Props: A King and Queen of Hearts, six blank-faced playing cards, red string (twine), scissors, a magic wand, and a single-hole punch or needle (with oversized eye). You may also need a thumb tip, a pull or reel and a small piece of paper.

Welcome to another edition of Packet Trick Paradise, my regular Ruseletter column where I share my boundless enthusiasm for packet tricks with the wider magic community! In this instalment, we’ll be exploring the science and symbolism of magical connection! You’ll also learn another romantic packet trick, reminiscent of “Sixpence Ceremony”, specifically designed for couples. In fact, it is the ideal trick for a bride and groom on their wedding day or for an older couple celebrating a significant wedding anniversary. 💒👰🤵

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The presentation drew inspiration from “Split Soul Theory” (see Packet Trick Paradise #11) and the Red Thread of Fate. This East Asian belief states that an invisible red thread connects individuals destined to meet and fall in love. Typically tied to their fingers, wrists, or ankles, this thread symbolises the unbreakable bond between those meant to be together, regardless of time, place, or circumstance. 💞

Although the core effect is a packet trick in which two blank-faced playing cards transform into the King and Queen of Hearts, the routine begins with a brief Cut and Restored String effect to set the scene and introduce the notion of the Red Thread of Fate to your audience.

Props, Props, Everywhere!

For a packet trick, “Red Thread of Fate” employs quite a number of additional props. However, back in 2016, professional magician Joshua Jay, with considerable assistance from Dr. Lisa Grimm and The College of New Jersey, designed experiments to gather both quantitative and qualitative data on magic, magicians, and deception (see “Magic by the Numbers” in the September 2016 issue of Magic Magazine). One of the major, and truly heartbreaking, findings was that most card tricks are instantly forgettable (the study revealed that card tricks are the least memorable genre of magic). Alarmingly, only 27% of participants could describe a card trick in any detail. I’m not entirely certain which card tricks were used in the study, or whether the research participants were shown any packet tricks. However, the research suggests that any trick involving only cards is likely to be quickly forgotten by audiences!

To tackle this issue head-on, I’ve made several deliberate design choices. The research found that “people recalled card effects best when there was another prop to anchor the memory.” My first design choice was therefore to incorporate multiple non-card elements: the red string, scissors, wand, and the unusual end state of the props all contribute to making the routine more memorable, as does the symbolic connection to the Red Thread of Fate legend. The audience is left with something that extends the magical moment beyond the performance by incorporating a physical takeaway (the King and Queen of Hearts connected by the red string as a keepsake). This provides participants with a physical reminder—a tangible aide-mémoire—that helps them recall and share the experience with others.

Rather than creating just another “card trick,” I've developed what Jay would call “a trick with cards”—an important distinction that makes the overall effect significantly more memorable.

Leveraging What Audiences Love 💖

Jay’s research revealed what audiences truly value in magical performances, and I’ve designed this routine to deliver precisely that:

With 25% of respondents citing surprise as their favourite aspect of a magic trick, “Red Thread of Fate” delivers multiple surprising moments, from the mysteriously restored red string to the transformation of blank cards into the King and Queen of Hearts.

The effect also addresses an audience’s aversion to clichéd performances; 34% of respondents disliked old, repetitive, or clichéd tricks. By combining card magic with the Red Thread of Fate concept and the Cut and Restored String effect, I’ve created something fresh that audiences won’t recognise as familiar, even though it incorporates one of magic’s oldest plots!

Beyond mere trickery, the routine conveys meaningful symbolism about relationships and destiny, giving it an emotional resonance that will hopefully connect with spectators on a deeper level (according to a 2021 YouGov survey, 60% of Americans believe in the idea of soulmates).1

Jay also found that 67% of people are excited about participating in magic. This routine capitalises on that enthusiasm by making the couple active participants rather than passive observers; they are tied together by the red string and handle the cards throughout.

