Published by

Special thanks to:

Michael Weber,
Justin Higham
and Sav

Respect magic, respect secrets.

Do not copy this booklet or
reproduce it in any form.
~The Modus Magic Limited 2016
 7~

MODUS

ISSUE ONE

04 ECHOED
06 THE WORKER INTERVIEW
08 FROM THE NOTEBOOKS
10 ILLOGICAL REVOLVE -CUT
PRODUCTION
12 CARD AT DATE
13 NO THANKS TO ZARROW
14 THE STACKING DRILL
16 YEAR ONE IN PHOTOS
18 CASUAL STRIP-OUT SHUFFLE
20 ACONVERSATION WITH
MICHAEL WEBER
First of all, we would like to thank everyone who has supported The Modus
since we launched in February 2015. What started out as a random idea during 23 KILLER 21
a ~ession, has grown into a fully fledged business which is steadily taking over
our lives - but we're enjoying every moment of it! Over the past year we've had 25 THE MODUS GUIDE TO
e chance to meet some of the best card magicians in the world such as Juan
"'"'"·~.& ariz and Steve Forte. We've travelled to countries as far away as the USA and
PLAYING CARDS
_J!'-"tl-'an. as well as attending some great conventions where we've met some amazing

,....__..~- cians \·\'ho are sure to be the stars of the future.

26 SWIVELOSIS
o DO\V onto Operandi. Half magazine, half magic book, we wanted to
~te omething truly unique, which all lovers of card magic will enjoy. In this
~.-e \\·e de~cribe several of our O\\'Il tricks which you won't find anywhere else,
;ell as a great contribution by Justin Higham, an interview with Sav and a
rsation \vith the legendary Michael Weber. Michael was also kind enough to
an an1azing blackjack trick exclusively with us, check it out... you won't be
~-+-'pointed.
rouohout the issue you vvill find lots of little nuggets of information which we
nu "ill find u eful. So grab a pack of cards, sit in your favourite chair and
e fir t is'"'ue of Operandi ...

.tiarn andjohn Cottle

- 16

03 - Issue One
LEARN FROM SAY
In 20 IS www.themodus.co.uk
released Sav's first release to the
magic community, Double Think.
Available as a video download, Sav
teaches you how to produce not
one, but two thought of playing
cards. He also goes through
several alternate handlings and
performance ideas for this
incredibly versatile effect.

See it for yourself at:

www.themodus.eo.uk/
double-thi nk-by-sav/
By Joe Barry
This is an idea to create an impromptu
holdout for one card under the table.
I have used this idea many times in
casual situations with magicians. It
feels a shame to give it away but I feel
the notebook page in Operandi is
the correct place for such ideas. Tear
the flap off a box of cards then also
tear the oval off the half oval shaped
section.You are now left with the top
of the box with the adhesive seal still
attached. Pealing off the seal leaves a lot
of adhesive on the flap, this can be stuck
to underneath of a table lengthwise and
can support a single card with ease..

By John Cottle
To follow on from Joe's Impromptu Bug, here's an idea that uses the same principle to create a longer lasting bug. Begin by
cutting the bottom flap off an old deck of cards (the bit with the bar-code). Then attach a small bit of double sided tape to
one end of the flap. The flap can then be attached to the bottom of a normal card case and remain hidden in plain sight until
needed. As with the Impromptu Bug, you simply attach the sticky part to the underside of any table as shown in photos 6
and 7 above.
.......
••• •

