eye.

Pressure-Seconds I've seen the following second deal in the hands of a few rough mechanics. I initially characterized the method as crude, but have since reconsidered the move's potential. The method offers a twist on the traditional pushoff. Instead of pushing off two cards from the left side or front end, the second card is pushed by applyingpressure to the center of the top card and having the top cardpush the second card. If you're thinking that this happens with all pushoffs, it's not the case. With traditional pushoffs, whether two cards are pushed to the side or front end to initiate the deal, there is always a point where the left thumb makes contact with the two top cards. With 'pressure-seconds,' the left thumb starts on the center of the top card and only pushes it. The pressure applied to the top of the deck does all the work. On the few occasions that I witnessed this deal, it was for a face-up blackjack deal, allowing each second to be dealt as an independent move-there are minor pauses between dealing cards as players make their decisions.

False Deals - 4.

For this method, I prefer a full grip used by many novices because it seems to accentuate the amateurishness of the dealing style. The deck-hand tums in and back slightly as the left thumb applies pressure to the center of the top card, sliding it down and to the right. With the appropriate pressure, the second card will follow a similar path and separate from the top card. Bring the right thumb to the front right comer and let the right thumb land naturally on the second card. Take the card with the tip of the second finger and thumb and deal it underhanded as the left thumb retracts the top card.

The key attribute of this method is that observers see the dealing thumb resting on the center of the top card-a neutral, disarming starting position. Another attribute is that the second card moves off the side so the right fingers can take it without the dealing thumb coming over the deck. The move's novel feature is a pushoff of spread cards, not one card or aligned cards. Depending on the brand, condition of the deck, and pressure to the center of the top card, expect different results. Unlike pushoff seconds where the top two cards are pushed off one, this method creates separation between the top and second cards of about one-half inch. This is a big target that's difficult to miss. Also, ideally, the pushing action should stop after the top card, second card, and deck are all separated by about the width of the ball of the thumb. With a feel for the deck, if you manage the viewing angle and use the deal sparingly, it can be disarming, although it's not a practical method for pitching consecutive seconds. Experiment with different positions of the left thumb to find the optimal pressure point for your hand; for me, above center works best. Let the exploration of new-theory second deals continue.

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The Old Days While we explore and study the technical aspects of the second deal as a hobby, it's interesting to note that some of the moves presented in this research were once used by Nevada casinos that hired 'mechanics on the call,' the so-called bustout-dealers or whack-out dealers, to cheat the public. Thought you might enjoy the following newspaper stories for some historical context. The complete articles are included in the appendix (volume two).

STATE CLOSES CAO S iI

photo 507 - Las Vegas Sun (July, 1962)

"The board said its agents found employees on three separate occasions dealing 'seconds' and following other irregularities in dealing the game."

'loto 508 - Las Vegas Review Journal (August, 1963)

"A statement offacts accompanying the closure order claimed that GCB agents noted peeking' and dealing 'seconds' during their observation of a 21 game."

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STATE WAR ON CHEATING

photo 509 - Las Vegas Review Journal (Februav, 1967)

"The board asked DeuuhJ . , AthJ. Gen. Don White to draft legislation to give the commission power t o j k corporations a maximum $100,000 and individuals licensees $50,000for cheating, suspect cheating and 'acts endangering the public safety. ' "

False Deals - 435

SUMMARY 1. While there's some excellent advice about dealing seconds in the magic world, it's spotty and often presented with contradictory and confusing information. Unfortunately, the good stuff can be difficult to find, especially for young cardmen. Gamhling Sleight of Hnnd attempts to offer a more complete review of this classic move. 2. There are no rules for demonstration-seconds. If your goal is to present a demonstration of skill, any well-executed second will impress laypeople. If you want observers to bum the top of the deck to experience the melting illusion, in addition to fine briefs, other methods can be used too (max-cover, swipes, etc.). Just remember, it's uncommon to see the Qpical demonstrationsecond at the card table; those who believed that demonstration seconds would fly with gamblers were forced into early retirement!

3. Strikes are the bedrock of this genre. For beginners, start with strikes. Whether you pitch or deal down into a pile, when you can alternate tops with seconds smoothly, you are well on your way to acquiring the deal. Strikes can be dealt from every conceivable grip, so use your default grip for the most comfort-you can always tweak the grip later, if needed. When it comes to brief size, the general guideline is the width of the ball of the thumb; it's the only practical way to take into consideration all possible finger sizes. Traditional brief size is not carved in stone and may increase dramatically based on objective, conditions, and dealing style. Yes, very tiny briefs can be employed, but they are not common due to practical considerations.

4. For pushoffs, whether you pushoff from the side or down from the front end is up to you. The pros and cons for each approach are not decisive according to many, although I believe the side pushoff is the better choice. Either way, the pushoff s major attribute is that the right thumb does not have to come over the top of the deck during the deal, but only far enough to take the second card, which is consistent with the way card players deal. The medium pushoff best represents the pushoff of most card players. The short pushoff, however, is an efficient action that offers a faster, neater retraction than is required with some deals. Long pushoffs have their advantages too, leading to certain types of seconds that would otherwise be impossible. The goal is to find the optimal pushoff for each second deal. Synchronization of movement is particularly important for all seconds, particularly pushoffs. Have a starting position in mind. For pushoffs, start the pushoff the instant the hands begin to move to the takingicontact point, and then reverse your actions to naturally separate the hands as they return to their original positions. Dealing consecutive pushoff seconds is very difficult, but don't let that stop you from exploring the various methods to accomplish this goal. Use your best strike as a comparative standard to

test the reliability, pace, rhythm, and deception of your pushoffs. A good strike second is always better than a poorly executed pushoff second and vice versa. 5. Explanations of the second deal are replete with many technical theories, some good and some bad. The fundamentals have been presented in detail so you can avoid getting side-tracked by the hype and, unfortunately, the myths. Whether it be brief size, grip, noise, deck-hand movement, managing the viewing angle, rhythm, or a host of other issues, I have tried to offer sound, common-sense advice based on my research. In this regard, matching up your second deal with your default deal is 95% of the battle-according to the best mechanics. When your second deal and default deal match up, you've indirectly addressed most of the important technical challenges. 6. What cardman doesn't like a good one-handed second? I certainly do. Aside from the artificial seconds used in demonstrations, I have tried to offer a few authentic methods that truly emulate the actions of card players and professional dealers.

7. Get-ready seconds can lead to some great results, but you don't want them to be a crutch. Learn the authentic deals first, then have some fun with get-ready methods from time to time. 8. It's perfectly okay to explore new-theory seconds because it's smart to explore moves without any preconceived notions or boundaries. Moreover, new-theory second deals are all about never accepting the traditional range of methods offered in the literature as the last word. 9. This section presents a wide variety of methods and variants. The deal-down, casino-pitch seconds, natural second deal, and hit-card pushoff are some of my favorites. Max-cover seconds are surprisingly versatile once the second card clears the deck. For something different, play with the scissors-second, especially BH's version for a novel retention angle. 'Swipes' can add a deceptive element to many pushoffs-just don't exaggerate the action. And don't underestimate the idea of violating the traditional thinking behind retracting the top card. Early-retraction methods and even no-retraction methods have produced unexpected results that have proven to be deceptive to card players and cardmen. Erdnase offered only fourparagraphs to describe two second deals; this section presents about 60 second deals while addressing the key technical challenges, but it's in no way complete. Keep digging . . . it's the only way to find the gold. 10. At the card table, the second deal is usually used with peeks and marked cards (marks read by sight and touch), so to fully appreciate th second deal, these topics are addressed in chapter six, Peeks and Paper.

False Deals - 4:

THE BOTTOM DEAL The bottom deal is a staple move with hustlers everywhere. A hustler once said to me, "I love my wife, I love my beer, and I love my bottom deal." Another mechanic when asked about the best way to 'take off (cheat) the local action responded, "The three B's: briefs, bottoms and balls!" And one hustler after losing a pot to a unlucky draw-out, was known to quote Muhammad Ali: "Only a man who knows what it is like to be defeated can 'reach down to the bottom' of his soul and come up with the extra ounce ofpower it takes to win. >, This sarcastic ramble indicated that more bottoms were on the way Bottom dealers are also known as 'cellar dealers,' 'base dealers,' 'subway dealers,' and other monikers based on locale. For each method presented, there's a special attribute that I wanted to share, but first, here are a few technical observations for your consideration. technical observations

-second-deal similarities Start by reviewing the technical observations for the second deal; many are relevant to the bottom deal including grips, dealing thumb, dead thumb, retraction, pitchlno pitch, dealing down, stud deals, dealing direction, deck-hand movement, noise, speed, viewing angle, and many more. -strike

andpushoff bottoms

A 'strike bottom' is dealt from a squared deck; a 'pushoff bottom' starts with some action that loosens or separates the bottom card from the deck. Many bottoms have a dual-personality because they can be dealt as strikes or pushoffs. One mechanic believed that the best way to learn the bottom was to start with a pushoff, get the 'squeeze' (loosening action) to a minimum, and eventually convert to a strike. Interesting theory, but it doesn't work for all methods. The second deal was presented in two main categories: strikes and pushoffs, but the bottom deals are presented as individual methods.

As with the second deal, bottoms can be dealt from any grip, but there's more to the story. Many bottom deals require a more secure grip than with second deals; in fact, many bottom deals

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require that you firmly secure/support the deck by two opposite contact points-not the case with card players who let the deck loosely rest in their hand, secured by several contact points. For each bottom, the corresponding grip and contact points are discussed. If you're looking to focus on one bottom deal, the comer-grip is a good place to start (left index finger at the comer). It's the most common grip for bottom dealers because it draws a 'pressure-line' in the sand, so to speak, that runs from the front right comer to the back left comer. When the deck is secured by these two contact points, it takes very little movement of the bottom card past the pressure-line to be in position for the bottom deal. Bear in mind that the best grip often depends on the characteristics of your hands and fingers. If your fingers are shorter or longer than average, for example, you have to accept the reality that some bottom deals may not be a good fit for your hands. As a side note, the research indicates that the 'natural-grip' is the second-most popular grip for dealing bottoms.

--finger movement Unlike the second deal, there's an inherent technical obstacle with many bottom deals and that's getting the deck-hand fingers out of the way to deal the bottom card. When the left fingers straighten as the bottom is dealt and then curl back to hold the deck, there's noticeable finger movement-the nemesis of many bottom deals. A subset of this movement is the infamous 'knuckle flash' caused by some methods, especially single-finger pushoffs. Mechanics generally counter these problems with three solutions.

1. They choose a grip that starts with thefingers extended so they lay on the same plane as the bottom of the deck. Examples include some comer grips, Erdnase grip, and straddle grip. 2. They avoid techniques that are notoriously prone to finger movement and opt for methods andlor dealing actions specifically designed to mitigate these issues. 3. They only deal bottoms to positions that provide cover for unavoidable finger movement. For example, some mechanics only deal bottoms to the cutter. With this strategy, the other players are forced to look at the back of the deck-hand as the bottoms are dealt.

Every pushoff bottom uses a technique that loosens, dislodges, or shifts the bottom card in some way to help break the friction barrier when the bottom is dealt. These techniques are universallv and collectively called a 'squeeze.' One of the most important things I've learned about the squeeze is that it doesn't take much to loosen up the bottom card to the extent that dealing bottoms is dramatically easier. Compared to

False D e m - r .

briefs for strike seconds, the bottom card can be pushed off a distance dramatically smaller and still achieve its objective. Other key points are (a) how many fingers should squeeze, (b) what direction should they squeeze, and (c) when should they squeeze: just before the bottom is dealt, during the preceding card, earlier in the round. Points (a) and (b) are personal questions in my view, which is why I always suggest that you experiment with one or more fingers in all possible directions. Point (c) is the basis for an early-squeeze method explained later. The most common squeezing actions tend to use more than one finger in unison, but there are exceptions. In one method, the squeeze is done entirely with the left first finger. Consider the third-finger pushoff in the Erdnase bottom. I've even seen some squeezing actions dominated bv the left littlefinger. If you prefer pushoff bottoms, study the squeezing action carefully. It's interesting paradox with squeeze bottoms is that most cardmen assume that less movement of the left fingers translates to better bottom deals. It's a reasonable conclusion, but it's not true. Assume the bottom card is pushed off the bottom two inches with just one finger. The technique is poor and the movement is dangerous, but if the squeeze is hidden by the angle of the deck and the top card as it's pushed off the deck, the deal may still be very good. If compared to a standard squeeze bottom with noticeable finger movement and no cover, the bottom deal with the mostJinger movement may be the best. Sometimes it's not what you do or how you do it; it's what is seen and perceived by players that

Here's a quick, practical tip. For many mechanics, the squeeze and the pushoff are two distinct actions, so evaluate them accordingly. Sometimes the squeeze is subtle, but the pushoff is too strong and exposes the move. To optimize these movements, strive for balance and ask the question: Can I minimize these movements without affecting reliability? Make the necessary adjustments if possible. Finally, while the squeeze is at the heart of all pushoff bottoms, it's just one component of this complex deal. If the other components are poorly handled, the best squeeze in the world is meaningless. Always think in terms of a complete technique.