Finally, while Jay’s research confirmed that audiences often attribute more enjoyment to larger stage illusions, he also found that intimate magic with meaningful connections can be equally impactful. “Red Thread of Fate” creates exactly this kind of intimate yet powerful experience.

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In addition, this is an excellent “transition trick” that helps you move between different types of magic in a single performance. For example, you might like to perform an extended Cut and Restored String routine with multiple phases before or after this simple packet trick. You could also substitute the string for a piece of red ribbon, allowing you to perform Troy Hooser’s modern classic “Charming Chinese Challenge” alongside (or instead of) “Red Thread of Fate”. Whether you choose to perform “Red Thread of Fate” or not, I hope you enjoy experimenting with some of these ideas.

Yours Magically,

Marty

Here’s another instalment of Packet Trick Paradise, my regular Ruseletter column where I share an original packet trick with my friends in magic. This time, I’m presenting a deeply romantic packet trick for paid subscribers that is the perfect routine to perform for a married couple. It is called “Split Soul Theory”, a streamlined version of Johann Nepomuk Hofzinser’s Royal Marriages plot that merges mythology, psychology, and poetic symbolism to explore whether two hearts might truly share one soul! 💞👑🃏

This captivating piece of card magic offers ample opportunity for audience interaction. Designed especially for couples, the emotionally resonant routine invites both participants to take part in a symbolic “love ritual” using just eight cards—the Kings and Queens—from a regular deck. The meaningful narrative is intended to deepen their connection through the shared mystery of magic.

The presentation weaves a story that feels both timeless and personal, drawing on traditions from ancient Egypt, Greek philosophy, and the Chinese legend of the Red Thread of Fate. Contemporary ideas—such as the psychology of soulmates and the twin flame theory—are subtly woven into the narrative, lending the piece modern relevance without distracting from the magic itself.

Since the effect is entirely self-working, you can concentrate on storytelling and connecting with your audience. This makes “Split Soul Theory” perfect for developing and refining your presentation skills. The finale delivers a striking moment of poetic synchronicity, as mismatched cards align in perfect pairs.

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With its minimal setup and intimate tone, the routine works equally well in casual close-up settings, as a feature piece for weddings and engagement parties, or simply as a piece of strolling magic at a romantic restaurant residency. Most importantly, it creates a memorable, shared experience, leaving the two participants with the uncanny sense that the magic wasn’t just in the cards but between them all along.

With just eight cards and a few thoughtful lines of script, you can create a moment that feels deeply personal and impossible. Practice it well, and you’ll have a piece of magic that lingers in the minds of your participants long after the cards are put away.

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Welcome to another edition of Packet Trick Paradise, my regular Ruseletter column in which I share an original packet trick with the magical fraternity. Today, I’m sharing a comical four-card routine inspired by Gordon Bean—one of my all-time favourite packet-trick creators.

I have a deep affection for Gordon Bean’s packet tricks, having purchased many of them in the early 2000s while exploring this genre of magic. One of his best is “Jinks”; a group of standard, blue-backed Bicycle Jokers suddenly bloom into glorious colour on both their backs and fronts. Sadly, “Jinks” is no longer available. However, if you’re lucky enough to own this trick, I’ve developed a comical four-card routine that uses one of the cards from the “Jinks” set as a surprising climax (see image below). You’ll also need a red-backed, blue-backed, and yellow-backed Bicycle 808-style Joker. If you don’t have the Jinks card, you can also perform the trick with a green-backed Joker, which is much easier to find.

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I’ve called the trick “Colorful Hijinks” due to its connection with “Jinks” and because the backs of the four Jokers repeatedly change colour while you tell your audience a series of terrible colour-based jokes and puns. As well as packet tricks, I also have an unhealthy fondness for “dad jokes” and, although these gags are genuinely awful, I find that people still laugh at them!