,::IE Ba~ry
~e:r,eiving a borrowed, shuffled deck, glimpse the top card of the deck as
_____._ -"~"W on pI 03 of 'Expert at the card table' (photo I). If this card is a court By joe Barry
e the pack and peek the new top card. In our example, the top card Take a borrowed, shuffled deck and
• spread the cards towards you and
e stack the peeked card to the corresponding position from the top of the look for a block of five or six cards
en riffle stack another five cards on top. So in our example, first we add all of the same colour - let's say
s on top of the seven (photo 2), then we add a further five cards on top you find a block of six black cards,
cut these to the top and perform a
- c card peeked by the spectator (photo 3) and then cull it to the bottom shuffle which retains the top stock.
~~-,, eck. Cut the deck, holding a break
- e deck in your favourite position for a bottom deal. Deal five cards to above your stock of black cards in
_,___,.e whilst saying "I'm going to deal cards to the table like this ..." once you preparation for a classic force.
ealt five cards, bottom deal the selection (photo 4). The peeked seven Force one of the six black cards,
. . . . .-, seven cards from the top of the deck, in position for the 'Psychic stop' obviously this is very easy to do and
xpert card technique'. Once the spectator stops on the seven (which little knowledge of the classic force
if the 'Psychic stop' is performed correctly), square the dealt cards on is required.
_ e and say "Whatever the value of the card on top of this pile, we will Let the spectator remove their
- own that many cards and the last card will be your chosen card". card and offer them the chance
e seven face-up and count down seven cards from the pile on the to swap their card with any of the
en reveal the chosen card as the last card (photo 5). remaining black cards either side of
it - this is a small thing but it removes
any doubt that this was a classic force.
As they look at their card, spread
the rest of the deck face-up on the
table and point out that they could
have any card from the shuffled deck.
As you glance across the face-up
cards, you are looking for of group
of five or six red cards together.
Square up the deck and cut the
group of red cards to the top of the
deck. lf you can't see a group of red
cards together, it's a simple matter
of locating two smaller groups and
cutting them together to create a
larger group. All this is done very
casually as they remember their card.
Perform an overhand shuffle,
undercut half the deck, in-jog the first
card and shuffle off, this places the
red cards in the centre of the deck
below the in-jogged card. Take a break
below the in-jog and spread the cards
for the spectator to replace their
card. Have the spectator replace their
card amongst the group of red cards.
ES: Close the spread and perform an
_ __ ca~d you peek is a low card you can simply add more cards to the top and Ireland Shuffle keeping the block of
e 'Psychic stop' force to include the bottom deal. For example if the card cards together in the centre.
~ur, add three cards then add seven on top. Deal five cards down to the table Spread the cards face-up on the
ked four is now sixth from the top), now start the stop force from this table and comment on how their
--....._~_.-on simply bottom dealing on the third card dealt the spectator will then card could be anywhere in the deck.
- - - '" the four and continue the effect as described. The chosen card will be the only
black card in the middle of the group
- d the cull you could centre deal the card from the break making the of red cards, you can now reveal the
more direct. card in any way you please.
 •
By Justin Higham
~~:e u<"'ed here isn't technically possible using normal cutting actions. OTES:
;ec.. it i ... done smoothly enough to prevent people from seeing exactly how, or You will note that the last Ace is a
e cut is made. Readers will recognise the underlying actions as the classic 'freebie' and a total bluff. However, the
· q Pa -- from Blackstone's Modern Card Tricks (1929). The move also final revolving actions create the illusion
:r"P(:'em blance to Kardyro 's Flip-Over Force N o.l from Kardyro 's Kard that the last Ace came from a different
..uc·ne- n .d.). place from the third Ace. The actual
cutting actions are done quite smoothly
with a flick of the wrist to get the top
,'}th the Aces on top and the deck face down in left-hand Mechanic's Grip. portion over into the other hand. The
move then slows down as the packet is
........... the left thumbpad, pull down about a dozen or less cards at the bottom tabled and the Ace dealt off. At no time
deck at the outer left corner (photo 1). Don't riffie the thumb down the do the first fingers curl under the cards
_d then stop; just pull straight down on the corner of the cards. The right during the thumb pull-down actions;
-~~C' are resting atop the deck, ready to receive the top packet. they remain at the outer ends of the
cards at all times .
...._........""'~ediately dig the left thumb into the break, then with a sharp, throwing
____ of the left wrist, revolve the top three-quarters of the deck face up onto Photos 8, 9, and I 0 show the cutting
......,...;&...t fingerpads (photo 2) and then face down into right-hand dealing grip actions from the front/top view. You will
--'-----""-- 3 . Immediately move the left hand back to the left with its packet in dealing note that the revolving actions are not
_ oto 4) and the packet down on the table (photo 5). clearly apprehended by the audience:
one moment they see photo 8, the
Openl_ · push the top card of the talon to the left with the right thumb (photo 6) next, photo I 0. The action of photo 2
ith the left hand, deal this card face up on top of the tabled packet (photo 7). gets lost in a blur of movement.
_ i revealed.
On the last Ace you can do an air-
t the above actions but with the opposite hands, i.e., pull down on a dozen pressure turnover or some other
at the bottom with right thumb, digging right thumb into break and revolving drop flourish if you like.
nion face up/face down into left hand, tabling right-hand packet to the right
packet, pushing over top left hand card with left thumb, and dealing this
ce up onto the second tabled packet with right hand. Another Ace shows.