For 'strike bottoms,' there's no squeeze. The methods are all about framing the deck in a way that creates the least amount of resistance during the taking action. For example, if the ball of the left second finger secures the deck at the front right comer (Erdnase grip), only a small amount of the finger's flesh should wrap around the deck\s comer. If you can reduce the amount of flesh needed to securely grip thc dcck, you will reduce resistance and make bottom dealing

440 - Gambling Sleight of Hand

easier. Strive to find the optimal contact positions without losing control of the deck. This advice seems so obvious and elementary, but that's only if you think about it. More often than not, most hustlers and cardmen find a method that works and they go with it, without ever stopping to carefully rcasscss thc tcchnical components. More than once after developing proficiency with a bottom, I reassessed my grip and, in particular, the contact points, and found that with only minor adjustments to reduce resistance further, my execution immediately improved. -straight-$ngers

squeeze

For the best of both worlds, try a grip that naturally extends the fingers, then slide them backward about one-quarter inch to loosen up the bottom card, which is more of a slide than a squeeze. If you drop a deck into your left hand with the four fingers on the right side, your fingers will naturally curl around the side of the deck, and the challenge of getting them out of the way to deal bottoms is immediately apparent. But if you rotate the deck clockwise into the comer grip, the left fingers are forced to naturally straighten out a bit. Rotate the deck a little more and you'll be in the Erdnase grip and the third and fourth fingers will be almost fully extended. Another way to purposely straighten out the fingers is with a high natural grip where the back left comer of the deck is secured at the upper base of the thumb, not below the base. -the take It's most common to take the bottom card with the right first finger and thumb or with the second finger and thumb. Many mechanics pitch with the first finger and thumb, but take with the second finger and thumb when dealing down to the dealer's hand. Virtually every combination of fingers and thumb is a possibility for the take. For example, bottoms can be dealt with all four fingers taking the card at the back end. Or, a little-known take for straddle bottoms is with the two middle fingers; the idea is to contact more surface. Finally, sometimes the take is a fake. A common method is to push off the top card and apparently take it with the right first finger and thumb as the second finger was taking the bottom card. One mechanic even lightly flexed the comer downward to sell the normal taking action. This method has been credited to Dr. Elliot, but it's a ruse practiced by several mechanics, so my guess is that the ruse is much older. Finally, one mechanic literally snapped the bottom card into taking position, using the same action as snapping your finger; the bottom card cleared the deck in an instant and above the deck. I encourage you to experiment with different takes there are so many different options.

. . . most cardmen are surprised to learn that

False Deals - 441

One last tip. When given the option of dealing a bottom forward or to the side, dealing it forward provides more cover and time for the left fingers to retract. Depending on the method, dealing off the side can quickly expose extended left fingers. -top-card movement

My preference for most bottom deals is to include an action for pushing the top card off the deck. Note, however, that many mechanics bypass this action. Since the top of the deck isn't always visible to players, naturally tilting the deck backward and approaching it with the right fingers can imply pushing off the top card. Many excellent methods adopt this thinking.

d e c k ' s plane For starters, keep the deck flat at the instant the bottom card is contacted by the taking fingers-in theory, a flat deck neutralizes all resistance. If you're struggling to attain consistency with a particular bottom deal, try lowering the right side of the deck to create counter-force. This minor adjustment can facilitate the taking action, although the advice seems to defy physics (more counter-force, more resistance). I mention this fine point because it works for me. Dealing against something feels more tactilely sure than dealing against nothing, so to speak. Strive for comfortable grip that facilitates your taking action, and keep experimenting with different planes until you find the best option for a particular bottom. Also, note that how you handle this component of the deal may change with the method. -pitch timing

When pitching cards to players and dealing straight-down bottoms to the dealer's position, some mechanics contend that the last pitched card and dealer's card should hit the table at the same time. I have never understood this advice. Most card players don't possess the dealing skill to achieve this timing and will often slow down to deal their own cards, which lags behind the pitch of the last card. Also, you don't want to pitch the last too high to accommodate this timing. There's also the argument that the last pitched card directs attention to player and not to dealer as the bottom is dealt. While there are no definitive rules, I happen to abide by this logic and rhythm, finding it difficult to resist the sensation of the synchronized dealing sequence.

I have watched dozens of cardmen demonstrate bottom deals with good rhythm, but with pcru~ technique (obvious finger movement). While the bottom deal is one of those moves that demands good rhythm, it will not save poor technique in most instances.

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-bottom-deal nuances Some mechanics purposely lift the bottom card the instant it clears the deck. This action can also be accentuated by slightly lowering the right side of the deck at the same time. The two actions creates the illusion that the card was dealt 'above the deck.' Some bottom dealers take in a backward direction for the sole purpose of dealing above the deck. When the bottom is dealt over the deck and under the left thumb, you would swear that the bottom came off the top. One mechanic used a full grip with the left fingers together. The fingers opened for the take ana closed after the take, called 'plugging the hole.' The ruse is designed to add conviction to the deal where you see four fingers together on the side of the deck before and after the bottom deal, subliminally suggesting the impossibility of dealing from the bottom. With some grips, the right front comer of the deck is known as the 'naked comer.' Some mechanics prefer to keep it 'clean' throughout the deal, taking the bottom card between the second and third fingers-keeping this comer naked results in a cleaner overall deal. Some mechanics only deal bottoms to the cutter due to the strong cover-most players can only see the back of the mechanic's hand when applied in this way. These built-in angle-biases have been exploited for decades. Finally, it bears repeating: several technical observations hold true for dealing bottoms and seconds, so don't hesitate to review the second-deal section and look for applicable observations. Traits of the Best Bottom Dealers

0 Grip They chose grips that are comfortable, look natural, and are common. Also, the best just pick up the deck and start dealing-no fiddling, no overt framing. v

Technique Their technique is flawless, void of all the common tells.

0 Optimal Pace and Rhythm Their speed and rhythm is flawless, and they never deal too fast. 6 Personal Dealing Style

They.all seem to have their own style, nuances, and idiosyncracies that set them apart from others bottom dealers.

False Deals - 443

METHODS The following methods have been selected because each features a technical or philosophical angle about the bottom deal that I wanted to share. Collectively, I hope they expand your knowledge of this classic false deal and improve your bottom dealing skill. Snap-down Bottoms (natural grip)

In some games, the cards may be dealt differently depending on the stage of the game. For example, in seven-card stud, instead of pitching the river cards to the remaining players, dealers will often tilt the front of the deck to the table, snap a card directly to the table, and slide it to the appropriate player. This is a courtesy that says, "I'm being extra careful not to flash any cards because these are the most important cards." For this deal, use a natural grip, but with the back left comer of the deck digging into the middle of the base of the left thumb as depicted. This is a 'high-natural grip.' Lower the deck-hand so the left-second finger rests on the table. In this position, it looks impossible to even get at the bottom card, let alone deal it, which is the desired goal. Rock the deck-hand backward to raise the front end off the table by about one inch, I which is just enough for the right second finger to slide under the deck and contact the front right comer of the bottom card to execute a strike bottom. Use a short pushoff of the top card and a very short backward squeeze from the lower three left fingers. The right thumb comes over the left thumb nail as the bottom card is taken with the right second finger and thumb: shamlv, snau the card face ; down to the table, forward and slightly to the photo right. Retract the top card and return the deck-hand to its normal starting position. C Z

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510 - high natural grip

When the deck is framed high in the hand, it's difficult for the left fingers to wrap around the deck, so they naturally extend along the side, not above the side. The only problem with high grips is that striking the bottom card causes a dull, clicking sound as the bottom card breaks away and hits the palm. This is the reason for dealing the bottom with a snapping sound.

1always demonstrate this bottom with one-half deck, which is consistent with dealing the last stage of a hand.

444 - Gambling Slelght ofHand

Squeeze Bottom (corner grip) There are several ways to deal 'squeeze-bottoms' and all basically work the same way. This method is specifically designed for dealing bottoms to the dealer's position. It introduces two novel angles for hiding finger movement.

0 Just before dealing a bottom to the dealer, the right side of the deck rocks slightly upwardpast the horizontalplane. It's a soft, natural rocking action that creates a longer dealing action to help hide the squeeze. In the normal deal, the deck is held flat before the right side of the deck rotates slightly downward as the dealer's card is dealt. For this deal, the right side of the deck is slightly elevated above the horizontal plane just before dealing the bottom. As the bottom card is dealt, the deck points downward, hiding the squeeze (small action) with the take and longer dealing action (big action) . . . a commor precept in magic.

0 As the hands reach each other in front of the body to deal to the dealer, the deck-hand begins to lower as the right second finger and thumb take the bottom. When the deckhand reaches its lowest point, the left fingers straighten slightly to allow the bottom card to be dealt, and then remain straightened after the bottom is dealt. The instant the bottom card clears the deck, the deck-hand remains frozen for a second until the left hand moves to the left to deal the next card, or moves to the right for the right hand to place the deck on the table. Only then, under cover of these movements, do the left fingers return to their normal position. The principle is similar to a no-retraction second deal, only here we're talking about a momentary no-retraction of the left fingers during a bottom deal.

Straddle Bottom The grip for the standard 'straddle bottom' entails framing the deck at the ends with the first and last fingers. While the Erdnase grip is never used by legitimate card players, the straddle grip is a close cousin of the European grip and does occasionally surface in the hands of legitimate card players. The straddle bottom is an easy strike bottom. The top and bottom cards align - naturally, .. the take is automatic, and the left fingers stay extended from beginning to end, so no movement of the left fingers is required. When I first learned the deal, I always assumed it was best suited for mechanics with certain hand sizes, but the only requirement is the flexibility to straddle the deck without strain, which can be developed with practice.

I learned the technical details from a master mechanic (FOF); it was the only bottom he employed for almost 50 years. Here are some of his technical suggestions. The left side of the deck should be roughly one inch from the thumb crotch. Bevel the deck to the right so the right edge of the top card reaches the tips of the second and third fingers. Slightly curl the left index finger so only the edge of the finger contacts the deck at the front end slightly away from the corner. Do the same with the little finger. When the first and last fingers are positioned properly, the deck is supported by the front and back ends by their edges, about one inch from the tips of these fingers. The details of the grip depend on the photo 513 - straddle grip: deck at ends ofjngers length of your fingers. The left thumb should extend across the deck's width at center. Evenly spread the second and third fingers; if the gap between these fingers is too wide, it looks unnatural. The fingers should be fully extended, but not stiff. rhere's little left-thumb movement with this deal, so rock the deck forward and backward slightly to imply top-card movement. Take the bottom card with the right second finger between the left first and second fingers in a precisely sideways direction-all other directions will cause binding. Taking between the first and second fingers is not carved in stone, and many mechanics prefer taking between the second and third fingers, which avoids any darting movements from taking at the naked comer.

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Whether you're dealing tops or bottoms, there should be no movement of the left fingers during the deal. Use a short pushoff of the top card and avoid bending the dealing thumb during the retraction-a slightly extended thumb always looks better. Slightly tilt the deck downward during the take to closely mimic the actions of card players. The right thumb can slide across the comer, but do not make contact; all pressure is directed at taking the bottom card. When you can pick up any deck, immediately get into the straddle grip, and rattle off ten consecutive bottoms with ease, you're just about there. The rest is all pace, rhythm, and a delicate touch.

photo 514 - top cardpushed overfor cover

photo 515 - bottom dealt directly sideways

FOF's favorite practice regiment was dealing with the left thumb stuck to the left side, forcing him to deal with no support from the top, which he believed taught him to take the bottom card with ease. This never made any sense to me, but I haven't been dealing straddle bottoms under fire for five decades. I've always believed that pressure on top of the deck facilitates the take-counter-force-but FOF contended that pressure translates to resistance. When you reach a level where you can pitch the cards around the table and deal bottoms to yourself with the left thumb offto the side,you're making excellent progress. It's also an impressive display of skill. For practice, start with half the deck. When the deal is comfortable and reliable, add ten cards, then ten more cards. The straddle bottom is a true strike bottom.

False Deals - 447

Erdnase Bottom Gaming expert Ron Conley likes to call the Erdnase grip a "double frame," implying that there are two grips in one. The following method is for a strike bottom, so it's not the so-called Erdnase bottom that's well-known to cardmen, which explicitly describes a third-finger pushoff: The name is only used for convenience because of the move's familiarity with cardrnen. Here's how the deal was taught to me by gaming expert and master mechanic, JB. There were three steps.

1. Frame the deck in the Erdnase grip, and then get the first, third, and fourth finger out of the way-just straighten them out so they don't touch the deck. Practice picking up the deck with your right hand and placing the deck into this two-pronged grip and dealing the cards into a pile. Once you're comfortable supporting the deck as described, practice pitching cards around the table. 2. Using the same grip, begin taking the bottom card with either the left first or second finger-whatever is more comfortable. During each take, the bottom card is moved slightly inward to clear the left second finger. Practice the dealing regiment for several hourddays until the action is secure and comfortable.

3. Let the first, third, and fourth fingers extend and lightly contact the deck. Finally, begin pushing off the top card, which should be synchronized as the bottom card is taken with the right first or second fingers. After the deal, retract the top card. The first, third, and fourth fingers play no role in the false deal other than to natural extend and provide support for the deck. There is no movement from the third and fourth fingers, and no resistance given their photo 51 7 - thumb and second-jnger take extended positions.