The trick was also heavily influenced by another, similar trick, “Spectrum” by Wayne Dobson, which was released over ten years ago by Alakazam Magic (it was recently rereleased but appears to have sold out almost everywhere).

While the method has more in common with “NFW” by Gary Freed or “ACE” by Richard Sanders, the effect is similar to “Jinks” because of the startling colour changes that take place on the backs of the cards.

Here’s what happens in “Colourful Hijinks”: You display four red-backed Jokers. One by one, the backs of the cards change from red to blue. Next, one card transforms from blue to yellow, and another reverts from blue to red. Finally, one card becomes a mix of red, blue, and yellow! Throughout the routine, you tell a series of silly colour-based jokes!

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While researching the presentation, I also discovered a genuine neurological condition called Witzelsucht, which is characterised by an overwhelming compulsion to make bad jokes, terrible puns, and socially inappropriate wisecracks. The term is derived from the German words “witzeln” (to make jokes or wisecracks) and “suchen” (an intense yearning or addiction). The condition is usually caused by damage to the frontal lobe of the brain and is incredibly rare. You can learn more about Witzelsucht by reading “The curse of the people who can’t stop making puns” by BBC Future.

Even though finding the colourful Jokers required for this routine isn’t easy, I hope some of you will make the effort to track them down. “Colourful Hijinks” is a playful packet effect that is reasonably simple to perform. I’m sure you’ll have a great time with it.

Yours Magically,

Marty

P.S. Here are five of my favourite dad jokes:

• Why can’t you hear a Pterodactyl go to the bathroom? Because the pee is silent. 🚽🧻

• I once bought shoes from a drug dealer—big mistake. I don’t know what he laced them with, but I was tripping all day. 👟

• I’m terrified of elevators, so I’m taking steps to avoid them. 🛗

• What did the buffalo say to his son when he left for university? Bison. 🦬

• I just watched a programme about beavers. You know what, it was the best dam programme I’ve ever seen! 📺🦫

Welcome back to Packet Trick Paradise, where we celebrate card magic miracles with just a handful of playing cards. In this edition, I’m excited to share another original packet trick creation from my warped imagination—proof that you don’t need to be in possession of a “full deck” to create wonder!

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When I was a young boy, I struggled with undiagnosed dyslexia. Learning to read and spell felt like trying to decipher an alien language. 👽 I remember feeling frustrated as I got stuck on the “Shorty the Wonder Dog” books while my classmates effortlessly read the more advanced “Tim and the Hidden People” series (you can watch a video of someone reading the first book in the scheme). Incidentally, these books have a connection to magic because they’re about a boy named Tim who discovers a mystic key that allows him to see magical beings called the “hidden people”. Even though the books were written in the 1970s as a reading scheme for young children between the ages of 4 and 7, those fantastical stories still inspire my magical performances.

This trick, as the name suggests, draws inspiration from both my journey with dyslexia and an obscure Ben Folds Five song called “Satan is My Master” (from their b-sides album “Naked Baby Photos”). The method builds on Max Maven’s classic “Mo’ Monte” packet trick, recently rereleased by Penguin Magic.

The effect? It’s a playful twist on the classic three-card monte. A spectator signs what they think is an ordinary playing card, only to witness a series of mysterious transformations. The kicker? They discover they’ve accidentally signed a contract with Santa Claus instead of Satan because of a misspelt message—a mix-up that never fails to get a laugh. 🎅

“The Devil is Dyslexic” has been designed to take audiences on an emotional journey from mild concern to relieved laughter. The trick starts by tapping into people’s natural wariness about gambling scams, using the three-card monte premise to create a sense of tension. When the spectator signs the card, it personalises the effect and raises the stakes—they become invested in the fate of “their” card. The transformation of the cards from red to blue creates genuine moments of amazement while fostering a sense of unease about supernatural forces at play.