epeat the actions again, pulling down on half of the remainder, revolving top
-,.-..,.,,-ninto right hand, tabling left-hand packet next to the first two packets, and Justin Higham's DVD 'Full House'
......._.._~«!top right-hand card face up onto the third packet with the left hand. is available now from:
www.themodus.co.uk
,..~the remaining dozen or so cards, revolve the entire packet face up and face
· to the left hand, push top card of packet to the right for an inch, flip this Alternatively, check out some of his
ace onto left-hand packet with right fingerpads, take the packet from above incredible books on card magic at:
e end vvith right hand, and place it to the right of the first three packets. Four www.card-magic.com
0\\:

11 "-!Issue One
 By Joe Barry
~''""""T. .. -nz \\TOte an excellent book called 'Thanks to Zarrow' it contains a
aterial that allows you to locate 4 of a kind from a genuinely
- means of the Zarrow shuffle. I have never been a fan of the
o:-.-~-..... and. despite popular opinion, I felt it was a weak false shuffi.e. At
~- year:: Gary Plants opened my eyes to how deceptive the Zarrow can
~ ._______. ~ -ice helped me improve the deceptiveness of my Zarrow considerably.
m about to explain came about after trying to eliminate the Zarrow
. . . . . . . a fequired card, card(s) or 4 of a kind. The solution is quick and
ently ~hared this with LukeJermay at a magic convention and he
~"'""""' me to publish it, enjoy.

~ _. . "'oro \Ve can see two black aces at positions 8 and 13, we are going to
"--------'"----= rnese cards from the deck.

tone third of the deck to the right and as you begin the riffi.e shuffi.e
_ ..........m-e rirrht packet but only lift 7 cards from the left hand.

e right packet and the 7 cards on the left together. As you push the cards
uare up retaining a right thumb break. Cut to the break and produce

...;....._,. ...........a,er cut one third of the deck to the right and as you begin the riffi.e
e entire right packet but only lift 5 cards from the left hand.

e riaht packet and the 5 cards on the left together. As you push the cards
- nafie up retaining a right thumb break. Cut to the break and produce
~ -=--,.....,d ce.

- :- ::: basic p'"'ocedure and can, as mentioned, be used to cut 4 of a kind from a
- =c -ec o- b ...ing a particular card to the top. The cards can also be culled and
.... :oge-her 1n the deck with this technique. However to explain this would not
·ng new as this has been extensively covered by Jerry Sadowitz in 'Thanks
I

move a lot and one application is being able to use Marlo's table reversal in
LS
- __ :re of tre deck. For example if we wanted to reverse the AS in our example.
-=-u : squanng the cards you would lift the cards vertically on the front long
ch wou d leave the AS on top of the left packet sitting behind the vertical
- -.:ec packets. As you push the packets together perform Marla's tabled reversal
en lower the vertical packet back on top of the half on the table and square.
-- s now -eversed in the centre of the deck In short basically perform Marla's
__ = ,:rse V"-1 th half the deck