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- Gambling Sleight ofHand

A fine point regarding the left second finger is to position it with most of the finger tip on the front end, using only the tiniest portion of the fleshy pad to secure the cards. In this position, very little force is required to dislodge the bottom card and clear the second finger tip. I prefer taking with the right first finger and thumb for pitching, and taking with the second finger and thumb for dealing straight down to the dealer's position. But it's all about what feels most comfortable for you and your dealing style. The advantage of a second-finger-and-thumb take is that there's slightly more cover provided by the first finger. In photo 517, note that the bottom card is dealt slightly backward and to the right. That's due to the take. Recall how a small part of flesh from the left second finger stops the bottom card from falling from the deck. Dealing backwards even the tiniest bit eliminates almost all resistance and is therefore the optimal direction for dislodging the bottom card. The goal with this grip is that the deck should appear to be lying openly and naturally in the outstretched fingers. After first learning the deal, I followed JB's advice and practiced every day for a month, only framing the deck with the base of the thumb and second finger, keeping the other fingers out of the way. When it came time to naturally extend the others fingers to lightly support the deck, in no time, I was pitching cards around the table and dealing bottoms reliably. To start the deal, I like to deal a couple of legitimate rounds, and then made a tiny adjustment to the grip that locks it in before dealing the first bottom. So, if you find it challenging to frame a complete deck in the Erdnase grip, just get close to start the deal, and then reestablish a secure grip as the deal continues. Finally, this grip is not for everyone. I have friends who made every effort to master this deal but always struggled. In some hands, the grip looks cramped and unnatural. No problem. If the grip feels uncomfortable for any reason, pass. You don't need to deal Erdnase bottoms to be an expert bottom dealer; in fact, you're better off learning a method with a more natural grip. On a side note, I used this strike bottom in a national televised special, Hidden Secrets ofMagic. I presented a pseudo demonstration of center dealing. The method required ten consecutive bottoms, which I was later told initially fooled many knowledgeable cardmen.

Early Squeeze There's no rule stating that you must squeeze the bottom card just before dealing it. Squeezing the bottom card as you deal the first card in a round, for example, eliminates any finger movement when it comes time to deal the bottom to the cutter or dealer's position. While this is definitely an option, it's not a strategy adopted by many mechanics. Most consider it dangerous to deal around the table with a less-than-perfectly-squared bottom card, despite the fact that an unsquared bottom card can be hidden with care.

of the deck-hand to pitch it. AS the right hand pitches the card, the left fingers squeeze the bottom card downward and outward. At the same time, the left thumb bevels the top of the deck to the right and pushes off the top card. Both the top cards and bottom card are maneuvered in one smooth action. If the back of the deck is turned inward during the deal, there's more than enough cover for the getready as the cards are dealt normally to the other players.

photo 518 - early squeeze

The deck-hand lowers to the left of the dealer's hand, and the bottom card is taken between the thumb and left second fingers in a soft, straight-down-to-the-table deal. The left fingers remain motionless during the deal and retraction. This is an example of how a perfectly natural action can provide cover for the required squeeze. Incremental Squeeze Using the same logic as an 'early squeeze,' it's possible to start the squeeze as the first card is dealt, squeeze a little more as the second card is dealt, squeeze a little more as the third card is dealt, and so on. For each squeeze, the top cards must remain beveled to the right for cover. When you get to the dealer's hand, the bottom card can already be pushed to the right by half its width, but with complete cover. Once you get into the get-ready position, deceptively dealing the bottom card is a cinch.

r,v

- Gambling Sleight ofHand

Back Take Another strategy employed by mechanics is dealing to themselves as they movefrom right to left after dealing to the last player's position. When dealing 'on the move,' the bottom is dealt heforfovpthe hands reach the dealer's position. Turning to the right when dealing to the last player on the dealer's right is perfectly natural; the action also provides cover for the required squeeze. In this context, one of my favorite deals is a 'back take' where the bottom card is taken with the right thumb on top and fingers below the back right comer of the bottom card. The bottom card is taken in a backward direction with a counterclockwise turn and dropped to the table. Back-takes are common with many card players, which is why they are viable options for mechanics. photo 519 - back-take

photo 520 - taking and rotating the bottom card

photo 521 -dropping bottom card to end the deal

Stud Bottoms Every bottom deal that can be dealt straight down to the table or pitched across the table can be dealt as a stud or hit-card in casual games by simply turning the card face up in an underhanded deal. Here are a few examples.

max-cover (natural grip) After a short, subtle, downward squeeze with the left fingers, the right hand approaches the deck in max-cover style. Let the right first and second fingers straddle the upper left comer of the deck, let the tip of the third finger land on the right upper comer, and let the right thumb contact the back of the bottom card. The right hand moves the bottom card to the right and slightly backward. Once the bottom card clears the deck, tum it face up and pitch it to the appropriate position. When I say "turn it face up," I'm referring to the method for changing the grip of the bottom card from max-cover to studthit-card-see the 'MD Cover Stud Second' detailed on page 481. Another option is to use the table to help maneuver the card into a stud or hit-card dealing position. Ensure a very light grip for framing the deck and for taking the bottom card, and strive for a soh, immediate face-up snap of the bottom card as the right hand moves forward.

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photo 524 - rotuting the curd face up

? a n the deck

72'

- Gambling Sleight o f H a m

end-for-end stud

After the standard squeeze, take the bottom card by the front right comer with the right second finger and thumb. Once the bottom card clears the deck, keep it close to the deck and turn it face up, end for end, in a backward direction. Once the bottom card clears the deck and is partially lifted and begins to turn face up, the left fingers are in front of the card and seems to sell the notion of the top card being dealt above the fingers. This move is for dealing to the dealer's position.

photo 526 - taking and dealing backward, end for end

photo 527 - dealingface up

scissors bottom Methods for dealing scissor-seconds can also be used for dealing pushoff bottoms. After pushing off the top and bottom cards, the take occurs between the right first and second fingers, after which the bottom card is snapped face up.

I think you'll find these stud bottoms easy to master. The scissor second's unique taking position makes it possible for the right second finger to extend farther under the deck than is possible with normal takes--or with scissor seconds. This is also true with stud bottoms that take the bottom card with the right fingers on top and thumb on the bottom card.

False DeaL - -2.

Get-Ready Bottoms The idea of a multiple-card get-ready to ease dealing bottoms is referenced in Expert at the Card Table ("jog them to protrude about one-eighth inch from the side"). Modem cardmen have taken this lead and developed some excellent methods. It's not clear who deserves credit, so let me just say that I've seen these deals and marveled at their execution. The only caveat is that any get-ready requiring more than one jogged or beveled cards must be well-covered during the deal. dtherwise, I have little to add relative to the card table because I have never seen these methods employed by mechanics. cocking the gun

expert Ron Conley refers to the following deal as "cocking the gun. one bottom deal. This is my favorite handling.

~ n get-ready e sets up for

The deck is picked up by the ends with the right hand, fingers at the front and thumb at the back, and placed in the left hand for dealing. As the deck is about to make contact with the left palm, slide it over the left fingers near the first joints, not the fingertips. Contact the bottom card at its right side and stop it from moving as the deck continues to the left into the left-hand dealing position. Bevel the deck to the right and over the isolated bottom card. Ensure that the deck is slightly forward (one-quarter inch) so as not to expose the bottom card. The left hand moves forward about six to eight inches with the left thumb away from the left side of the deck. The bottom card is isolated and perfectly aligned with the beveled deck. The hands come together and the left thumb moves to the top of the deck. The right second finger takes the bottom card and deals it directly off the side to the table, and the deck-hand returns to its open starting position. When the movements occur in one smooth sequence: (1) get-ready, (2) open deck-hand, (3) bottom deal, and (4) return to the open deck-hand position, the sequence is exceptional. Players are left with the impression that the top card was dealt from a deck that was openly resting in the left hand. If you're ahead of me and wondering if you can get into the get-ready position with one hand, the answer is yes. Start with a standard squeeze and as soon as the card breaks free, with the left thumb, moderately bevel the deck to the right for cover, then opens up the left hand as described.

Finally, some of you may remember Marlo's 'immediate bottom deal' from Pallbearer's Review, Winter 1968 Issue. Marlo picks up the deck with the right hand by the ends, fingers at the front and thumb at the back, and hooks the right fingers under the deck to loosen up the bottom card as the stub is placed in the left hand followed by immediately dealing a bottom. This method offers a superior alternative.

454 - Gambling Sleight of Hand

photo 528 - sliding the bottom card to the right

photo

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bevelrng the deckfor cover

For maximum deceptiveness, let the left thumb return to the left side of the deck after the bottom is dealt-a natural extension of the retraction. Strive to start and end dealing each card as depicted in photo 529.

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last-card bottom Along the same lines as 'cocking the gun' is the idea of dealing the last card in a round to the dealer in completely different way to cover a bottom deal. For a basic variant, instead of dealing a traditional bottom on the last card, the right hand grabs the deck from above, fingers at the front and thumb at the back, and tables the deck to the right as the left fingers drag the bottom card to left, snapping it lightly upward against the deck and casually dropping the card on the dealer's cards. The bottom card can also be used to scoop the other dealer's cards off the table to peek them in the customary manner. As a player, it's easy to miss these 'last-card bottoms.' Given that all cards up to this point have been dealt cleanly and players are eager to view their hands, it's not uncommon for the last card dealt to the dealer to go completely unwatched. Even if a last-card bottom is observed, it can be just as deceptive as other bottom, provided the move is set up with the appropriate default action.

raise Deals - 4 3 2

Fred Robinson Fred Robinson is an English cardman who developed some very good false deals with a unique grip. Cardman Paul Wilson was the first to demonstrate these deals to me and they looked great. Paul notes that he, Roy Walton, and Peter Duffie were the first to embrace the method and that the original deals and added touches/modifications have been published in The Magic Of Fred Robinson (Peter Duffie, 2009) and The Complete Walton - Volume One (Roy Walton, 1981). But it was Paul's handling that inspired me. With the deck in a full grip, the deck is secured by the littlejngev and the base ofthe thumb as depicted. The other fingers only lightly contac. the deck. Paul's handling entailed moving the index finger to the front for a more natural grip, which is my preference. The movelgrip has always fascinated me because I've never seen it in the hands of hustlers, which is a mystery because the grip is disarming and the deals are deceptive. The Robinson deals are a good example of how the hobby's body of common knowledge is always photo 531 - Rc greater than we think, even after studying the field for 40 years.

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Robinson stud deal Grip the deck as described and push the top card off the deck about one inch. The right hand approaches the deck and the ball of the right-second finger contacts the bottom card at about center between the left second and third fingers. The instant contact is made, begin moving to the left to deal the first card in a round of face-up cards. The right-second finger and thumb pull the bottom card directly forward and begin to turn it face up. As the card is just about to clear the deck, the right hand should be in front of the deck-hand, even a bit to the left of the deckhand. Flip the bottom card underhanded and face up as the top card is retracted. This deal looks good dealing to any position from left to center, but the perspective changes when you deal to your right. The difference is that you don't have the bottom card turning face up in front of the deck for cover as depicted on the next page. Given the natural cover when dealing to the left, I like the stud deal as a 'cheat-seat' bottoln only opting to use the move when dealing to this position.

456 - Gambling Sleight ofHand

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Robinson hit-card deal While playing with the move, I discovered a stud deal with good cover for the left index finger at the front, which has to straighten to get out of the way when dealing forward or diagonally forward. The deal was presented in the Gambling Protection Series (DVDs). It caused quite a stir with some even lauding the deal as the best move in the segment. In the DVDs, I demonstrated this deal with no top-card pushoff, but it's easy to add a small pushoff if you wish. Bring the deck to the right hand with the front end of the deck tilted slightly downward and with the right side of the deck tilted slightly upward to better fit the contour of the right fingers as they approach for the take. The ball of the right thumb contacts the bottom card between the left-second and third fingers. The fingers of the right hand cover the entire front of the deck and about one-half of the top of the deck. The right hand approaches the deck perpendicularly. The right thumb pulls the bottom card directly forward. The left index-finger straightens out under cover of the bottom card. Once the right fingers and thumb take the bottom card, forcefully snap the card face up causing the back end of the bottom card to snap off the deck as the left-index finger springs back to the front of the deck. Deal the bottom card face up to the table in a hit-card manner. Note that the only finger movement of the left hand is the indexjkger as opposed to the other fingers that cause these problems with most traditional bottom deals, but the movement is adequately covered during the face-up snapping action of the bottom card. For a powerful demonstration, start with the aces on the bottom of about one-half deck. Place the deck face up in table-position. Pick up the deck with the left hand, rotate the deck face down, and immediately bottom deal an ace face up to the table. No fiddling. No hesitation. Turn the deck face up and drop it on the table, showing the next ace on the bottom. Square the half with both hands at the ends, pick up the deck, and repeat the sequence, instantly dealing the second ace face up. Repeat the sequence two more times to end.

The dealing demonstration has been well-received by cardmen, as the sequence seems to highlight the move in a dramatic way. Observers see four consecutive, invisible strike bottoms! Even if the demonstration doesn't interest you, it's a great way to practice this bottom deal.

photo 535 - striking ai7dpulling botton~card forward

ready for stud of hit-card deal

Although I like to demonstrate the move for cardmen with a fast, sharp dealing action, remember that with most moves, the goal is to find the optimal dealing speed at which a move is still deceptive, then avoid doing the move any faster. For this false deal, it still looks good at normal dealing speeds.

20

- Gambling Sleight of H a m

Artanis Bottom Deal Every once in a while the 'Artanis bottom deal' is brought up in sessions. Joe Artanis was a mechanic who published Artanis Explains the Bottom Deal, (Artanis, 1958), a highly desirable collectible that includes instructions, photographs, and a record. Artanis essentially teaches a left first-finger squeeze bottom with two novel attributes. First, the squeeze is done entirely with the left first finger. Second, he teaches a taking action where the right thumb strikes/contacts the back of the left thumb during the take. You may already be swiping your right thumb over the left thumb without contact and don't even realize it. Either way, don't hesitate to experiment with this taking action; only then will you be able to decide if the take improves your bottoms or not. Curiously, Artanis calls the first-finger-at-the-the-right-comer grip the 'mechanic's grip,' although the so-called mechanic's grip is generally known to be three fingers on the side and the index finger at the front center, not on the comer. Also, in the photographs, despite Artanis having the luxury to pose for each photograph, one photograph (1 1) depicts him dealing a bottom at an angle that exposes the left second finger fully extended. This is a common tell with many bottoms. Dealing forward tends to provide more cover.

photo 538 - Artanis Explains the Bottom D--.

