Fresh and Chris P.

[Tom Frame]

Fresh and Chris P. (Ebook) by Chris Piercy £9.99 / $15.15
49 pages, 91 photographs
Available at: the_hut_is_full@hotmail.com


In this ebook, Chris Piercy offers 14 card effects from his repertoire. I had never heard of Mr. Piercy, so I had no idea what to expect.

The author’s writing is not a joy to read. The text is riddled with numerous grammatical and typographical errors and run-on sentences. The quality of his instruction ranges from inadequate to fair.

The ebook is poorly laid out. In many cases, there are no spaces between paragraphs, presenting the reader with dense, unattractive, squint-inducing blocks of text.

There is no pagination.

While the photographs are clear and helpful, in several cases the captions aren’t placed directly beneath the photographs. Instead, instructional text is inserted between the captions and the photographs, making for a confusing, hair-pulling read!

I’m relieved to report that Mr. Piercy cites his inspirational sources.



Four of a Kind Production: A participant freely names a number from one to ten. If the participant names the number seven, the performer asks her to name any suit. Let’s say she names Spades. He cuts the deck, turns over the top card and it is the Seven of Spades. He removes one Seven from his right pocket, another Seven from his left pocket, and the final Seven shoots out of the deck.


In his introduction to this effect, Mr. Piercy says, “…it is a fairly easy way of producing an apparently freely thought of 4 of a kind.”

This claim is not true. First of all, the methods required to produce two cards from your pockets and to cause one card to fly out of the deck are not “fairly easy” to execute. Actually, they are fairly difficult to execute well.

And worst of all, you do not produce a “freely thought of 4 of a kind.” Regardless of the number selected by the participant, you still produce the Sevens! Her freely chosen number has no bearing whatsoever on the outcome of the effect!

I don’t like it.


Bond’s Sevens: The performer holds the face-up Sevens that he incongruously produced in the previous effect. They are in red, red, black, black order. A participant freely selects the Seven of Hearts and hopes that her input won’t be ignored again. She inserts it face-down between the black Sevens.

The performer squares the packet and holds it by its diagonally opposite corners with his thumb and second finger. He shakes the packet and displays it to show that nothing has changed.

He turns the packet face-down, shakes it and displays it, revealing that all of the cards are face-down. He squares the cards.

The performer shakes the packet and displays it, revealing that the Seven of Diamonds and Seven of Clubs have turned face-up. He squares the cards.

He shakes the packet and displays it, revealing that all of the cards are face-up. He squares the cards. The Seven of Diamonds is on top of the packet.

The performer shakes the packet and the Seven of Hearts is now face-up on top of the face-down packet. He spreads the packet, removes the Seven of Hearts and inserts it face-up third from the top of the face-down packet. He squares the cards.

He shakes the packet and displays it, revealing that all of the cards are face-down again.


This is an oddly constructed effect. One would think that the majority of the magic would visually emphasize the participant’s card. But just the opposite occurs.

First, the selection is deemphasized by turning it face-down among face-down cards. Then, the Seven of Diamonds and the Seven of Clubs turn face-up. Why? Then all of the cards turn face-up. Why? The only time her card gets the spotlight is when an indifferent Seven transforms into it.

The anticlimactic ending consists of her selection being minimized again by turning face-down among other face-down cards. The final, forgettable image seen by the participant is four face-down cards, with her card nowhere in sight.

Mr. Piercy’s presentation doesn’t explain these phenomena. His patter primarily consists of “Guess what happens next?” When the participant answers his queries, she is always wrong, causing her to potentially feel confused and foolish.

I don’t like it.


Blank Assembly: A participant examines the four Aces and 12 blank face cards. The performer retrieves the cards and holds the packet face-down, with the four Aces on top.

He deals the top three face-down Aces onto the table in a row, and he deals the remaining face-down Ace in front of him. He fans the remaining cards face-up to display that they are all blank. He closes the fan and holds the packet face-up.