13 ~ Issue One
 By Joe Barry
This is a pseudo gambling demonstration where you will demonstrate your ability to spot valuable NOTES:
cards in the deck and position them to fall to your partner in a poker game. The effect is achieved The fact that this is
from a borrowed shuffled deck and very simple, easy and fun to perform. from a borrowed
shuffled deck makes
this a very impressive
Method: feat in the eyes of a
Take a deck and spread it face up this is apparently to show the spectator the deck is rruxed. You spectator but also
are looking for a full house. The first thing I do is try to spot a pair of cards and an x card. In our means the hand will
example we can see a pair of black 9s and a red 8. Then I look for the other 2 cards to make up be a different full
the full house; I do this so I kno\v where they are positioned in the deck: this helps, as there is n9 house each time. Also
prolonged suspicious looking through the deck later on. In our example the 8 and 9 are near the you may spot a full
bottom of the deck. house together or
Once you have spotted the required cards start to close the ribbon spread. As you close the spread four cards together.
up-jog the card above your stock with the left thumb. This makes the
As you position the cards for an over hand shuffle create a break with the right thumb, chop method even easier as
shuffle the required cards to the top and replace the remaining cards on the bottom then table the there is no need for a
deck (This won't be the case every time sometimes you \\rill just cut the required cards to the top, it cull of a single card.
just helps to know the positions of the other 2 cards that complete the full house).
The position you are in no\v is 9,9,8 are on top and there is a 9 and 8 near the bottom of the deck. Practicing looking
All of this so far has been done quickly but casuall)~ it should appear as if you've shown a shuffled for notable cards
deck, give the deck a brief shuffle and set it down. To the spectators you haven't begun the effect but and poker hands in
for you all of the work is done; this is something I try to do with every effect I perform. a spread quickly,
"Do you play poker? I'd like to sho\\r you a skill that took me a long time to attain. In one shuffle I will help greatly with
can spot a valuable card and stack it for my partner in a card game. I'll show you." some future effects
Pick up the deck and remove the x as you cull the remaining x to the top. to be published here
"Let's say x is the first card you are dealt in a game and there are 5 players I'll try and get a full in Operandi.
house and I'll show you the move each time I stack a card."
All you have to do is add one card and deal 5 cards turning the last card face up and you \vill deal The fourth round
a card that matches the whole card in value. of having someone
Return the 4 face dovvn cards to the top of the deck in 4, 3, 2, 1 order. "I'll try to find a full house." drop out was an
Shuffie again adding one card to the top of the deck and again deal out 5 cards turning the last idea suggested by
card face up, this vvill be a valuable card. Replace the cards on top of the deck as before. Michael Weber.
"Imagine \Ve were playing and someone dropped out of the game and we were left with just
4 players." A nice convincer is
For the fourth round, shuffle adding no cards and deal out 4 cards turning the fourth face up, this to show the top and
\\rill be a valuable card. Replace the cards. bottom two or three
"I can do this at anytime for any amount of hands. Give me a number of players in this round.'' cards after each deal.
The card needed is third do\vn from the top so for the final round simply riffle the required
amount of cards to the top of the deck to position the card at the spectator's chosen number. Deal
out the last card to complete the full house.

14 "'Issue One
 • p

• I' I

15 ~ Issue One
 •
By Joe Barry

STEP ONE: Hold the deck in readiness for an in the STEP TWO: Riffle the cards into each other straight
hands riffle shuffle. I hold the cards further down just like a regular riffle shuffle.
at the base of the fingers for more control over the
cascade.

STEP THREE: As you begin the cascade, slightly angle STEP FOUR: Once in position, begin the cascade. The
the right hand packet forward as you curl your left cards will angle out of the deck but the position of the
middle finger around the outer left corner of the left left middle finger will keep the packets separated at
hand packet; the forefinger has been moved out of an angle.
the way in the picture to clearly show the position of
the left middle finger.