As the audience begins to feel uneasy about the “satanic pact” theme, the unexpected SANTA/SATAN revelation breaks the tension. This comedic twist not only entertains but also creates a memorable moment of relief. The final transformation back to red, accompanied by the appearance of a message, serves as a satisfying magical exclamation point to the routine.

This trick works particularly well in close-up settings, providing the audience with a unique and intimate experience. They can see the signed card throughout the performance, making the colour changes feel impossible. The intimate nature of the performance allows the magician to gauge the audience’s comfort level with the “darker” elements of the presentation and adjust the intensity accordingly. Additionally, the spectator walks away with a uniquely altered souvenir from their encounter with Satan—or rather, Santa—making the experience personal and lasting.

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Welcome to another edition of Packet Trick Paradise. In this article, I’ll discuss one of my favourite variations of Jim Temple’s “Color Monte” called “Mark of the Beast”. I’ve taken the basic effect and added a devilishly delightful bizarre magick presentation based on the migratory legend “The Card Players and the Devil” (classified as legend type ML 3015 by Norwegian folklorist Reidar Christiansen).

I first shared this effect in Monthly Update #23, but not many people read the write-up, so I’ve decided that it deserves another outing here.

So, what’s the effect? A magician recites a haunting poem about a fateful game of three-card monte with a mysterious stranger, bringing the tale to life with three cards that impossibly transform from two Jokers and a Jack into three Sixes—revealing that the stranger was actually the Devil himself!

The method relies on three core elements: First, false counts (primarily the Flushtration Count) create the illusion of seeing multiple Jokers when there’s actually only one. Second, the strategic use of double lifts and Ed Marlo’s Quick 3-Way display make the Jack appear to move positions impossibly. Finally, a Braue Addition allows for a clean switch of the Joker and Jack for two additional Sixes, enabling the “666” finale. The entire routine is structured so that each magical moment coincides with specific lines of the poem, helping to mask the relatively simple sleight-of-hand involved.

“Mark of the Beast” stands out as a powerful piece of close-up magic that transcends the typical card trick format. Wrapping the effect in poetic narrative creates a theatrical atmosphere that naturally guides the audience through each phase while cleverly masking the rudimentary method. The fact that it can be performed with regular playing cards makes it particularly versatile—any deck with a Joker will do—yet it delivers an impact worthy of a packet trick using specially prepared cards.

The routine’s strength lies in building engagement through multiple phases, each drawing the audience deeper into the story. Starting with the familiar premise of three-card monte makes the trick immediately accessible; everyone knows (or thinks they know) how the game works. This familiarity creates a false sense of security that makes the subsequent transformations all the more startling. As the stakes escalate and the supernatural elements emerge, the audience finds themselves caught between trying to outsmart the “stranger” and becoming genuinely unnerved by the mounting evidence of his true identity.

The trick works beautifully in both intimate close-up settings, where spectators can appreciate the detail of each transformation, and in parlour performances, where the strong narrative carries the effect even to those who can’t see the cards clearly. The “666” finale provides exactly the kind of memorable climax that audiences love to discuss afterwards. At the same time, the underlying moral about greed adds a layer of meaning that elevates the piece beyond mere entertainment. It’s this combination of technical elegance, storytelling craft, and thematic depth that makes the trick so effective in creating genuine moments of unease and astonishment.

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Extending and Developing the Routine

The poem’s references to gold coins provide the perfect opportunity to add a little coin magic to the routine. Here’s how to integrate coin effects naturally into the “Mark of the Beast”:

When you say, “One gold coin, I had to pay,” produce a golden dollar or half-dollar from behind your right knee while your left hand holds the cards. This unexpected appearance suggests the Devil is literally extracting payment from you. Each time you lose another round, produce another coin from increasingly unusual places—behind your ear, from your elbow, or from empty air—building a small pile of debt on the table.