The performer deals three blank cards face-down on top of the leader Ace. Then he deals three blank cards face-down atop each of the Aces in the row.

The performer picks up the first pile of the row, turns the top three blank cards face-up, inserts the face-down Ace third from the top, and squares the packet. He displays the cards, revealing that the Ace has vanished. He tables the blank cards face-up.

He picks up the second pile of the row, mixes the cards and drops them face-up one at a time onto the blank pile of cards to reveal that the second Ace has vanished.

He picks up the top three cards from the final pile and holds them face-down. The participant holds the edge of the remaining Ace and the performer swipes his cards around it. He turns his cards face-up, displays the blanks, and drops them onto the pile of blanks.

The participant turns over the card she is holding and discovers that it is now blank. The performer turns the leader pile face-up to reveal the four Aces.


Mr. Piercy’s method involves executing a challenging sleight six times. With numerous easier, equally effective methods at my disposal, I’ll never perform it. But I do appreciate the direct method and I’m sure that move monkeys will dig it.

I like it.


Knifed in the Front: The performer places an odd back card face-down on the table. A participant freely selects a card, which is lost in the deck.

The performer places the odd back card face-down on top of the deck. Holding the deck with one hand, he raises it to a vertical position, with its face toward the participant. He shoots the odd back card into the air. He breaks open the deck and catches the card, out-jogged, as it returns to him.

He spreads the deck on the table. The participant removes the card directly beneath the odd back card and discovers her selection.


For some reason, in the Table of Contents, Mr. Piercy calls this effect “Knifed in the Face.” I actually prefer that moniker. Whatever it’s called, he tells us that it was inspired by David Williamson’s “Stabbed in the Back.”

In the wonderful Cards as Weapons (1977), Ricky Jay describes Martin Lewis’s one-handed technique for shooting a card from the deck and catching it in the front end of the deck. Mr. Piercy employs and credits Lewis’s technique.

Within a few years of its publication, a number of methods were devised for catching the launched card so that it landed adjacent to a selected card. These methods involved some type of modified card. I know that by 1982 I was using a short card, and that application wasn’t new.

Mr. Piercy also employs a common, modified card. But I don’t think that using one type of modified card rather than another type of modified card constitutes a methodological innovation. You’re still using a special card to cause the deck to break open at a specific location.

There’s nothing new here in terms of method or effect. It isn’t, as touted in this ebook’s title, fresh.

I don’t like it.


Catch It Quick: The performer spreads the face-down deck, removes a card and tables it sight unseen. He riffles the deck and the participant stops him. He removes the stopped-at card, the Ace of Spades, and places it face-up on top of the deck.

The performer raises the deck to a vertical position and shoots the Ace of Spades into the air. He breaks open the deck and catches the Ace, out-jogged, as it returns to him. He spreads the deck on the table.

He turns the previously tabled card face-up, revealing the Ace of Clubs. The participant removes the cards on either side of the Ace of Spades and discovers the remaining Aces.


Once again, this is a nice trick, but neither the effect nor the method is fresh.

I don’t like it.


Voodoo Firetrap: The performer spreads the face-down deck and a participant freely touches a card. The performer removes the cards above the touched card and tables them. He removes the designated card and turns it face-up to display it.

The participant extends her palm-down hand and the performer places the face-up selection against her palm. She places her other hand, palm-up against the card to sandwich it between her hands.

The performer hands a pen and one of his business cards to another participant and asks her to draw a picture of the selection on the back of the business card. He retrieves his business card and tears off one of its corners.

The first participant lifts her hand off of her card and discovers that it is now missing the same corner as the business card. She places her hand back onto her card.

The performer lights his lighter and holds the flame under his business card, scorching its back. The participant lifts her hand, turns over her card and discovers that its back is now scorched.


This effect was inspired by Guy Hollingworth’s voodoo effect in Drawing Room Deceptions. I prefer the leaner, more elegant construction of Mr. Hollingworth’s delightful offering.