Incidentally, cardman Gary Plants is known for this particular bottom. In Gary's hands, it's flawless. Also, for younger readers not familiar with the name Artanis, the mechanic's real name is Sinatra-Artanis spelled backward. It appears that Sinatra took apage from E. S. Andrews (q W. Erdnase).

False Deals - 45Y

ONE-HANDED BOTTOMS I learned my first one-handed bottom from cardman, Allan Ackerman. Allan lowered the right side of the deck to just above the table and turned the bottom card face up like the page of a book. The bottoms looked great. At the card table, however, the move is cxtrcmcly rarc.

I've only see a few exceptions, and they were limited to casually dealing a bottom to the dealer'? position. Of course, there are always exceptions. Let's assume that the game is stud poker or other format where the cards are dealt face up during the game; for example, acey duecey. Here a few of my favorite one-handed bottoms. The starting position for each of the following deals is the same. Hold half the deck in a lefthand comer-grip with the left first finger at the comer and the other fingers forward and hugging the comer. Turn the deck-hand inward and push off the bottom card as the right hand rests at the right front comer of the deck for cover. From the starting position as depicted, there are several dealing options. hit-card bottoms

This false deal can be done one- or two-handed. photo 540 - startingpositionfor one-handed bottoms &om the starting position, continue to push the bottom card to the right and forward. Move the right hand over the right front comer of the deck for cover. With the bottom card pushed out into the position as depicted in photo 542, slide the left first finger on top of the bottom card, now clipped by the first and second fingers. For the two-handed variant, extend the left firstisecond fingers, take the card in right hand, and deal it in the standard hit-card manner. photo 541 - continuingpushoff For a one-handed variant, extend the bottom card vast the front of the deck with the left first and second fingers, then return the bottom card against the front end of the deck, levered vertically. From here, simply let the bottom card fall forward and face up to the table. After each deal, return both hands to their starting positions.

460 - Gambling Sleight ofHand

photo 541 - leJtjirst/secondjlngers chp bottom card

photo 343- bottom card readyJor shrd or hzt-card deal

table-brush bottom

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From the starting position, begin to turn the deck-hand palm down and let the lower-right side of the bottom card contact the table. Sharply continue to rotate the deck-hand until the bottom card snaps off the deck and face down to the table. Grab the sides of the bottom card with the left fingers and casually toss it to the appropriate player. This is a good bottom that is almost technically automatic. Once the bottom card is ready go, the brushing action against the table takes care of the rest without any movement of the left fingers. Strive to snap the bottom card onto the table and pick it up with the left fingers simultaneously.

bottom Jlicker and flipper Think of the 'flicker bottom' as the brush-bottom without the brushing action against the table. From the starting position, lift the deck a few inches off the table and sharply turn it palm down in the direction of the desired player. This flicking action alone will cause the bottom card to fly off the bottom with no additional finger movement. Once the card clears the deck, immediately return the hands to their starting position to avoid flashing the new bottom card. For the 'flipper,' get into the starting position and lift the deck-hand about four inches off the table. Move to the left and point the right side of the deck directly downward. Start to move the deck-hand downward and release the bottom card as the deck-hand turns palm down at the last possible moment, causing the bottom card to land face up on the table..

r a k e Deals - 461

end-for-end From the stautingposition, move the deck-hand forward as the inner end of the bottom card is swivelled outward. Now move the deck-hand backward as the inner end of the bottom card contacts the table, resulting in a novel end-for-end stud deal. I also like to let the bottom card fall face up on the front end of the deck and pin it on the deck with the left thumb before pitching the card with the left hand.

This deal can also be done with help from the right hand to take and deal the card in an underhanded style.

photo 545 - bottom cardpushed and swivelled to right

photo 546 - bottom cardflipped backward, end for end

snap-around bottom This variant was presented in the Gambling Protection Series (DVDs)-see It's the most difficult of the one-handed bottoms presented.

the '52' segment.

From the starting position, turn the deck-hand farther inward like a short back-swing. Push the bottom card to the right and forward with the left fingers. Bend the right side of bottom card upward, get the left-first finger under the right comer of the bottom card, and snap it out, around the end of the deck and into a face-up position between the left-first finger and thumb nail. Strive to have the bottom card pop into view as the deck-hand opens up. When done correctly, the ending position can be seen in the second-deal section (page 415, photo 475). The default deal should look like the D'Amico one-handed second's default deal.

462 - Gambling Sleight ofHand

BOTTOM DEAL PLOYS ---Depending on the game, there are opportunities to use the bottom deal in creative ways. 0 To get by the bum-card, mechanics will 'double deal' the top and bottom cards simultaneously, notice the mistake, replace the bottom card on top, and burn the top card. The bottom card is now ready to be cleanly dealt off the top.

0 After the dealer's partner asks for two cards in draw poker, the mechanic deals three individual cards into a pile, bottom dealing on the last card. The partner corrects the dealer, "Just two cards," so the mechanic slowly replaces the last card dealt back on top of the deck. Again, the bottom card has been maneuvered to the top ready to be dealt.

0 After pushing off the top card off the deck, squeezing the bottom card, and turning the deck-hand inward to deal a bottom to the dealer's position, don't retract the top card. Continue with moving the deck-hand to the left and dealing the pushed off card. It look best when the two movements are executed in one smooth action. 0 A common dealing style is to deal the draw in groups of cards. If a player asks for three cards, the top card is pushed to the right, then the second card, and then the third card is dealt off the bottom. The first two cards remain spread for cover as the third card is dealt off the bottom into the right hand, which then pitches the three cards as a group. Even with a two-card draw, dealing a bottom while holding a single card in the right hand can provide good cover before pitching both cards together.

0 Finally, even with a tabled deck, dealing bottoms is still possible. For the default dealing action, secure the deck on the table with the left hand by the left end. The right hand slides cards off the top and to the appropriate player, similar to dealing from a shoe. This procedure is obviously a game-protection measure to protect the game against unintentional flashing and cheating. For one method, assume the dealer has released the deck to peek his hand and wants to draw one card. Lift the deck slightly with the left hand as the right fingers move to the top of the deck as the right thumb moves underneath. Applying downward pressure on the deck with the left hand and upward pressure with the right thumb, take and deal the bottom card with the right thumb. As the bottom card clears the deck and is slid to the appropriate player, let the deck lower and rest on the table. It should be easy to match the bottom with the default deal. Everything should look the same with the exception of lifting the deck slightly off the table . . . so lift the deck slightly to deal on the square. For a nice touch, deal the bottom card directly into thepeekingposition, lifting the card from the back side to view it. Now the deal looks like the right fingers slid the top card off the top of the deck and peeked it in the same action.

NEW-THEORY BOTTOM DEALS

Here are a few off-beat bottom deals that don't fall neatly into traditional categories. Thumb-Stop Rottoms

This bottom was shared with me as the "best way to deal consecutive bottoms," which got my attention (FOF). It was used by mechanics to deal three consecutive cards to their partner in draw poker. I picked up a s b b and was dealing 'thumb-stop bottoms' in five minutes. The physical properties of this deal have an automatic action that's very interesting. How many tops have you dealt in your life? Tens of thousands? How many times have you missed? We push the top card off the deck with a mover (left thumb) and use a gauge (predominately the left-second finger) to prevent more than one card from being dealt. At one point in the deal, the left thumb is directly on top of the left-second finger like a set of 'pinch rollers' as the top card is pushed through the rollers. The same physical logic is used for this bottom deal. Pick up a stub of about twenty cards and place it in the left hand for dealing with a small reverse bevel-twist the stub counterclockwise. The left first finger lays across the front end of the deck with the finger tip at the comer. Extend the left thumb to the right side of the deck between the left second and third fingers. If it's more comfortable, extend the left thumb between the left first and second fingers.

photo 547 - startingposition; reverse bevel

photo 548 - thumb-stopposition

With no pushoff, take the bottom card with the right second finger while contacting the bottom card directly under the left thumb. Note that the left thumb and right second finger mimic the pinch-rollers as described. Push the right second finger up against the left thumb and and taketdeal the bottom card.

464 - Gambling Sleight ofHand

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Before discussing the full dealing action with movement from the left thumb and deck-hand, just deal consecutive bottoms for a while to feel the sensation of dealing bottoms in this manner. With very little practice, you'll reliably be dealing consecutive strike bottoms. For the application that was shared with me, the mechanic started with his left thumb resting normally on the deck as he turned to his right. Sliding the thumb to the right edge, he would deal three consecutive bottoms to his partner (cutter) without moving the thumb, only retracting it to the natural resting position after dealing the third card. When I first saw this bottom, the mechanic wanted to bet that he could deal ten bottoms faster than I could deal ten tops. I lost. That's the kind of reliability, consistency, and speed that's possible with this method. There are two caveats, however. The move works best with less than a full deck, and your thumb must be long enough to reach the right side of the deck. Positioning the stub deeper in the left hand can shorten the distance required for the thumb to reach the edge. And even a tiny reverse bevel makes the move easier. Here are several options to consider:

0 The left thumb can fake moving back and forth naturally as if pushing off the top card. 0 Take with the right first or second finger provided it's directly below the right thumb.

0 Each bottom can be forcibly snapped to the table as the left thumb lifts slightly. v The left fingers can remain relaxed and naturally curled throughout the deal.

0 To deal complete rounds, position the left thumb on the top card near the front edge and deal normally. When it's time to deal a bottom, move the left thumb from the front edge to the right edge, which is minimal, and can be completely hidden with a normal rockingltilting action.

False Deals - 403

Forward Pushoff This is another idea from FOF. Not surprisingly, the method has some similarities to the thumbstop bottoms, and it's easy to see how FOF could have stumbled on this method while experimenting with the other-or vice versa. The following bottom is a soft, face-up, underhand stud deal with an unusual pushoff. Start with a stub in the left hand, full grip, with a slight backward bevel; the left thumb rests on the bevel at the front end. For the pushoff, the left-first finger moves forward. With the left thumb holding the stub in place and providing resistance that only allows the bottom card to move, the action moves the bottom card forward about the width of the ball of your second finger. The right hand approaches the deck during this action and takes the bottom card by the outer right comer between the right-second finger and thumb. Move the bottom card forward and turn it face up in an underhand dealing action, and rock the deck slightly to block the top of the deck during the deal.

photo 551 - bevel deck backwards

photo 552 -push ofbottom card forward

photo 553 - takingposition with cover

photo 554 - forward-pushoflbottom deal

466 - Gambling Sleight of P

- A

Thumb Digger One mechanic let his right thumb nail grow, which he used for a novel take. It works with almost any grip.

photo 555 - thumb-digger bottom deal

As the right hand approaches the deck-hand, the tip of the right-thumb nail digs into the deck. This creates a two-way bevel with the cards below the thumb nail beveling to the right-this is the key. From here it's easy to take the bottom card by positioning the right second finger directly below the right thumb. The take can also be described as apinching action.

Rock the deck naturally to ensure that the top of the deck is not visible to observers at the instant the bottom card is dealt. Even if the take doesn't interest you, try it a few times. With a normal dealing action, just lightly dig your left thumb nail into the deck as described to appreciate how the action facilitates the deal. The lower in the deck you dig the nail, the better. After that, it's about timing and managing the top-of-the-deck viewing angle.

Bottom Loader Here's another intriguing story. After hearing about this move, I immediately ran it by a veteran bottom dealer (JJ). He looked at me like I was crazy; "Why would I do that?" The response only intensified my interest in this move. The story goes that one mechanic developed a method for dealing the top and bottom cards simultaneously and loading the bottom card to the top of the deck as the top card was dealt, putting him in the advantageous position of being able to deal the next card cleanly off the top-the original bottom card! Cardmen are familiar with dealing the top and bottom card simultaneously, so the technical requirements are definitely possible, but loading the bottom card deceptively is going to take some careful analysis.

I have experimented with dealing the cards downward and then coming over the deck to deal the top card to my left while unloading the bottom card at the same time, but I'm not happy with the results. I have also used the left second finger to swivel the bottom card on top of the deck as I pitched the top card. Again, no luck. Although I have yet to come up with an acceptable solution, I still wanted to mention the possibility. If you come up with a deceptive method, the results could be ground-breaking, and there may applications in magic, too.

False De8

pnoto J J O - dealing top and bottom cards

photo J J / - comzng over tne top w ~ t hboth cards

photo 558 - unloading bottom card; dealing top card

photo 559 - bottom card on top of deck

'67

468 - Gambling Sleight of Hand

SUMMARY 1. The technical philosophies for dealing seconds and bottoms are similar in many aspects so reread the technical observations for the second deal before you start practicing any bottom deal; many observations hold true for dealing bottoms, too. 2. Find a grip that feels comfortable for you. If it's not your default grip, it should be close. Your best bottom deal will likely be dealt from your most comfortable grip.

3. The difference between strike bottoms and pushoff bottoms is significant, but don't automatically rate the strike bottom as the easier method-as we do with strike seconds versus pushoff seconds. Depending on the grip, strike bottoms are often more difficult to deal deceptively than pushoff bottoms for many reasons. One reason is that you have to reach under the deck for strike bottoms but only to the right side of the deck for pushoffs. Moreover, while dealing bottoms from a squared deck requires a special touch or knack, dealing a pushed off card is relatively easy by comparison.

4. If you prefer pushoff bottoms, be prepared to assiduously study the squeezing action. It's the heart of the move and it has to be executed deftly to end up with a 'money bottom deal' (one that will fool seasoned card players).