STEP FIVE: The cards are now in the position shown in STEP SIX: Take the deck in the left hand being careful
the photograph. If you were to square the front long not to square up the deck.
edges of the cards in this position they could easily be
stripped out.

18 ~ Issue One
 E : Toss the deck casually to the table STEP EIGHT: Begin to square the deck up on the
a they spread forward on the table. To an table by using the middle finger of the right hand to
__.,_ e ce, even a magic audience, this deck is now drag the cards back in the opposite direction that
ed and there is no way the shuffle is false. they were tossed to the table. Be careful to position
ver it is easy to strip out the cards. the middle finger in the centre of the packet. The
thumb of the left hand is positioned in the centre of
the other back long edge of the deck and stays still
supporting the deck as it is squared.

E: The deck is now on the table in the STEP TEN: As shown in the photograph, this large
o shown in step 5. This is an exaggerated brief makes it incredibly easy to strip the packets
of what a normal strip out shuffle would look apart and complete this highly deceptive false shuffle
-- ore it is squared. Square the front edges of the sequence.
_ ___-as a regular strip out shuffle, which will leave a
han normal brief.

E : Strip out the original top-half of the STEP TWELVE: Replace the top-half on the deck to
restore the deck to its original order.

ES:
=an de of the performer that greatly adds to the deception, you are dropping the cards on the table as you talk to your
_.-.rs, as if you don't care about the deck You are not throwing the cards to the table and saying "look, these are shuffled
~ oss of the deck proves the deck is mixed.

19 ~ Issue One
/
By Michael Weber
The Magician gives the spectator a normal deck of 52 playing cards, they are not marked or gaffed in any way,
the deck is shown as mixed; the 90 is not the 52nd card in the pack.
The spectator goes oft' in the comer on their own where nothing can be seen and thinks of a card. They
remove that card and place it in their coat pocket. They put the rest of the deck into the box.
They come back and the magician takes the box and puts it in his coat pocket. The magician doesn't spend
anytime examining the innocent exterior of the box, there is no scrutiny going on he just puts the box away.
In advance the magician and the spectator prearrange a phone number that is going to be called, this could be
a friend you both know. This call can be made on loudspeaker; there is no code over the phone.
That friend answers the phone and tells that person what card is in his pocket.
You as the magician do not necessarily have to ever know what the identity of the card is.
 ~I CYCLE:
BOB

THE UHIT£0 STATES PlAYIHG CARD COMPANY

M4DE IN U.S.A.
2014-T1623H
 What do your cards say aboutyou?
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BICYCLE RIDER BACK :•• BICYCLE RIDER BACK ~ BEE N0.92 :•• TALLY-HO CIRCLE BACK
•• ..
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-BLUE •• -RED
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• When not frantically second ••
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• You are smiling as you
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As a normal human, you •• As a member of the magic dealing or doing your best stubbornly cling onto the
• •
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don't buy into the hype of ••
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cafe, your confidence •• jason England impression,
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idea that these cards are
•• •
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the latest deck and you're •
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outweighs your ability. ••
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you'll be busy commenting • somehow better quality than
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not a member of the magic •
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• on Ricky jay tricks on .• Bicycle Cards.
••
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cafe. We salute you! •
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••• YouTube. ••
• • •

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

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JERRY'S NUGGET : FOURNIER 505 :• TALLY-HO FAN BACK :•• ERDNASEACORNBACK
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You have more money than You went to Spain and •
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You are smiling as you •• What's better than reading
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sense. Lee Asher says thank . all you got was this plastic .•• stubbornly cling onto the •.
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'Expert at the card table?
• • •
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you for his new kitchen. ~ coated deck of cards. ••
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• idea that these cards are •
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• Making everyone think you've
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somehow better quality than ••• read it. You also own an
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Tally-Ho Circle backs. •
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• You can't tell anything from looking at the seal on the card box can you? Wrong! ~
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• The colour of the seal depicts where the cards were made. A black seal means ~
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•• the cards were produced in the new U.S.P.C.C factory in Erlanger, Kentucky, ~
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•• whereas cards with the blue seal have been produced in the origi nal factory in ~
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.••• Cincinnati, Ohio. :•
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Users of the magic cafe will argue that cards produced in the Cincinnati factory ~
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• have a better feel/quality to them ... but what do they know? ~
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.................•••......... .......•.....•...................•.......... ............ ......... .. ... ............•••......•.... .. ..•.•.• •. •• •...•....•......••..•........•.....................•••....••....•......•....•.•...••....••..............•
•