I don’t like it.


Imagina-Torn: The performer displays a blank face card. He tears off a corner and hands it to a participant, who holds it in her closed fist. He tables the blank face card. He reaches into his pocket, removes a Sharpie and tables it.

The performer spreads the deck face-down and a participant freely touches a card. He removes the cards above the touched card and tables them. He removes the designated card and displays its face to the participant.

He places the selected card on top of the tabled portion of cards. He places the remainder of the deck on top of it to bury the card.

The participant draws an image of her card onto the blank face card and tables it face-down. The performer places his hand over the tabled card, slides it off of the table and places it face-up on top of the face-down deck.

The performer waves his hand over the drawn card and it transforms into the actual selection. The participant holding the blank torn corner opens her hand and discovers that it has transformed into the selection’s corner, and fits it perfectly.


The action of sliding the drawn card off of the table and turning it face-up onto the deck is a perilous procedure. The author briefly mentions using table’s edge as cover to create the impression that you’re merely placing the card face-up onto the deck. But he doesn’t provide any specific handling details on how to safely accomplish this feat without arousing suspicion.

At the conclusion of the effect, you’re left dirty. The author offers no suggestions for cleaning up.

I don’t like it.


Imprint: The performer spreads the face-up deck until he comes upon a blank face card. He cuts off all of the cards above it and places them on the bottom of the deck. He turns the card face-down onto the deck and a participant signs its back. He turns the blank card face-up and places it on a participant’s palm. She places her other hand on top of the card to sandwich it between her palms. The performer positions her hands as if she was praying.

The performer cuts the deck and completes the cut. He riffles the corner of the deck until a participant stops him. He cuts off the top portion of the deck and asks a participant to remember the card at its face. Let’s say it’s the Eight of Spades. He replaces the upper portion of the deck onto the lower portion to bury the selection. He turns the deck face-up.

The performer lowers the participant’s hands so that they are parallel to the table. She lifts her uppermost hand and sees that the blank face card has transformed into the Eight of Spades.

He takes the card from her and places it in his palm-up left hand. With his right hand, he grips the face-up deck by its inner corner. He taps the deck onto the Eight several times. The deck ends up face-up in his left hand and he is holding the face-up Eight in his right hand. He turns over the Eight, revealing the participant’s signature on his back.


Mr. Piercy employs David Williamson’s visually incongruent "Friction Switch." Gag!

I don’t like it.


Hotshot Aces: The performer removes the four Aces from the deck and hands them to a participant. He turns his back while the participant inserts the four Aces into the deck. The performer turns around and instructs the participant to cut the deck.

The performer retrieves the deck and causes each Ace to shoot out of the deck. Or he produces them in a variety of ways.


There is nothing new here in terms of effect or method. The Aces must be prepared in a well known fashion. I recommend preparing them ahead of time.

However, Mr. Piercy assures us that the effect can be performed impromptu with a borrowed deck. After giving the Aces to the participant for examination, the author hands the deck to her so that she can examine it to ensure that it doesn’t contain extra Aces. He retrieves the Aces and puts the “work” in while the participant is busy scrutinizing the deck.

This is a lousy idea. The participant already has the Aces. There is no presentational justification for taking them from her, only to give them back to her a moment later. That’s a suspicious action that will draw attention to the performer and the Aces. Just because the participant is giving the deck a cursory examination, she’s not blind. I don’t believe that she won’t notice that the performer is doing something sneaky with the Aces.

I don’t like it.


The Cradle Control: The performer turns the top card of the deck face-up and, using his left thumb, pins it in place, out-jogged and angled, over the outer corner of the deck. With his palm-down right hand, he grasps the card in Mechanic’s Grip and turns his right hand palm-up, turning the card face-down.