5. After a sound technique is acquired, good rhythm, pace, and speed come next. If your bottom deal is hampered by finger movement, however, dealing smoothly around the table is not enough to achieve your goal. More practice is required. 6. The best mechanics can put the deck in their dealing hand and begin dealing with no hesitation or fiddling. Strive to accomplish the same goal. This is the first tell I look for when I'm about to watch a bottom deal.

7. Every effort has been made to present a variety of bottom deals so you can assess several options. Are you going with an extended-fingers grip? Will you only deal bottoms to certain positions? If you opt for a squeeze bottom, will you squeeze early, incrementally, or just before dealing the bottom? Once you have technical direction, take some time to explore the many nuances of this false deal; examples include dealing 'above the deck,' back takes, 'dealing on the move,' and so on. The key is to find the method that works best for you, then put in the practice time. The goal is to 'own the move' (can't be done any better). 8. One-handed bottoms are fun to practice and demonstrate, but there's very little practical application at the card table. The best applications for these deals are demonstrations and gambling stunts.

9. Are there any more new-theory bottoms yet to be discovered? You have to believe that the answer is a resounding yes! 10. Every gambling sleight-of-hand enthusiast needs a go-to bottom deal. The move takes work, so he prepared for a serious practice commitment. Set out with definitive goals. Practice eflciently. Strive to make steady progress. And most importantly, constantly ask yourself if there's room to improve every component of the deal. In most sessions with cardmen, the bottom deal is the first move discussed. It's also one of the first moves that I ask cardmen to demonstrate. It's a defining move, and you can learn a lot about a cardmen after they deal a few 'planks.'

470 - Gambling Sleight ofHand

THIRDS, GREEK BOTTOMS, and CENTERS Everything I know about dealing thirds, Greek bottoms (second from the bottom), and centers stems from the magic world, so there's little to share from hustlers specializing in these moves. What I have found, howcvcr, is that it's common for hustlers to fool around with esoteric methods that rarely, if ever, surface at the card table. When hustlers get together and trade secrets, these sessions often turn into a one-upmanship-no different than when cardmen get together. Pure exploration and the desire to test the limits of our technical capabilities is perfectly natural and usually starts with asking the question, "I wonder if this is possible?" Even when an impractical move relative to the card table is doable-like dealing thirds-cheaters don't invent moves just to show their friends. Gambling moves must have payoffs. Does dealing thirds make more money than dealing seconds? Of course not. Dealing a third may be the perfect move for some rare, isolated situation, but for mechanics with the skill to peek, read paper down into the deck, and rip deceptive seconds, they're going to win all the money without ever resorting to dealing thirds. Even if it were true that dealing thirds makes more money than dealing seconds-and it's not-what about reliability, deception, and most importantly safety? The 'Greek bottom' raises more questions. There are many games where the bottom card is protected with a face-up card (most often a joker) or plastic cut-card, which should make these games particularly vulnerable to the Greek bottom, especially given the false sense of security with a 'protective card' on the bottom . . . no more accusations of dealing off the bottom. So, why don't we hear more about mechanics specializing in this move? I've never met or heard about one. Curiously, although the research didn't uncover a single mechanic specializing in these moves and using them under fire on a regular basis, it did reveal several ways to overcome a cut-card or burn-card on the bottom of the deck. The most diabolical method uncovered in my research is credited to Rod the Hop. Rod cut the plastic cut-card used in casino/cardroom poker to make it slightly thinner, which facilitated dealing Greek bottoms. But Rod rarely used the move-he was a master run-up man, among other talents. I recall asking one bottom dealer about cut-card, to which he responded, "The cut-card changed nothing for me." In poker, he would simply cap target cards to the bottom of the deck as if the cut-card wasn't even there, then deal bottoms in the traditional manner. In blackjack with a face-up burn-card on the bottom, the Greek deal would appear to be an obvious threat, but it would only get in the way. Why manipulate one card (second from the bottom) when you can manipulate every card with the second deal?

Assuming that my experiences over forty years offer a reasonable sample size that accurately reflects the realities of cheating, it appears that the only people working on thirds, Greeks, and centers are cardmen. And why not? If the goal is to incorporate these moves into spectacular demonstrations, it all makes sense. Cardmen have a genuine motive; cheaters do not! Finally, a quick story about centers. I recall asking expert JB about center dealing. He picked up the deck, bowed the deck in a convex direction, bowed the top half in a concave direction, cut the cards, framed the deck in the Erdnase grip, and started dealing. When he got to the dealer's position, he squeezed the deck from the front right comer and base of the thumb to open the deck between the bowed halves and reached into the gap with his left second finger and dealt a center. "Do you mean like this? he asked. But this was not a bona fide move, it was an exploratory idea. I have experimented with several variations of these false deals and have even developed some of my own, but all were pursued to be used in pseudo gambling stunts. For readers looking for more work on these false deals, keep an eye out for Jason England's new book on false deals, which should be available in the near future.

The Center Deal The deal that seems to interest most cardmen is the center deal so here's a little background. When it comes to the false deals, there's one that's guaranteed to steal the spotlight: the illusive 'center deal.' When you think about a mechanic with the skill to deal from the middle, you can't help but envision a super-hero capable of busting any game and the hype surrounding the move does nothing to diminish its reputation as one of the greatest gambling moves of all time. In Scarne on Cards, the author assesses the odds at running into a center dealer at 1,000,000 to 1, then further stated: "To execute the deal smoothly is perhaps the most difficult of all the moves of the modern card cheater. I happen, after twenty-odd years ofpractice eight hours a day, to be able to deal middles without the move being detected. . . " Classic Scame.

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Other experts followed with similar vaunt, but then we have my favorite quote, which is the most painfully honest description of center dealing that I have come across. It can be found in Dealing with Cheats (A.D. Livingston, 1973). "To be honest, I can't deal middles even in S ~ O M Jmotion without the deck sometimes flushing from my hands like a covey of quail. . . although I managed to hold the deck together long enough to shoot the photograph." One of the few references to question the usefulness of the center deal is How to Spot Card Sharps and their Methods (Sidney Radner, 1957). The author states: "There is no use for the center deal except in lectures exposing crooked gambling." The center deal has always intrigued me. It's a classic paradox. First, the center deal is not an impossible move. We've all seen some very good center deals in the hands of cardmen. Second, working with the move is straightfonvard: cull a few desirable cards to the bottom, carry the slug, carry the cut, secure a brief, and deal from the middle. For these reasons, the center deal should be synonymous with making money. But if this were true, like the Greek-bottom mechanic, why are these cheats so rare? Maybe they never existed in the first place? The center deal offers two advantages: (1) the mechanic gets to work alone, and (2) there is no need to nullify the cut. Let's quickly address these factors. First, is working alone a big advantage? Not always. Even when employing moves that can be worked alone such as holding out and playing paper, these cheaters often work with partners or crews. Why? Because there is strength in numbers. With partners, for example, dealing bottoms becomes more practical, stronger, and safer. Bigger hands can be culled: straights, flushes and full houses. Bigger pots can be built. Winning hands can be dealt to players other than the dealer-any hustler will tell you that the first question raised by suckers after losing a big hand is "Who dealt that hand?" Cheaters are in a better position to manage the game, alleviate suspicion, and counter accusations; you know, all of the things that keep them out of the hospital in this line of work. When the center deal is employed by a single-o mechanic, every one of these advantages are forfeited. Second, although the center dealer does not have to nullify the cut, the cut still presents obstacles.

0 What happens if the cutter cuts too deep, forcing the mechanic to reach the slug too soon?

0 What if the cutter cuts very thin. Is the execution of the move the same when the mechanic is holding a break only ten cards from the bottom?

0 With the center deal, some form of break, step, or brief must be held during the deal,

so there may be dangerous tells even when dealing on the square. For the same reason, angles can be more difficult to manage.

0 There is more finger movement required to execute the center deal than other false deals (for example, some extended-finger bottom deals require none).

0 With bottoms and second dealing, the cheater can put the deck down, pick it up, and still use the false deals in many circumstances-not so easy with the center deal. 0 There are situations when consecutive bottoms may be required-again, with the center deal.

not so easy

0 Depending on the method, the condition of the cards can be an important factor. Even Allen Kennedy declared his center deal to be less than perfect with new cards because two cards instead of one were accidently dealt on occasion). For reasons beyond the scope of this research, if we were to compare the pros and cons of the center dealer versus the bottom dealer working with a cutterlpartner, the partnership poses a dramatically greater threat at the card table . . . and I'm betting on the partnership every time to make the most money over the long haul.

the magician and the cardsharp The center deal has been covered in several sources, but the most detailed account can be found in The Magician and the Cardsharp (Karl Johnson, 2005). Johnson recounts the story of how Vernon relentlessly tracked down a mechanic by the name of Allen Kennedy because it was rumored that Kennedy was a master center dealer. I had the pleasure of meeting Karl. He was sincere, passionate, and professional in every aspect regarding his research, and I thoroughly enjoyed the book. In particular, the book seemed to effortlessly balance the typical hype associated with the move, and you never felt like the author was trying t o j l l space with anything other than what his research revealed. After savoring this work, however, I was never left with the sense that Kennedy made a fortune with his center deal, nor was there compelling support that he employed the move under fire on a regular basis. Kennedy's early career took place in Pleasant Hill, Missouri, a small town featuring a train stop that guaranteed its fair share of visitors. Kennedy and his crew worked a 'brace-game,' so we're talking about a massive conspiracy. They employed traditional methods of trimming the unwary: coolers, run-ups, bottom dealing, and the spread. Kennedy was also an expert dice mechanic. He literally had a license to steal. In a 'wired' environment (one giant crew), this was definitely not the place for the center deal. It wouldn't have made any sense! The story goes that after many years as a successful hustler, Kennedy had an epiphany about the possibility of a center deal. Remember, he was already a master mechanic. He already knew all

,I4 - Gambling Sleight ofHanu

the angles. But for some inexplicable reason, he was ready to abandon the tenets behind his success and move from brace-game to solitary center dealer, defying logic and motivation. He knew that pursuing the center deal would be a more difficult technical challenge. He also knew that his decision would alienate his friends-all of the hustlers who were routinely part of his crew. But maybe Kennedy just pursued mastery of the center deal for the challenge itself. He was an artist, and in his world, they said it couldn't be done. So he accepted the challenge! Kennedy was not a smooth talker or fighter (two invaluable attributes for single-o cheaters), but after perfecting the center deal, he began working in "nameless, rough-and-tumble second-story joints . . . with country types . . . and with beer drinkers who wanted some action before going back to work." I was left with the impression that the move may have only been used for short money against soft play, and that it was never taken that seriously. Another curious revelation is that Kennedy's favorite game was five-card shtd-the most dangerous poker game ever invented. There was only one hole-card in the early version of this game, so just having knowledge of an opponent's hole-card was an insurmountable advantage for hustlers. In fact, the advantage is so strong, there would be no needfor the center deal. Methods for attacking the game that immediately come to mind are marked cards, slug scams (with legitimate cuts), peeks, and holding out. But not center dealing. Kennedy was obviously hip to this fact because he invented moves specifically for this game. He mastered the peek-deal, which enabled him to peek opponents' hole-cards during the deal. He also came up with a move for peeking multiple cards when he was the cutter (wish I knew more). Kennedy was already capable of busting any five-card stud game with better, subtler, safer, more practical techniques than reverting to the center deal. One of the most poignant moments in the book is how impressed Vernon was with the execution of the deal, stating that it was "one of the greatest moments" in his life. This is powerful stuff coming from magic's patriarch. It moves you. Vernon also stated in a personal letter, "I think it's worth a fortune to any crooked gambler, as it is all he'd need." To this statement, I respectively disagree. Vernon never saw the center deal in play, and no information was provided to assess how frequently Kennedy used the move and over what period of time. If this information was known, Karl would have published it. Did Kennedy occasionally rip a few centers on a dare, or did the move really live up to the hype and help him win a small fortune? I'm not sure anyone knows. Hustlers are notorious for having fun with non-hustlers. Embellishment, exaggeration, and the occasional bold-faced lie are all part of their game. This is why it's always prudent to focus on the technical and practical realities of moves, not the stories surrounding the moves. When I first started reading The Magician and the Cardsharp, I couldn't put it down. It was captivating, but I almost immediately realized that the book was not about cheaters or center dealers; it was about people. It was about pursuing one's passions and dreams, and to the extent

some will go to excel in their chosen fields. To a lesser extent, it was also about how the worlds of magic and gambling can come together for an instant to share common ground on the turn of a card. center-deal demonstrations

No one can deny the impact of center-deal demonstrations, whether fake or real. Anyone can grasp the principle of dealing seconds and bottoms, but dealing from the middle just doesn't seem possible. This is why I remain a fan of the center deal. At the card table, however, determining fact from fiction is more important to me than the move, and my research simply doesn't support the center deal as a prized possession of the best mechanics. As a matter of fact, the move doesn't even get an honorable mention. After studying hustlers for forty years, I have yet to meet (or hear about) a cheater specializing in the center deal. This comes as no surprise. Cheaters aren't rewarded for esoteric moves or technical difficulty; they make money the old-fashion way-they steal it with tried and tested methods. If and when this mythical move ever surfaced, I'm betting that it was for all the wrong reasons . . . at the card table, the center deal doesn't fly in the face of common sense. In closing, since there were no methods, per se, we can skip a technical summary. If you pursue thirds, Greek bottoms, and centers for either the enjoyment of practicing some of the hobby's most difficult moves or for demonstrations, have fun. Just be cognizant of their cardtable realities. I can't state with certainty how many of these specialized mechanics are actually moving and grooving, only that I haven't come across them in forty years of obsessive research. Since most readers are interested in the center deal for entertainment purposes only-my preference t o e s e e chapter nine, Pseudo Gambling Stunts, for several ways to have some fun with the concept.