25 ~ Issue One
 By Joe Barry

A few years ago Justin Higham showed Keep in-jog/ out-

me his Pseudo swivel-strip shuffle, I jogging batches
loved it and use it a lot. I thought about until you reach
different ways it could be used instead approximately one
of a casual false shuffle sequence. quarter of the deck,
In this application I shortened the taking a fourth finger
shuffle, which allows for an incredibly break below the last
deceptive way to have cards thought injogged batch. You
of whilst maintaining a stacked deck, have a break below
I couldn't be happier with the result. the top quarter of the
This fooledjuan Luis Rubiales when deck (photo 4)
I shared it with him and he loved the
idea, so you can trust if it fools him it Arch the right hand
will fool anybody. over the top of the
In effect it looks like you up-jog cards deck, placing the
from different sections of the deck, strip right thumb pad on
them out and hand them to a spectator. the inner short end
You repeat this with 3 or 4 spectators. of the injogged section above the break, NOTES:
Each spectator looks at a card in his pile the right first finger over the left long Handing the packets out this way
and the piles are returned to the deck. side of the out jogged section (next to is a very convincing illusion, which
During this process no cards move out the outer left corners of the injogged psychologically tricks t he spectators
of place, hence you can now perform cards), and the right second, third and into KNOWING the cards are mixed!
Juan Tamariz's ~1nemonicosis \\rithout fourth finger pads resting on the outer Th1s. n m/ opinion. is why t his w ill fool
any suspicion that a set-up is in play. short ends of the out-jogged cards everybody. By not using this as a false
(photo 5). shuffle but a hand out procedure and
turning it outwardly onto a spectator
Method In one quick action, two things happen you create this feeling of safety in even
Have the deck in memorised deck almost simultaneously (a) slide the right the most knowledgeable spectator's
order face down in left hand dealing thumb forwards pushing/ squeezing the mind that the deck CAN'T be in order;
grip. Spread over 3-4 cards \1\rith the left injogged cards above the break forward this is a very powerful tool and
thumb and grip them at the inner right until they arrive more or less square I implore anyone who uses a
corner with right thumb above and with the out jogged cards; the right memorized deck to not ignore this
fingers below (photo 1) fingers at the outer ends act as a stop handout procedure.
(photo 6). Then (b) swivel the upper
Slide the right hand cards forward into half to the right with the right fingers Justin's shuffle used in this effect is
an out-jogged position and spread over around the middle phalange of the left called the Pseudo swivel-strip shuffle
another 1-2 cards with the left thumb, second finger (photo 7), the top half and has unfortunately been overlooked
taking them in-jogged for half their ending up held by its inner right corner by magicians, in my opinion it is one
length below the first group, gripped right thumb above fingers below. of the most casual and deceptive
from below by the right fingertips by fa(se shufffes l,ve ever seen. The fu{(
their outer right corners (photo 2) Hand this portion to the spectator to description of the full deck false shuffle
look through and see a card. Repeat can be found on page 37 of' Bold and
Slide the right hand inwards again this by giving 2 more spectators each illogical card moves' which can be
and push over another batch, taking it a quarter of the deck and allowing purchased from his website.
below the first cards and aligned with them to look at cards. Return each
the first out-jogged cards (photo 3). You pile in the order it was handed out to
are thus performing the actions of the the top of the deck, your stack is now
reverse faro, but jogging cards in groups in place and you can continue with
rather than individually. Mnemonicosis.

26 ~ Issue One
27 ~ Issue One