With his left thumb, he riffles down the outer corner of the deck until a participant stops him. He inserts the card into the deck, leaving it out-jogged. He extends the deck to the participant, who pushes it into the deck. The card can now be produced from his pocket, or controlled to the top or bottom of the deck.


The grip used in this control looks odd and feels awkward, as does the insertion of the card into the deck. The control is also angle sensitive, leaving your left side vulnerable.

I don’t like it.


Pocketed Reversal: Phase 1: The performer riffles the corner of the deck until participant #1 stops him. He cuts off the cards above the break and places them on the bottom of the deck. He removes the top card of the deck and displays its face to the participant. He places the card in his pocket.

The performer cuts the deck and riffles its corner until participant #2 stops him. He cuts off the cards above the break and places them on the bottom of the deck. He turns the top card face-up onto the deck and removes it with his palm-down right hand. He turns his right hand palm-up, turning the card face-down. He flips the deck face-up in his left hand.

He riffles the corner of the deck until participant #2 stops him. He inserts the face-down card into the face-up deck, leaving it out-jogged. The participant pushes it into the deck.

The performer removes the second participant’s card from his pocket. He spreads the face-up deck on the table and a face-down card is seen. He turns it over, revealing the first participant’s card.

Phase 2: The performer places the selections face-down on top of the deck. He turns the top card of the deck face-up, displaying the first selection. He turns it face-down onto the deck, removes it and places it in his pocket. He immediately removes the face-down card from his pocket, places it on top of the deck, then turns it face-up onto the deck again.

His palm-down right hand removes the selection and turns palm-up, turning the card face-down. He riffles the corner of the deck and inserts the first selection into the deck, leaving it out-jogged. A participant pushes it into the deck. The performer removes it from his pocket.

The performer removes the top card of the deck, calls it the second selection, but doesn’t display its face. He inserts it halfway into the deck and the second participant pushes it flush. He removes the second selection from his pocket.

Phase 3: The selected cards are again lost in the deck. The performer removes the first selection from his pocket. Then the deck vanishes, leaving the performer holding only the second selection.


Unfortunately, the first two phases of this effect utilize the cruddy Cradle Control. The third phase is okay, but it’s not fresh.

I don’t like it.


The Kelly Out-jog Control: Mr. Piercy’s enhancement of the Ovette Master Move/Kelly Bottom Placement allows you to seemingly out-jog the selected card as the upper portion of the deck is placed onto the lower portion. He suggests that this technique provides additional conviction that the selection is buried in the center of the deck.

I disagree. If the Master Move is executed well, it creates the perfect, fluid illusion that you’re merely placing the top portion of the deck onto the bottom portion, cleanly and efficiently burying the selection in the middle of the deck. It boasts exquisite economy of action.

In Mr. Piercy’s variation, that seamless flow is lost when the performer “does something” to out-jog the selection. Instead of creating further conviction, it creates needless suspicion.

The Master Move didn’t need this makeover. If you want to execute a control that ostensibly leaves the selection out-jogged, use the Convincing control.

I don’t like it.


Marked Cards: The performer dribbles a blue back deck of cards until a participant stops him. He lifts off the top portion of the deck, turns it face-up and extends it toward the participant, who signs the face card. The performer turns the portion face-down and places it on the balance of the deck, leaving the selection out-jogged in the center of the deck.

The performer retrieves the pen, caps it and “marks” the back of the card by scribbling on it with the cap. He squares the selection into the deck and cuts the deck.

He spreads the deck vertically, with the backs toward him and breaks the spread at the selection. He cuts the selection to the face of the deck and turns the deck face-up.

The performer turns the selection face-down onto the deck and claims that he can see his mark on its back. He removes the face-down selection as he turns the deck face-down. He buries the selection in the center of the deck and cuts the deck.

He spreads the deck face-down and the face-up selection is seen in the middle of the cards. He removes the selection, squares the deck, turns it face-up and places the selection on top.