For the line “Six golden coins is now my fee,” perform a quick sequence where all six coins vanish one at a time (or all at once), coinciding with the revelation of the first Six of Diamonds. This vanish suggests the Devil is collecting his due. I’ve not worked out how to vanish multiple coins at once, but using a coin clip similar to the one Eugene Burger used in his trick “The Three Coin Mystery” (Eugene Burger, Real Secrets of Close-Up Magic VHS, 1991) might be a good way to do this providing the clip can accommodate six coins, and you’re in a position to lap the clips and coins; using some extra thin palming coins might help in this regard.

The timing of these coin productions and vanishes serves multiple purposes:

• Creates natural breaks in the card-handling

• Adds visual interest beyond the cards

• Reinforces the gambling theme

• Provides extra misdirection for the card switches

• Builds to the climactic revelation of the three Sixes

If possible, use golden-coloured palming coins that catch the light well for maximum impact, preferably with matching size and shine. The appearance and disappearance of the coins should feel organic to the story, not like separate tricks being performed simultaneously.

I’m contemplating intergrating a Miser’s Dream type of effect into this routine, perhaps using the Money Goblet made by Copeland Coins (see this performance by Rick Holcombe for a good example of what I’m envisioning). As this is a card magic column, I’ll leave you to work out the details!

Yours Magically,

Marty

In this edition of Packet Trick Paradise, I’ll be sharing a new trick of mine based on a famous piece of poetry called “Antigonish” by Hughes Mearns, an American educator and poet. The poem is more often called “The Little Man Who Wasn’t There” , which is actually the title of a musical version of the poem that was a big hit for the Glenn Miller Orchestra in 1939. You might recognise it because it has been used in many song, books, TV shows and movies. Here’s the poem in full:

Yesterday, upon the stair,
I met a man who wasn’t there.
He wasn’t there again today,
I wish, I wish he’d go away…

When I came home last night at three,
The man was waiting there for me.
But when I looked around the hall,
I couldn’t see him there at all!
Go away, go away, don’t you come back any more!
Go away, go away, and please don’t slam the door…

Last night I saw upon the stair,
A little man who wasn’t there.
He wasn’t there again today,
Oh, how I wish he’d go away…

Mearns was inspired to write the poem after hearing stories of a ghostly presence in the small Canadian city of Antigonish, Nova Scotia. This is why the poem has such an odd-sounding title.

The trick itself was inspired by “Poetry in Motion” by Roy Walton. This routine, in turn, was based on a similar one by Bob Neale. Both first saw print in the pages of the underground magic zine The Crimp written and published by Jerry Sadowitz. “Poetry in Motion” was later included in The Complete Walton Vol. 3 (2016, pages 204-206), which is where I learned it.

Roy Walton’s trick uses a modified version of the first verse of Mearns’s poem as a script. However, I wanted to create a version of the routine long enough to allow me to recite all three verses of the original poem (although I’m not entirely sure the first published version of “Antigonish” did have more than one verse). I’ve designed the mechanics of “The Little King Who Wasn’t There” to synchronise with the words of “Antigonish” and provide an amusing and engaging piece of close-up magic, sure to captivate any audience.

Here’s the effect:

You display four blank-faced playing cards, explaining that they’re “factory misprints”. You tell your audience you will recite one of your favourite poems, “Antigonish” by Hughes Mearns, and illustrate it by manipulating the four blank cards.

As you recite the poem, one of the cards visually transforms into the King of Clubs. It disappears and then reappears before turning into the Three of Clubs.

Finally, all four blank-faced cards change into the King of Clubs!

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Welcome to the latest installment of Packet Trick Paradise, my regular column in which I share original packet tricks from my personal repertoire. If you enjoy this article, I encourage you to subscribe to Marty’s Magic Ruseletter for more monthly magic.

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Are you ready to be enchanted by the power of love?! ❤ In this edition of Packet Trick Paradise, I’m sharing a new routine called “Paradox of Love”. I've only performed it once, but it got a surprisingly good reaction. Consider it a work in progress—I'm sure it will evolve as I perform it more. However, I thought it would be fun to share it as soon as possible, to allow others to alter, adapt and possibly improve it.