Introduction This short section was originally part of the second-deal section, but after consideration, I decided to expand the topic and present it in its own chapter. The second deal has two silent partners: peeks and paper. Without peeks or paper, there's no information to manipulate. There are a few exceptions; for example, the second deal can occasionally be used with stacks, but there's always the omni-present connection of the second deal to peeks and paper. Even the bottom deal can be used with peeks and paper. The cheater's term for marked cards is 'paper' with 'readers' being a dated term. I still occasionally come across the term 'pike' for peek, but it's dated too. If you're a second-deal enthusiast, other than directly demonstrating and exposing the move, you'll probably have to combine the second deal with peeks or paper if you wish to pursue other kinds of demonstrations. Gambling Sleight of Hand is about gambling moves, not gambling gaffs, but there would be a void in this treatise without a basic overview of peeks and marking systems relative to the false deals, especially the second deal.

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PEEKS bubble-peek Perhaps the most common of the peeks is the 'bubble-peek.' The bubble-peek is a favorite with blackjack mechanics. Since the dealer typically stands with the deck held in front of the chest, the bubble-peek was designed for this game. The timing of the peek is critical and is generally consistent with most mechanics. As a hit-card is dealt, the instant the card is revealed to the player--drawing their attention-the peek is executed.

photo 561 - standard bubble-peek

A common tell with this peek is the dealer's eyes shifting to the deck. For one mechanic, any time he peeked, he continued to look down at the rack as he moved a few checks around, providing a logical reason for the direction of his eyes. Other forms of cover are turning the dealt card face up in front of the deck, or reaching in front of the deck-hand with the dealt card as the peek occurs behind the right wristiforearm. The goal with this move is to find situations where the hit-card i~ close to the deck to justify the general direction of the eyes.

If you use the peek, only the slightest, broadest buckle is required to see part of the index; buckle too aggressively and the cards will quickly begin to look like potato chips. heel-peek The 'heel-peek' is arguably the most popular among all hustlers, although I have only met a few who do the move invisibly. The biggest tells are (a) sharply bending the left thumb and @) exaggerating the squeezinglpeeking action. Both tells are easy to avoid. The secret of the heel-peek is to start with the left thumb barely moving the top card over the left side of the deck, and thenpeezing. From this position, just squeezing the deck will lift the top card up off the back inner end where it can be peeked without moving o r bending the thumb. One mechanic (JP) used to extend the deck-hand to the player and heel peek as he asked, "Sir, do you want another card?" Some mechanics like to heel-peek the instant the deck is placed in the left hand for dealing. Others prefer to get the top card into heel-peek position and turn the deckhand over under the guise of some logical reason; this position provides maximum cover and only a small part of the index is exposed under the base of the thumb.

Peeks and Paper - 479

photo 562 - standard heel-pea

Cardman Robert Mills can pitch cards around the table while heel-peeking every card dealt to a targetplayer, and the deal looks amazing! Mechanic SA was the first to show me that the heel-peek could be used to peek multiple cards-he would peek two or three cards with every peek. . . and sometimes more.

photo 564 -peek and deal

photo 565 - multiple card heel-peek

One mechanic applied the heel-peek in a very unusual way. He would heel-peek the top card withoutpeeking. Instead of a small, tight peek, he created a subtle, broad, concave bend to the top card near the back end. Now later in the round when there was more scrutiny, he merely moved the deck-hand forward and subtly tilted the front end and right side down. In this position, the concave bend lifted the index comer of the top card high enough to peek it without manipulating anything, and with the hand in a very open position-think of it as a 'no-peek peek.'

480 - Gambling Sleight ofHurru

corner-squeezepeek With the left thumb tip resting on the front-left comer, a little backward pressure down the side will buckle the top card and enable it to be peeked during various actions. One of the most amazing peeks I have ever seen was a 'comer-squeeze peek' for multiple cards. In blackjack, the mechanic would rest his deck-hand on the table as the right hand cleaned up his chip-rack-a very common action. But as the left hand rested, the mechanic squeezed and peeked enough cards to determine who would win the next hand in heads-up play (5-7 cards). When the peek revealed a winning hand for his agent, I don't have to tell you the rest of the story.

photo 566 - corner-squeeze peek

photo 567 - multiple-card corner-squeeze peek

little-finger break-peek

A little-finger break can also be used as a peek. Once a break is established, just extending the deck-hand provides a peeking perspective. With a break under two cards, you're peeking the second card from the topimportant to hustlers who have to get past bum-cards. My favorite peek uses the 'two-step seconddeal' (page 426) to set up a two-card break. This entails pushing off two cards and only dealing the top card, then pushing off two more cards and only dealing the top card. At this point, the pushed off cards are retracted onto a little-finger break. Now you can peek the second cardfrom the top of the deck by simply extending the left hand as described.

photo 568 - little-finger break-peek

After burning the top card, the peeked card can be manipulated as desired.

Peeks and Paper - 48 1

square-uppeeK This peek fooled me. With the deck forward, level, and close to the table, the peek occurred during a short, squaring action. Start with a little-finger break that extends to the heel of the thumb. Approach the deck with the right fingers at the fr&t left comer and thumb at the back left corner. Fake a short squaring action with the right hand as you slide the right thumb under the top card along the left side, lifting the top card at the back until you can peek a partial index over the right thumb.

photo 569 - startingposition

photo 570 - square-up peek

Using a slightly modified method, after dealing a hand of poker, for example, I like to lift the top card from the side and peek it as the deck is tabled. Simply extend the deck-hand to get the proper angle. Leaning back in your chair also helps. This peek is similar to one used by casino cheats to peek the top card during the cut. Actually, the move started as a peek and ended as a 'flash' whereby the cutter's partner would glimpse the flashed card, allowing the cutter to photo 571 - square-up peek from the side make eye-contact with the dealer. With a crew locking up the table and playing every position, after the number of cards in the cut was estimated, they would strategically 'steer the information' by altering the number of hands played and direct high cards to the big bets and small cards to the dealer's up-card position.

482 - Gambling Sleight ofHand

bottom peeks With the deck in the left hand, dealing position, grab the deck with the right hand from above, fingers at the front and thumb at the back about one inch from the back comer. In a short fonvard/backward squaring action, buckle the bottom card backward to peek its back index comer. If the bottom card is stepped to the right before the peek, two or more cards can be peeked. photo 572 - standard bottom peek for two cards

The forward-and-backward squaring action is a common tell with this peek. It can be eliminated by first pushing the deck forward solely with the left thumb, jogging the bottom card to the back at an angle. This is a one-handed get-ready. Now you can lift the tip of the bottom card for the peek as you reach over to grab the deck with the right hand. There is no squaring action. I like to peek and place the deck to the table with the right hand at the same time. In fact, I like to ask cardmen if they are familiar with the standard bottom peek with the forward-backward squaring action as I get into position, and then demonstrate this peek with no sliding/squaring movement. When cardmen are preconditioned to expect a certain move done in a traditional way, it's easy to fool them, and it's always enjoyable to get a puzzled response: "Wait a minute, what happened to the squaring action?"

photo 573 - bottom card back-jogged

photo 574 - bottom peek with no squaring action

Peeks and Paper - 483

pick-up peeks The buckling action used in the standard bottom card-peek can also be done from the sides. Carry the cut, pick up the deck with the right hand by the sides. Buckle the bottom card with the right thirdfinger as the deck is picked up and placed in the left hand. The photo depicts the vantage point. For this peek to be deceptive, keep the deck parallel with the table; otherwise, rotating the deck even a few degrees off its horizontal plane looks like an attempt to peek the bottom card photo 575 - pick-up peek without the buckle, an action that tends to be very obvious, especially with the dealer burning the deck at the same time. phantom peek Here's a stellar peek from Walter Scott that can be done one- or two-handed and does not need a squaring action for cover.

I prefer the easier two-handed peek as follows. Start by sliding the bottom card to the left and up against the left side of the deck as depicted. You can first get a little-finger break above the bottom card to facilitate getting into this position. From here, only the slightest counterclockwise twist of the deck-hand is needed to peek the bottom card with plenty of cover from the right hand. I like to lean to the left ahead of the deck, peek, square up, and begin dealing. For my favorite variant, however, I like the phantom-peek as the deck is photo 576 -phantom peek tabled. After getting into peek-position, grab the deck by the sides near center with the right thumb and right second finger wrapped under the opposite side to keep the bottom card in position. As you place the deck on the table to your right, you'll see how easy it is to peek the bottom card. Scott actually combines this peek with the heel-peek to peek the top and bottom cards simultaneously, all with one hand! I have never heard about anything like this peek.

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base-of-thumbpeek

I

This peek is subtle. With the deck in the left hand dealing position, the left thumb pushes the deck less the bottom card to the right. The right hand immediately squares the deck, lifting the deck less the bottom card, which is buckled convexly as depicted. The bottom card can now be peeked while keeping the deck perfectly level, relatively still, and close to the table. Depending on the degree of buckle, you may have to rotate the deck-hand slightly in a clockwise direction.

-

photo 577 - base-of-thumbpeek

wrap-around peek This peek takes the bucklinghending action to the extreme. One mechanic pushed the bottom card to the right and wrapped it around the side of the deck under right-hand cover where the top card could be easily peeked. If the peeked card was needed, it wasn't rotated back to the bottom and squared, it was rotated into a get-ready position for the bottom deal.

photo 578 - wrap-arounapee~

Some peeks are only feasible with plastic cards, suggesting that they are relatively new gambling moves, surfacing some time after the introduction of plastic cards.

chop-peek Near the end of an informal overhand shuffling procedure, chop a packet to the back, a packet to the front, and fake a packet to the back while peeking the exposed card in the center, and throw the remaining cards on top. You have peeked the bottom card. I offer this simple peek for a reason: if a shuffled deck is handed to you, it's easy to peek the bottom card during a short overhand shuffle to set up forces, predictions, effects, and so on. To peek two cards, position the deck for an overhand shuffle where the bottom card is visible-don't make a move out of this. Follow the same procedure described, but as you peek the chopped card, slip the bottom card, retaining it on the bottom, and shuffle off. You have now peeked the bottom two cards, and the idea can be extended for peeking more cards.

reeks and Paper - 463

overhand shuffle and off-the-table rijj7epeeks

Peeks don't have to be moves, per se. On more than one occasion after asking hustlers about peeks, the response was, "I just look." If you think about the overhand shuffle, it's easy to peek the bottom card as the deck is held in the right hand, which can be shuffled to the top. The same is true with off-the-table riffles and ships where it's easy to peek the bottom card as the deck is split for the riffle, during the riffle, or during a strip. The takeaway? We often overthink and unnecessarily complicate many moves. back-corner rqfle peek

With an open, high, or fanned riffle, it's easy to peek multiple cards. But what if the inner ends of both halves remain relatively flat? Split and hold the halves by the extreme ends. Riffle at the comers. With this riffling style, you can peek cards at the back right comer despite what appears to be flat riffle. Simply lift the back right comer a little higher with the tip of the right thumb, peeking under the thumb, and protected by the right first finger. r~jjflesqueeze

For this peek, after a split, the left first finger drags the top card back about one-eighth of an inch. In this position, even with a tight, closed r@e, the top card can be easily peeked with no hesitation. For the best handling, peek and look away during the riffle. With a little more pressure, two or more cards can be peeked. Side note: you might be thinking that peeking a single card couldn't have much value. On the contrary, this simple move has stolen millions. In a game like baccarat with complex multideck shuffles, scams have surfaced where one photo 580 - r@e squeeze card was peeked at a time, added to the previous peeked card, and repeated to build a slug that was memorized by the dealer. After one or more key-cards were dealt, the dealer could signal his partners accordingly-even one cinch hand in high-limit Baccarat can be a score.

486 - Gambling Sleight ofHand

off-the-table cascade-peek

photo 581 - cascade peek

With an off-the-table riffle, hold-back five cards on the left half, but do not look into the riffle. Cascade the halves normally, but now casually glance into the cascade. You can peek the 5" card down from the top, which happens automatically due to the hold-back. During a second riffle, hold back five cards, cany the previous five-card slug, glance into the cascade, and peek the new 5thcard. The peeked cards are in the 5" and 10" positions from the top. There are many ways to exploit the information.

flashing On a side note, when a card is purposely exposed to a dealer's partner, it's called a 'flash.' Mechanics peek cards, but they flash cards to partners. These moves represent another component of the peeks genre, but since it takes two to tango, methods for flashing have not been addressed in this research. These scams have won fortunes in the casino industry. I recall two female dealers from Reno who perfected a well-hidden flash. In blackjack, their agents sat on first base and would be flashed the top card before it was dealt, the top card after the initial deal, and the dealer's holecard. Three flashed cards in one round is a lot like playing with the cards face up! They successfully took off the casinos for many years. Know how they got nailed? They purchased too many homes and boats!

reeks and Paper - 7

The modem term for marked cards is 'paper' as in 'playing paper,' although the older term 'readers' still surfaces from time to time. The art and science of marked cards has always been a personal passion. My interest in this topic recently culminated in the completion of the most comprehensive marked-card study ever conducted. I hope to publish my research some day, but for now, there are confidentiality issues, as the study was conducted on behalf of a company about to introduce the world's smartest shuffling machines: shufflers with the capability to detect all forms of marked cards! When I was collecting gambling artifacts, I had built one of the largest collections of marked cards known to exist. It comprised 3000 decks with over 500 diffeerent marking systems, ranging from the old classics to modem casino-marking systems. The collection also included 'keys' (instructions for reading a marking system) and customer records from a few of the most prominent crooked gambling supply houses still operating in the 1970s-they eventually closed down due to federal laws prohibiting the interstate transportation of gambling equipment. The collection also included many card-marking devices, tools, and related equipment (cutters, rounders, punches, etc.)