He turns the selection face-down onto the deck and again points out the supposed mark. He removes the selection, turns the deck face-down and inserts the selection into the center of the deck, leaving it out-jogged. The participant pushes it flush.

The performer riffles the deck with his left thumb as his right hand reaches into his pocket and removes the face-up selection.

He turns the deck face-up and places the face-up selection on top. He turns the selection face-down, removes it and turns the deck face-down. He places the selection on top of the deck, side-jogged, then he squares it onto the deck.

He waves his hand over the deck and the selection’s blue back changes to red. He removes the selection and tables it face-down near the participant. He spreads the deck face-down, displaying the blue backs. The participant turns over the red back card and sees that it is her selection, complete with signature.


Mr. Piercy’s methodology lacks elegance and economy of action. There’s too much going on. The selection is repeatedly placed onto the deck and removed. The deck is repeatedly turned over. It also employs the crappy Cradle Control.

I don’t like it.


Apprehended Thrice: The performer spreads the deck face-down to display its red backs. He squares the deck and tables it face-up. He removes two black Queens from his pocket and places them face-up on top of the deck.

With his right hand, the performer lifts the Queens off of the deck. He turns his right hand palm-up to display the Queen’s blue back. He turns his right hand palm-down and uses his left thumb to deal a face-up Queen to the table. He turns the remaining Queen face-down to display its blue back, then he turns it face-up and places it on the face of the deck. He thumbs the Queen off of the deck onto the previously tabled Queen. He tables the deck face-down.

The performer picks up the deck, spreads it face-down and three participants touch cards. He out-jogs each card for half its length and squares the deck. He strips the selections out of the deck, tables the deck face-down off to the side, and tables the selections in a face-up spread.

The three participants sign the faces of their cards. The performer picks up the deck, turns it face-up and places it on top of the face-up Queens. He picks up the deck and buries the three selections in it. He turns the deck face-down and cuts it, burying the blue back Queens.

The performer spreads the deck until he comes upon a selection sandwiched between the two Queens. He cuts the cards above this trio to the bottom of the deck.

He deals the top, face-down blue back Queen to the table. He deals the face-up selection to the table. He turns the blue back card on top of the deck face-up, displaying the other Queen. He uses it to scoop up the face-down tabled Queen and deposits it on top of the deck. He flips his in-hand Queen face-down on top of the deck.

The performer snaps his fingers and spreads the top cards of the deck, revealing a selection sandwiched between the two blue back cards. He deals the top card to the table. He lifts the top two cards off of the deck. He turns the cards face-up and reveals the second selection. He turns the two cards face-down and deals the red back selection to the table. He places the blue back Queen on top of the deck.

The performer turns the top card of the deck face-up, displaying the Queen. He removes it and uses it to scoop up the face-down tabled Queen and deposits it on top of the deck. He flips his in-hand Queen face-down on top of the deck, out-jogged.

He waves his hand over the deck and a red back card appears sandwiched between the blue back Queens. He lifts the top two cards off of the deck and turns them face-up to display the third selection. He turns the cards face-down and tables the red back selection. He thumbs the blue back Queen off the top of the deck into his right hand, where it joins the other blue back Queen.

The performer uses the Queens to gesture to the first, face-up tabled selection. He takes a Queen in each hand and uses them to flip the other two face-down tabled selections face-up. He now holds a face-up Queen in each hand.

He turns the Queens face-down, revealing that they now have red backs. The participants turn their selections face-down and discover that they now have blue backs.


This effect also suffers from handling that is cluttered and not direct. Once again, cards are again placed onto the deck and removed for no apparent reason.

I don’t like it.


Unfortunately, the fare featured in Fresh and Chris P. tastes stale and soggy.


Not Recommended

[Richard Kaufman]

The first person I know of to outjog the card, thus imitating Larry Jennings' Immediate Bottom Placement, using the Ovette/Kelly sleight is Allan Ackerman in "The Escoterist" many decades ago. I still use the technique once in a while.