Inspired by Elbert Hubbard’s profound words, the trick explores the counterintuitive concept that giving love away is the only way to truly keep it.

The plot of the trick is, in essence, a three-card handling of Wild Card. Three identical Jokers transform into three Aces of Hearts. One of these cards then changes into the Ten of Hearts before all three cards transform back into Jokers.

The trick requires three matching Jokers and uses the deck at the beginning and end of the routine. The method is relatively easy. It uses basic sleight of hand, including the Braue Addition, Flushtration Count and double turnover. However, the most exciting thing about this trick isn’t the method but its premise and unique presentation. I’m not suggesting that the plot and method I’ve developed are bad. Quite the opposite. However, the idea that you have to give something away to keep it could be applied to all kinds of magical effects and methods.

For example, this trick holds the potential to be adapted into a full-deck routine or even a coin trick. When I was young and at primary school, we sang a song called “Magic Penny”, written by Malvina Reynolds. Here are the first two verses of the song:

Love is something if you give it away,
Give it away, give it away.
Love is something if you give it away,
You end up having more.

It’s just like a magic penny,
Hold it tight, and you won’t have any.
Lend it, spend it, and you’ll have so many
They’ll roll all over the floor.

The lyrics touch on the paradoxical nature of love, using the metaphor of a magic penny. The second verse, in fact, seems to be a description of a magic trick. Imagine a performance of the Miser’s Dream, where a penny disappears from your grasp, only to be replaced by several pennies seemingly plucked from thin air, and then dropped into a metal container with a loud clang.

“Paradox of Love” would work particularly well when performing for a husband and wife (or any couple who are romantically involved). It would be a suitable routine to perform at an engagement party or wedding. You could also easily adapt the patter to turn this into a piece of Gospel magic.

Are you ready to master this enchanting illusion? I have written a detailed explanation, complete with suggested patter and performance tips. In the write-up, I have also included a way to perform it as a stand-alone packet trick in which the cards start and end in your pocket. This makes it performable as a strolling piece of close-up magic. So, gather your cards, open your heart, and let's get started!

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Welcome to Packet Trick Paradise! This is my regular column in which I share original packet tricks from my personal repertoire. In this edition, I’m tipping yet another variation of “The Last Trick of Dr. Jacob Daley”! (See Packet Trick Paradise #3 and #4 for two additional variations). This unique routine, “Quick Change Queens”, fuses the two-by-two transposition with a colour-changing back effect.

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The trick uses four regular playing cards, which can be thoroughly examined after you finish the routine.

I really enjoy card tricks that personify playing cards, bringing them to life. However, these effects are frequently handled with excessive solemnity. In “Quick Change Queens”, the presentation is fun, light-hearted and charming. Treating the cards like people works well for me. But if that doesn’t work for you, feel free to try a different approach.

Here’s what happens:

You show your audience four blue-backed Queens. You say, “These lovely ladies are quick-change artists.” The four Queens transform, one at a time, into four red-backed cards. The Queens then switch back into their “beautiful blue dresses.”

Next, the Queen of Hearts and Diamonds become red-backed again. You deal the red Queens to the table, while you hold the black Queens, which have blue backs. You tell the audience that you will make the Queens change places. You pick up the red-backed cards on the table and replace them with the blue-backed cards in your hand. This mundane feat will likely fail to impress your audience!

But when you turn over the cards, your audience will be surprised by what they see. The black Queens are on the red-backed cards and the red Queens are on the blue-backed cards. The faces of the cards have miraculously traded places!

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Here’s another variation of Dr. Daley’s Last Trick. It is similar in theme to “The Jaybird Jump” (see Packet Trick Paradise #3) but is more complex and includes many more moments of magic. For this reason, it is also a little more challenging to perform. However, I think it is worth the effort.