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Gambling Sleight

ofHurru

photo 583 - 'keys'

The following section could be conservatively expanded another 200 pages, but for our purposes, I have decided to include an overview of three systems that will steer you in the right direction should you wish to continue your research.

P-ks

and Paper - 480

paper for cardmen For demonstrations, professionally marked cards are not necessary. They are overkill! I have met several cardmen who doctored up their own decks with a ballpoint pen to make crude 'line work,' or used a pencil dot to mark key-cards, and no one was the wiser. Whatever the system, if it gets the job done, it's okay. Moreover, it's common for cheaters do the same thing: crudely marking the cards in ways that would make you question their sanity.

I have found that many cardmen are looking for more permanent solutions because they mistakenly believe that cheaters' marking systems work the same way. Cardmen also tend to believe that most marking systems require special equipment. Not true. At the card table, marking systems run the gamut from rank to ultra-sophisticated. On one end are 'nail nicks' caused by digging the fingernail into the edges of the cards. On the other end are systems requiring one-hundred hours of practice to read. For example, in one case, the cheaters first practiced with strong 'shade,' a diluted ink that typically marks the white part of the card. The shade consisted of five drops of ink in a carrying agent. After practicing to read the work, they reduced the strength and leamed to read the work with only three drops of the ink. Finally, they leamed to read the work at 'game strength' with only one drop of ink. The goal was to make the work almost impossible to read without going through the grueling practice period. To make matters worse for honest players, today, amazing high-tech systems are on the rise and readily available. Not to belabor the point, this kind of sophistication is not needed for demonstrations and stunts, so let's focus on what is needed. There are essentially three ways to utilize marking systems with the second deal. 1

read the top card

2 . read the top two or three cards by prematurely pushing one or two cards off the deck

3. bevel the deck and 'read down' into the deck with edge-based systems Since the focus is on methods that aid the second deal, the preference is marks near the top left comer that are read as the deck sits in the left-hand dealing position. We're also looking for systems that make it easy to read the top two or three cards before and during the deal. Before we continue, let me quickly say that there are many other forms of paper scams. Examples include reading players' hole-cards, riffle shuffling the deck a few times to read the top cards of both halves in an attempt to cull desired cards, reading the top card as the cut is carried, or reading the cards dealt by another player whereby the cheater sits in a position closest to the dealer's deck-hand. If the marks are on the edges, with a beveled deck in dealing position, edge-marks can be read throughout the entire deck.

- Gambling Sleight O ~ H U ~ L U

Humps 'Blockout work' is the standard term for marking the cards with a matching ink by adding or extending some part of the printed design. A popular form of blockout is called 'humps,' which simply adds a hump to the outside (or inside) of the printed border. For second dealers, the first part of the second card that is exposed during the deal is the top left comer, and since cardmen commonly use cards with borders, humps is a practical option.

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For humps, you do not need special marking devices nor do you have to mix substances or follow complex formulas. All you need is a .. ,* ,.,.. oermanent marker with the finest tio vou can sc: .&& find at an office supply or art store. These sources also sell plastic stencils for drawing circles of every size, although any circular objec will do the job. 1use the cap of the marking * . ,.?:;- *?5,FT, pen-an all-in-one marking system. Position the ...,.;....+. +*. . .iw . :A$ . template on the border, trace around it and add . .: ?.A,& .,. . the hump. Experiment with different radiuses. And don't w o r n about the finish: we're onlv ' photoSar n .'" - "'umps (top card onlyl talking about a minuscule amount of ink. ,

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The specific inksidyes, carrying agents, and finishing agents may be important considerations for professional work, but you'll have to trust me: the majority of cheaters working with this level of marked cards are using permanent markers too. Besides, why bore you with a chemistry essay. Okay, you have doctored a deck of humps. Let's assume that all the high cards have been marked with a hump. All other cards are left alone and are called 'blanks.' The marking system is a 'two-way combination' since the cards can be read in two distinct groups. You can now begin to push one card off the top and peek the top two cards, or push two cards off the top and peek the top three cards. This is known as 'reading down into the deck.' When you can peek down into the deck, there's time to anticipate dealing seconds if desired-instead of reading the top card and having to make a split-second decision to deal a top or second. So far we have only considered a two-way combination. Either the card has a hump or it doesn't. But these systems generally offer multi-way combinations. A hump on the front left side could indicate a king. A little farther down, the hump could indicate a queen, and so on. One hump may also indicate a range of cards; for example, tens,

jacks, queens, and kings. It's also common to position the humps down the side and across the upper border to make it easier for cheaters to focus on one area to get the information they need. Finally, with humps, it's common to add a point to the comer of the borders to indicate the aces-a standard combination sold hy the crooked gambling supply houses. In fact, if you find that reading points are easier to read than humps, substitute points for humps. Use a stencil or two pieces of paper to form a comer/point. Hold the paper firmly and create the point. It's easy. If humps and points don't work for you, take your favorite back design and look for a design element near the left comer that stands out. In the cards depicted, note the pointed leaf in each comer. On the top card only, there are three different forms of blockout. The top of the leaf has been flattened. The dot under the leaf has been blocked out. And the short white line to the left of the leaf has been blocked out. Any of these options would be just as effective as humps or points. photo 585 -four blockout options (top card only)

If you're adverse to using ink, the opposite of 'blockout' is 'cutout' where part of the printed design is removed with a pin or sharp knife under magnification. A short white line, 'reverse hump' in the border, or an extension to any white part of the back is perfectly adequate for demonstrations and stunts. If cutout is more your style, ignore any early reference to removing part of the printed design with chemicals. The process is an impractical nightmare. Finally, the closer the marks are to the outermost printed border, the better, as the top two or three cards need very little separation as they are pushed off the deck to read the marks quickly and reliably Whether you opt for blockout or cutout, take your favorite back design and select a marking system: humps, points, or be creative with any other viable mark. Just quickly glance at the left comer. Does any part of the design strike you as prominent? Did your eyes immediately jump to a particular design element. If so, go with it and modify the element as you wish.

tr' - Gambling Sleight ofHunu

Asymmetries In addition to marked cards, 'asymmetries' offer another way to read the backs. The manufacturing process for playing cards is highly technical. All 52 cards plus jokers and advertising cards are printed on sheets. The printed sheets are cut into strips, and the strips are punched into individual cards. If there's any variance in the process, for example, movement during the printing, cutting, or punching process, the result is an 'asymmetrical back,' which is defined as a back with a definable right and left side, andor top and bottom. Along with my study on marked cards, I also conducted a comprehensive study on asymmetries. Having studied this field for many years and having worked as a consultant in some of the most high-profile legal battles involving asymmetries, let me just say that an entire book could be written about the subject. My study revealed several controversial truths about casino playing cards, the strategies and scams that target asymmetries, casino countermeasures, and so much more. It also presented my experiences as a 'turn player' in the 1980s, long before everyone was buzzing about topic. Today these players are know as 'edge sorter,' a misnomer since sorting cards by the edges is just one way; there are others. 'Tum players' or 'edge sorters' are advantage players who identify asymmetrical decks in casino games where the players can pick up their cards. They'll surreptitiously turn their cards during play to create readable, exploitable decks. In recent years, professional gamblers have won tens of millions with this strategy-no exaggeration! Interestingly, more and more cardmen are becoming hip to asymmetries due to the modem, publicized escapades of professional advantage players. Did I say "modem?" Commonly known to cardmen as 'one-way backs,' the idea appears to have been around for some time. Bill Kalush uncovered a remarkable reference dating back to the 151hcentury in a rare manuscript describing the first card trick known to appear in print. The card's asymmetry was the modus operandi. The author is Luca Pacioli from Italy. The manuscript is on display at the Vatican and is dated 1478! For a more detailed, modern example, here's a description from Card-Sharpers - Their Tricks Exposed or The Art ofAlways Winning (Robert-Houdin, 1861): "It is very rare t o j k d all the marks with which the backs of cards are embellished to form the design, in the same identical place. The slightest examination will prove that the designs are not always the same distance from the edges ofthe card. The maker and the honest player do n o t j k d that this fact affects them; but the Greek makes his profit of it, and uses this peculiarity for the purpose of cheating. A f e r the third or fourth hand, he is able, by this means, to recognize a certain number of cards."

.,,ks

and Pauer - 41

Robert-Houdin was a famous magician, not a gambler or a gambling expert, so the fact that he presented asymmetrical backs in the context of cheating is not surprising. To most laypeople, when a gambling act occurs that strikes them as ethically questionable, it's convenient to classify it as cheating, a sentiment that continued with other authors into the early 1980s. Other experts and authors would warn against one-way backs; for example, in Scarne On Cards, Scarne offered the following advice.

"Here's another thing you'll have to remember. Don't play with cards on whose backs are pictures or designs which, when the cards are reversed, will be upside down . . . It seems obvious, but Edgar Allan Poe isn't the only man who knew that the more obvious a device is, the less likely it is to be discovered." Scarne was obviously referring to 'picture backs' like a portrait of a person or animal that can be rightside up or upside down, and not the almost-invisible asymmetries that are ubiquitous today and exploited by the best playersicheaters in ways never imagined. Back to my study-which I may also publish some day. The research formed the basis for a system that can detect any asymmetry ofany degree on any back! This is an amazing statement given the enormous complexity of this problem. The major challenge with detecting asymmetries is that the metrics change from card to card within the same deck. Despite this reality, the new system can detect in real time and with 100% accuracy-any game that is vulnerable to asymmetry-based strategies and scams. Most cardmen are hip to one-way backs, but I wonder how many would scratch their heads after reading the following facts: 0 Decks can be perfectly printed, cut, and punched, yet still exhibit asymmetrical backs.

0 Backs with overall-back designs-Bee

cards, for example-can have big diamonds on one side and little diamonds on the other side and still be perfectly symmetrical.

0 White-backs and Stingers (faded borders ) are vulnerable to asymmetries too, and they are just as easy-sometimes

even easier at greater distances-to

read as other designs.

0 Asymmetrical backs can be identified and sorted in other ways than looking at the

backs. 0 Remarkably, there was a 15-year period in the casino industry starting in the 1980s where every card made by three of the four major casino playing card manufactures was an asymmetrical back. Take a minute to digest this statement. At that time the makers were United States Playing Cards, Gemaco, Paulson, and Kem.

It's truly a fascinating subject

494 - Gambling Sleight ofHand

For two common examples of asymmetrical backs, the Bee card depicts one-quarter diamonds running down the left side and three-quarter diamonds running down the right side. The Bicycle card depicts variance in the widths of the side borders. -

photo 586 - asymmetrical Bee back; edges

photo 587 - asymmetrical Bicycle back; borders

If asymmetries are new to you, every time you open a new deck with all-over backs, flip the top half 180 degrees, bevel the sides and ends, a i d observe. when the deck has been cut evenly, the diamonds running off the edges will be roughly the same. If there is a sharp distinction in pattern from the top and bottom halves, however, you have a deck with readable asymmetries-as depicted in the photo. On a side note, if you have ever watched a casino dealer spin half the deck 180 degrees before or during a shuffle, the procedure is not photo designed to mix the cards; it's designed to mix back-design orientation, a countermeasure first implemented in the early 1960s.

388 - asymmetry test

reeks and Paper - 4 r ~

Sorts

It's common to find design and cuttinglpunching variances on most brands and back designs. As a result, cards can be sorted from two or move decks and combined to make a marked deck known as 'sorts.' The easiest way to put together a deck of sorts is to start with an all-over back design where the printed backs run off the edges. Start by finding a deck that has been cut reasonably even around the perimeter of the card; in the case of the Bee card, you're looking for half-diamonds around the perimeter. On other back designs, you may be looking for half circles, half ovals, etc. This is deck #l. Now look for the same back with inconsistencies at the sides or ends. Instead of half-diamonds around the perimeter, you might find one-quarter diamonds on one sidelend and three-quarter diamonds on the opposite sidelend. This is deck #2. Combine the high cards from deck #1 with the low cards from deck #2 and you have a deck of sorts. The remaining cards are used to make another deck of sorts, only with the opposite combination. In the photo below, note the front edge of the top three cards. Starting with the top card and reading down, the size of the diamonds are one-quarter, one-half, and three-quarter. If you read a half-diamond at the edge, it's one combination, say the high cards. If you read a one-quarterdiamond or three-quarter diamond at the edge, it's the second combination: low cards.

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photo 589 -sorts; two-way combination

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- Gambling Sleight ofHand

Edge-based Systems In my early game-protection lectures on poker, after letting someone shuffle and cut the cards, and before dealing the first card, I would predict where the aces would fall. I knew if the aces were 'dead' (not in any of the players' hands), if they were 'live' (in the players' hands), if they would hit the 'board' (flop, turn, and river), or if their order could be manipulated favorably with the second deal. I used an edge system where the aces were marked with a tiny scratch from an X-Acto knife and read from a naturally beveled deck held in dealing position. Unless you have this kind of a stunt in mind, the benefits of these systems are questionable. Just in case, here are three basic systems 'Sand' is often called 'scratch work.' Many materials that will scratch off part of the printed design (knives, razors, nail files, emery boards, fine sand paper, etc.). Don't sand too much off the edge; keep the width of the mark short, preferably less than one-quarter inch. You can hit more of the cards provided the work is very light, which reads like a very thin white line. This work has also surfaced on white-bordered cards, only the marks are read off the angled light. The edge of the cards can also be polished or shined and also read off the angled light ('playing the shine'). The bottom of a spoon is a good tool for this purpose. Finally, from a lightly beveled deck, you can even lightly dig the nail into the edge, and even the well-known nail nicks can be used to read cards down into the deck. For these systems-and their variants-lighting can be a critical factor, as is the condition of the deck. Generally, for any system read down into a beveled deck, the bevel must be consistent (evenly spread) and the deck must be held firmly during the deal; once the cards loosen up, it can be difficult reestablish a consistent bevel to read marks on the outermost edges.

