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# {#azzo J' 1'oJ'J'ecfOut

1Jeck. 1{oufine
SefU{J:
'Ihe Tossed Out Deck is in your jacket pocket or in your performing
case, with some loose rubber bands. Note the card on the face of the
deck.This is critical. In the following explanation we will use the "Four
of Spades- as the card on the face of the deck.

'TheSecret:
The deck that YO" received consists of a 5 card running stack. (Do
Not Shufflef!f) There are also two odd cards on the face and on the back
of the deck.

q {Jfanation:
The basic routine is to perform the Le Paul Peek a couple of times to
get the feel of the audience,while explaining that this is an experiment

in mind reading (performance-wise).

-I W<Juld like the htlp ofsomeone in tbis audience. Someone that I how
neoer sun beforer If anyone raises their hand you say, "No colunteers....be

Fig. !

said Ix wo uld Ix !xrd"This WILL get a STRONG laugh! Then ask the
gentlemanllady to stand up and ask. -H avt you t'VU had your mind rea"- Turn me deck towards the audience so the four of Spades is facing
(You can wait for an answer, or just deliver me line) 'Then say "1his th em and say, "I will use thisgmtlanan on my kft· Sir, I will bold tbis dtd
shouldn't take long!"(Anomer laugh!!!!) Then say, "Sir-I am going hand in my lift- hand and I 'WOuld Iih you to look at one oftbe cards in tbe middle.
you Q d"k ofcards THIS I S A REGULAR DECK OF CARDS. Pleas, pleau do not look at thef alt card. "Turn the deck towards you and call
shuJlle them ....as VJe practiced in rehearsal y Ihis will get a laugh) O nce out the four of Spades. Perform the Le Paul Peek once more with the
he/she shuffles the deck, take back the deck and say, '}Is you can see-no rubber band wrapped around the deck. Please note that this takes an
set order. or none that you would recognize. "(Again a laugh.) effort on your part. ·SirlMiss, did you look at one oftht cards in tbe middlef
It was not tbefou r ofSpaths was it" (point to me face card of me deck)
Next, hand the deck to the pcrson, OBTAlNING A PEEK.
Let's suppose the selected card is the Five of H earrs. YO U MUST RIGHT NOW YOU SHOULD STILL HAVE ONE PERSO N
REMEMBER T H IS CARD!!!! IT IS CRUCIAL ATTHE END. STANDING. PRETEND NOTTO NOT1CE AS T HE
APPLAUSE DIES DOWN, AND IT WILL. Turn to the pcrson
Next, you say to the audience, 7[youstill think standing beside you and say "What is theproblem, sirt" He will answer
there is some sleight ofhand going on I will wrap ·You haven't named my card!" Say to the audience "If I name tbis
4.. • another rubberband around the deck. -, at th e same
time, your left hand that is holding the REGULAR
gen/leman's card, some ofyou may wish to make some noise and some ofyou
may wiJh /0 stand and clap whichwill bt a standing ovation. Intelligent
DECK will now switch it our with the T.O.D. people do 11M right/bing! the rea ofyou remain sitting. "Turn around to
Pretend to look for a rubber band with the right the person and say "Your card was fix Fitx ofHearl.J ~ the audience
• .~ hand (look in hip and jacket pockets) and say O J should stand and applaud.
r knt"W I had another rubber band somewhere htre... -,
Fig.2 at the same tim e. the left hand goes in left hand
pocket w ith regular deck and switches with T.O .D . q{lanafion oft.e 'Pau(s 'Peek..1JseJ
so that you come out of the pocket with a LOOSE RUBBER BAND
and the T.O.D. Clearly showing the face card, which is the Four of in gauo 's "1"osseJout 1Jeck.."
Spades, towards the audience. At the same time. wrap the rubber band
Fig. 3
around the deck length wise (front end to back end of deck. Fig 2).
Next. you say"I hafJta ruhbtrband wrapped this way and I hafJt a rubkr
The deck should be held as in Fig. 3. Note
band wrapped that way-but ifyou still thid that tlxre is still sleight of
the bevel along the tOP left hand side of the
band going on, J will band I'" tklR 10 IbiJ SirlMiJs. (hand them the deck).
deck.This is critical.
I want you to look at one ofthecards in the middle ofthis dt d -pk ast do not
/ook at the.face card. ", once again bringing attention the Four of Spades
(nicedeck switch eh....??!!). ow" Sir/Miss, 'f1)()uld youpletlJt lOOk at one
ofthe cords in the middle-once you how done this, pkase hand tlx deck to
someone to tlx sidufront or bad ofyou -it s your choice~
Fig. 4
You will repeat this four times to each person-the last person (Sib
person) will be asked, "Will youpleall bring the deck. to me on stage.
Evt:ryone that has looked at a card in this dedi., canyou please standi" You The fingers should be holding the deck as
should have six people standing."/ am going to name each one ofyour in Fig.4. Note the location of all fingers and
cards-but when I flameyour card please k.up a BLANK expression, show the placement of each, relative to the deck.
NO emotion orf adal exprmions. "Now, you name OUT LOUD the 5
cards that are in your T.O.D. You will face the audience and say" Here is
my miracle.• Say to the first person ·SirlMiss did J nameyourcardr 'Ibank
you, you may sit doum". Repeat this five times and each person sits down
and then you turn to the audience and say "Ibank you 'Very muchfo r
helping mer
While you are misdirecting, the cards Fig. 10
As you rifBe through the deck,the above the break are beveled over to the
finger should be high on the comer of left using the middle finger on the top
the deck, not to interfere with the pips. right hand side of the deck and the base
...-- The deck should be openedwide as of the thumb to push the cards to the left.
\I shown to allow clearviewing. (Fig. 5) Notice the step in the break with the left
hand. (F1g. 10)

## Do OT use two fingers. In F1g.6,

j~
\ two fingers are used and the suit cannot
be seen. In this example you cannot tell
whether it is a club or a spade.
As your free hand comes back from
pointing at a spectator, grab the deck with
the thumb going under the deck and the
\ fingers gmrp it from the tOP as in Fig.Ll .

Fig. 7
After snapping the deck shut directly
after the spectator has peeked the card, As you grab the deck you proceed to
Fig. 12
the deck should be in the position hand the deck to a spectator, peeking the
shown in Fig. 7 with a break having been chosen card. At that point the spectator
established by «leasing the peeked card. can shuffle the deck and you have their
Hold a break with second and third ehosen card. (Fig. 12)
fingers.

ll{terfhOUJhfs:
This is the same position as Flg.7
W ith time yourTossed Out Deck will
except showing the break from the
start to discolor and the cards may become warped, especially the odd
performer's angle. (Fig 8.)
cards on the outside. I recommend that after you perform the Tossed
Out Deck over a year or so (depending on your performance schedule)
you should replace the deck with a newTossed Out Deck. Use the
Fig. 9 As the hand relaxes and comes down
same cards that )'OU have already memorized for easeof performing.
low from the peekingand the break is
This can be done by buying 10 regular decks and constructing your own
achieved. you will begin shifting the
Tossed O ut Deck from them.
breaks apart, prepared for the next move.
This is all done under misdirection.You
must point to someone with your free 'Pro l1f:
hand and use a line or a gag while this is Replace the rubber bands on your deck from time to time. It is
being done. (Fig. 9) important that the rubber bands are checkedbefore every performance
to avoid breakage.