I’ve had the method rattling around in my head for a few years, but until recently, I struggled to find a good way to present the effect. A clever method doesn’t automatically make for a good magic trick; you need to pair it with a compelling presentation that piques people’s curiosity.

The trick’s presentation draws inspiration from three things: the fascinating history of the Joker 🃏, the trick-taking card game of Euchre (pronounced yew-ker), and the old American folk song “Jack of Diamonds”, also known as “Rye Whiskey”. 🥃

Here’s what happens:

You begin by showing the audience four identical Jokers. However, you claim the cards are the Jack of Clubs, Hearts, Spades, and Diamonds. You explain the Joker was once called the “Best Bower” and was the highest trump card in Euchre. So, in a way, the Joker is a “glorified Jack.” Your audience look unconvinced!

You deal a Joker to the table, rub it against the tabletop, and recite a verse from an old American folk song:

“Jack o’ Diamonds, Jack o’ Diamonds, I’ve known you of old. You’ve robbed my poor pockets of silver and gold.”

When you turn the card over, it is the Jack of Diamonds! You flick another Joker, and it visibly morphs into the Jack of Hearts!

You explain that the two cards are “jumping Jacks” and offer to demonstrate what you mean. You place the Jack of Diamonds underneath the two remaining Jokers. You tap the packet, and the Jack of Diamonds magically jumps to the top. You deal the card to the table and repeat the same action with the Jack of Hearts, which also rises to the top.

Next, you simplify things by removing the two Jokers from proceedings. You deal the Jack of Hearts on top of the Jack of Diamonds. You tap the two cards, then turn the top one over to reveal that the Jack of Diamonds has once again risen to the top.

You offer to repeat the feat. You return the Jack of Diamonds to the table and put the Jack of Hearts on top of it again. This time, you instruct a spectator to put her finger on top of the two cards (to prevent you from using sleight of hand).

You hold the two Jokers in your hand. You tap the top of your packet. Amazingly, the top card is turned face up to reveal the Jack of Diamonds. Flipping over the bottom card reveals it to be the Jack of Hearts. An impossible transposition has taken place!

Finally, the cards under the spectator’s finger are turned over to reveal two black Jacks! All four Jokers have transformed into Jacks, bringing the trick full circle.

The routine gets its strange title from the nicknames of the two red Jacks. Some unknown reason has led to gamblers calling the Jack of Diamonds “Laughing Boy”. Apparently, you’re supposed to laugh when you receive it in your hand. And the Jack of Hearts is also known as the “Lumberjack” because he’s the only Jack brandishing an axe. 🪓 That last fact sounds convincing, right? Well, I made it up! While the Jack of Hearts is the only Jack holding an axe (technically, it’s a halberd), I have no idea if gamblers nicknamed the card the Lumberjack. But it sounds plausible, right?

These two names are important to the routine because they’re memorable. They make it easier for people watching the magic to recall the relative location of each card. The greatest risk with any transposition, especially one with several phases, is confusion. If your audience mixes up the position of the cards, it will seem like nothing has happened. In other words, no magical effect has occurred.

Incorporating the lyrics of “Jack of Diamonds” into the trick also helps to emphasise the magical moment when the Joker transforms into the Jack of Diamonds. You can watch an authentic rendition of the song below by old-time musician Jake Book:

You can use more of the lyrics in your performance. You can even sing the entire song yourself if you’re brave enough!

You might be familiar with the song if you’ve played Red Dead Redemption 2. My two-year-old daughter, Adelaide (named after the Queen of Magic) loves the song. It is now a firm favourite of hers. There’s something very amusing about a toddler singing, “Oh whiskey, you villain, you’ve been my downfall. You’ve kicked me, you’ve cuffed me and caused me to brawl.” I’m expecting a phone call from social services any day now!