Touch Work 'Touch work' refers to any marking system where the marks are read tactilely, although some touch systems are read by touch and sight. punch The system best known to cardmen is 'dealing the punch' or 'dealing the peg.' For most applications, especially hobby applications, you do not need a special punch; in fact, the best mechanics are just as likely to use their own gaffs (everyday objects) and not the gaffs depicted in gambling books and catalogs. When I was consulting, I always kept one punched deck with me just in case I was asked, "Steve, what can you do after I shuffle the cards?" I punched each king and queen three times in a row! As my thumb retracted after the normal deal, feeling the marks was like driving your car off the side of the road and hitting the safety bumps. It wakes you up. I used the natural second deal (page 381) and dealt face up to seven players in seven-card stud. I recall using this demonstration twice during my entire career. Once I was lecturing for an audience of FBI agents

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,zks and Papev - 4:

and was asked the aforementioned question. I let the agent shuffle the deck and was fortunate enough to deal a "full house or better with kings and queens," a line I picked up in magic that is purposely vague about announcing the details of the anticipated result. The agents went crazy given the seemingly impossible, on-the-spot challenge. To punch the queens and kings, I use a blue ballpoint pen and lightly press the tip into the front right index corner on the face's line border, which also happens to be blue (first punch). The next two punches continued across the top border line to the left about one-quarter inch apart. All you need is a surface with a little give. Even a table cloth or a couple of napkins on a hard surface will suffice (close-up pads are generally too soft). Although three punches in a row is amateurish and for demonstrations only, just one light punch and you would have a workable system. This method will not puncture the card; instead, a smooth, tiny, convex bump is the result. My preference is to feel the punch during the natural retraction of the left thumb. Some mechanics prefer to let the left thumb land on the punch the instant the top card is dealt-common with demonstration-style strike seconds since the left thumb barely moves. I have seen multi-combinations where more than one value could be detected (each value punched in a different position), applications where the faces were punched and read for information only ('reverse punch'), and casino scams where the dealer was feeling the punch on the top card of a dealing shoe and signaling the information to agents. One of the most sophisticated scams involved a three-man lowball crew who all dealt the punch for information only-no second deals. It was like playing with the cards face up and there was never any risk of getting nailed dealing seconds. I have even seen some mechanics deal a punch that was so light, I had trouble detecting the work even after careful examination of the deck. A delicate, super-sensitive touch is indeed a gift for this kind of w c ~ k

rough and smooth The touch-work system that surfaced most in my research is the infamous 'rough and smooth.' The Bee card, for example, was sold for decades in both the cambric finish (embossed or rough) and the smooth finish (no embossment), which led to the infamous rough-and-smooth marked deck. The high cards from a smooth deck were combined with the low cards from a cambric deck, or vice versa, to create one of the most successful card marking systems of all time. At one time, if paper was down in a private blackjack game, it was an odds-on favorite to be rough and smooth. After one deck was sorted, the remaining cards were combined to make another deck in the opposite combination. One deck was used to deal the game while the other sat off to the side to accommodate any player requesting a deck change. And here's the kicker: when a player would ask for a deck as a souvenir, the mechanic would riffle the two decks together-cleaning up the dirty work-and hand both decks to the player with his best wishes.

498 - Gambling Sleight ofHand

One advantage of rough and smooth is that the left thumb doesn't have to feel the punch at a specific position; it can feel the work on any part of the card.

I understand that there are now modern decks available to magicians with rough and smooth finishes, so don't miss the opportunity to work with this infamous system. I believe there are now Bicycle decks made with an air-cushion (rough) and ivory finish (smooth). Interestingly, every deuce dealer I've ever met was hip to rough and smooth. When it was known that the smooth finish was to be discontinued, many mechanics bought cases and cases of smoothfinished Bees for a rainy day. One of the most stunning revelations uncovered in this research are the crews who employed touch-work, but who refrained from using the second deal to manipulate the work. This just shows the strength playing paper. The system is a paragon of subtlety and cautiousness at the professional level. Touch-work can also be applied to the faces of the cards. Again, no second dealing is needed; the work is dealt for information only. Finally, here's something to ponder. It's even possible to read the top card without touching it or seeing it! Any ideas? There are systems that create a dealing sensation that can be felt as a distinct drag as the top card is legitimately dealt, indicating the value of the next card. In short, legitimately dealing the top card 'reads' the second card without touching it or seeing it! This short section merely touches the surface (an unintended pun) of the incredibly vast field. To end our overview, see the advertisement on the following page from the infamous K. C. Card C o m p a n y 4 n e of the well-known crooked gambling supply houses. The pitch is for a touchbased system called Sensor Card Work. The hype suggests that the system is ground-breaking, which was typical of the "new ideas" promoted by these companies.

K A Y C E E sez:

WE'VE DONE IT AGAIN! NEW!

NEW!

NEW!

SENSOR CARD WORK You control the T h e most amazing new development in card work i n over 2 5 ye-. cards. Impossible to d e t e c t even under e x p e n examination. Only YOU h o w t h e s e c r e t for perfect control when you d e a l any game s u c h as Stud, Draw Poker, Gin, C a l l Rummy, Pitch, Black Jack, etc. With t h i s new Sensor Card Work you c a n a l s o do perfect Run-Uos without e v e r lookine. a t the cards. T h e only work of i t s kind ever offered t o discriminating operators. B E THE FIRST T O USE THIS SENSATIONAL CARD WORK. GUARANTEED AS ARE ALL K.C. CARD CO. PRODUCTS.

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NON-RETURNABLE. Available i n sample combinations MADE TO ORDER ONLY listed below or in any combination you may want made up. A-2-J o n e s u i t for P i t c h 4 Sevens and 4 J a c k s Any 8 card combination Any 5 card run i n one s u i t

4 Aces for Poker or Stud All t e n s for Black J a c k K-Q-J one s u i t for Klabish 4 of a Kind for Rummy

Made t o order i n Bee 67, Bicycle or P l a s t i c backs listed i n our catalog. Single d e c k s may be ordered i n B e e 67 or Bicyle. Double Decks a r e s e n t when P l a s t i c c a r d s a r e ordered. B E SURE T O S P E C I F Y BACK AND COMBINATION WANTED WITH YOUR ORDER. F U L L REMITTANCE MUST B E SENT WITH ANY ORDER FOR THESE CARDS. NO RETURNS AND NO EXCHANGES MADE. No. 715. SENSOR CARD WORK, Specify Back and combination.

Per deck......

810.00

HOW TO PLAY SARKAY KOTCH F i r s t time offered by any firm. T h e rules of play a n d methods for playing this popular card game. Written by a n authority of the game a f t e r many years of study, this book offers t h e Koroh player standard rules and many interesting and authentic methods for playing t h e game of Kotch t h e right and profitable way. B e s u r e to order your copy today. . No. B-927. HOW T O PLAY SAHKAY KOTCH

...........................-&E;+.;.;a.ch.

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S2.50

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Copyright 1960 by K. C. Card Co.. Chicago. Illinois .

AU Rights R-lved

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photo 590 -

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~in wholc ~ or part d strictly ~ forbidden. ~ t

Card Company Flyer: Sensor Card Work

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500 - Gambling Sleight ofHand

You have to admit, the flyer's pitch is very strong. All I see is a young sleight-of-hand hobbyist reaching into his wallet to buy a deck with the "amazing new development in card work in over 25 years." Since I don't want to leave readers hanging to end volume one, Sensor Card Work refers to rough and smooth on the faces of the cards. Here are the instructions included with the deck.

INSTRUCTIONS FOR SENSOR CARD WORK 1715 (any back) Like a l l good work t h i s i s top s e c r e t tnd we suggest t h a t you destroy these instructions a f t e r you f u l l y understand them. Open a deck and with the faces down d e i l off each card separately running the' face of the ccrd tcross the ti?s of your fingers on the l e f t hand, i f you e r e holding the deck i n t h a t hand. P.s yau go zlong s l i d i n g each card across the t i p s of your fingers they will 911 f e e l s l i c k and smooth, but when you h i t one of the cards i n the combination you have requested you w i l l notice a s l i g h t drag on the surface of the card (c rough feeling) Another thing you can do when c u t t i n g the cards, place a s l i g h t mount of jressure on the deck end dreg the cards s l i g h t l y towerds yourself than l i f t and with Yractice you can c u t one of the prepared cards every time. When ordering be sure t o clweys t e l l us whet combination you want t o detect and c l s o whit back cerds you went them i n . RE-ORDER FROM: K. C. CARD CO. 831 S. WABhSH kVE, CHICAGO 5, ILL. Telephone WEbster 9-3515 photo 591 - K C. Card Company - Sensor Card Work Instructions

If you have a desire to further explore marked cards, I don't know of any better sources than two books authored by yours truly: Casino Game Protection and Poker Protection. The first source is hard to find, and if you do come across a copy, it's likely to overpriced, having become a collector's item. Poker Protection, however, is easy to find and reasonably priced. To spark your interest further, a short summary of all possible marking systems has been included in the appendix at the end of volume two, which breaks down the systems into categories. A few examples in each category have also been provided. At a minimum, the summary should give you a greater respect for this vast field.

P w k s and Paper - 507

SUMMARY 1. There's an inextricable link between the second deal and peekslpaper. For this reason, both topics were briefly overviewed. If you plan to use the second deal in stunts other than dealing expos&, these ideas may come in handy. At a minimum, they'll hopefully steer you in the right direction if you're looking to expand your knowledge in this area.

2. Several peeks have been presented. I'm partial to the standards. All are worth exploring Any cardman can do a bubble-peek, for example, but how many can do the move invisibly? Recall the mechanic who always looked into the chip-rack during the peek to justify the direction of his eyes, eliminating the most common tell. Try the new handling for the heel peek-it's easier than the traditional move while eliminating left-thumb movement. The comersqueeze and little-finger peeks are not commonly employed by cardmen, but they should be. Even some of the standard bottom peeks can be improved. In short, don't overlook the basic methods. And don't just do them, do them deceptively by taking the time to think about the best way to psychologically frame these moves. 3. Most peeks can be modified to peek two cards. Some peeks are capable of peeking several cards!

4. The science of marked cards is vast and sophisticated, but there's no reason to complicate the topic for the hobby. If you are using the second deal, the information presented will enable you to take your demonstrations to the next level with the capability to read the top few cards and alter the deal accordingly.

5. Asymmetrical backs are ubiquitous and offer impromptu, alternative solutions for reading the backs. Should the concept interest you, start by looking for asymmetries on all-over backs. When a back design runs off the edge, the marks are positioned at the edges, which is desirable since only a mild, premature pushoff or bevel is necessary to read several cards down into the deck. Although white-bordered backs are preferred by many cardmen, these back designs routinely exhibit asymmetrical borders, too.

6. Permanent marking solutions are possible without special equipment. The same is true for punching or pegging the deck. You would be taken aback by the crude methods employed by many cheaters. Conversely, you would also be surprised by the sophistication of some systems. For example, in one poker scam, after the cards were legitimately shufJed and cut by an honest dealer, cheaters were able to determine the complete order of the deck. Amazing! The deck was previously marked with invisible infrared marks on the sides of the cards and read with sensors built into a cell phone that was laying on the table in front of the dealer . . . and that's just the beginning.

IVL

- Gambling Sleight ofHand

7. Combining the second deal with 'touch work' is a sophisticated application. If you want to explore the possibilities, consider starting with 'rough and smooth.' With this kind of work, it's all about a smooth transition from dealing tops to dealing seconds. 8. To learn more about marked cards, it's difficult to point to a specific source. The field is expanding all the time as online suppliers of cheating equipment are always looking to pitch the next new discovery.

9. This short section on paper was limited to applications with the second deal. The topic expands considerably when the goal is to read the hole-cards of players after they are dealt, as they are dealt, and before they are dealt. 10. Despite the apparent simplicity of some peeks and methods for marking cards, pursue these moves/angles with respect. Most peeks can be learned in little time, but to use them deceptively still takes practice. All it takes is one unnatural glance at the top of the deck at the wrong time-for no logical reason-and the peek's effectiveness is ruined. This is especially true in magic; we all know that laypeople tend to believe that magicians rely on marked cards, special cards, or magic cards, so let's not give them a reason to support these beliefs. At the card table, playing paper is a true art form that have been taken to levels of sophistication never dreamed of by cardmen. The mistake made by many is viewing paper as a moveless ruse and introducing it into their work with little or no practice. While playing paper may be considered a moveless scam, to play paper at the expert level is psychologically intense with many factors to consider. Take the time to think about the best way to frame any peek or any moment when the eyes must look to the deck to read the marks. Have a good, logical reason for everything you do, and strive to achieve the same level of excellence with peeks and paper as you do with every other move. Before we bring volume one of Gambling Sleight of Hand to a close--and because I need one more page to correctly paginate volume t w e h e r e ' s one of my favorite gambling cartoons. It underscores the omnipresent unpredictability that always looms over every cheater. Only the old adage that warns "sooner or later, anything can and does happen" is no joke. It's as real as it gets!

"Honey, have you noticed that the markings on the backs of our new cards aren't all alike?"