“Laughing Boy and Lumberjack” uses four ordinary Jacks and a single Joker, making the trick incredibly practical. You can perform the routine as long as the deck you’re using has a Joker.

I hope you take the time to learn the trick. It’s an impressive piece of close-up card magic.

Learn the Trick

If you have difficulties learning the routine, please comment below or on the tutorial page itself. You can also email me using the contact form on my blog.

Welcome to the latest edition of Packet Trick Paradise. Today, I’ll be sharing a fresh new handling of Dr. Daley’s Last Trick. In fact, this is one of my favourite variations of the plot. The trick is called “The Jaybird Jump”. 🐦

Here’s the effect:

The magician clearly displays two black Jacks sandwiched between two identical Jokers. A spectator is given the two seemingly ordinary Jacks to hold onto. The magician declares these cards to be mischievous “Jumping Jacks” with a penchant for the unexpected.

After a little humorous byplay, the Jokers and Jacks shockingly swap places! And that’s not all. The two Jokers being held by the spectator then undergo a stunning metamorphosis, transforming into two red Jacks!

The trick uses regular playing cards and standard sleight of hand. It is well within the reach of a keen beginner. Most experienced cardicians will also be able to perform it after a minimum of practice.

I've written a detailed tutorial on a hidden page on my blog. It's over four thousand words long! It will teach you the basic routine and an optional card-to-pocket routine. This bonus trick will help you clean up the effect and reset the packet in front of an audience. This makes the trick suitable for magicians who, like me, often perform standing. It is also perfect for professional entertainers who perform mix-and-mingle or strolling magic gigs.

“The Jaybird Jump” will eventually see print in by book Developing Daley. Until then, it will only be available to Learn Sleight of Hand (LSOH) members and paid Ruseletter subscribers. LSOH is Doug Conn’s new magic training website and online community. I’m a founding member of the site. I wholeheartedly recommend it, especially for magicians, old and young alike, who are looking to improve their sleight-of-hand skills in a supportive environment.

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I created this easy, self-working card trick while writing about Professor Pinetti, a flamboyant Italian conjurer from the late eighteenth century, in my Legends of Legerdemain column. The full article is available for free on the Ruseletter website.

The trick uses a similar concept to “The Nine Card Problem” by Jim Steinmeyer. Any regular readers of the Ruseletter will know that I’m a fan of this trick! (See Monthly Update #12 to explore ten variations of this classic impuzzibility.)

I’ve also included some notes on how to perform it in a “hands-off” manner. In fact, if you have a particularly compliant participant, then it is possible to let them perform the trick without you ever touching the cards. If you want to do it this way, I think it is best to start with the King of Hearts eighth from the top/bottom of the packet and then walk them through a Swindle Shuffle and the spelling/dealing of Pinetti’s name. This will all make a lot more sense when you read the write-up on my blog!

Learn Petit Pinetti

I hope you enjoy performing this simple packet trick. Make sure you also read the article about Pinetti; doing so will help you come up with an entertaining script for “Petit Pinetti”.

Yours Magically,

Marty

Welcome to Packet Trick Paradise, a regular column about card tricks using a small group of playing cards.

Magicians have been performing magic with small packets of cards since the time of Hofzinser. However, it wasn’t until the packet trick craze of the early 1970s that this genre of magic became a popular sub-genre of card magic. The innovative ideas of Larry West, Nick Trost, Phil Goldstein (Max Maven) and Magic Ronnay, among others, ushered in a “golden age” of packet trick magic that lasted well into the 1980s.

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Some of my favourite packet tricks include Dai Vernon’s “Twisting the Aces”, “The Last Trick of Dr. Jacob Daley”, and “The Four Card Trick” by Alex Elmsley. The latter, first published in 1959, is one of the most important historical packet tricks because it introduced the Ghost Count, also known as the Elmsley Count, to the magical fraternity. The Elmsley Count is the basis of many modern packet tricks.

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