deck, by forcing the choice of one of the twenty-six identical short cards. A variant of the one-way forcing deck is the Monte Cristo deck invented by Henry Hardin, more recently published under the name Mastermind Deck by Chris Kenworthey. All the cards are the identical force card, but misindexed on the top left corner, so that the cards all appear to be different when fanned or spread. Any card can be selected, and rotating the deck before revealing the selection will always reveal the force card. It is worth noting that such decks have fallen out of favor amongst professional magicians because of an increased suspicion amongst audiences regarding the use of gimmick props. Thus, they are rarely employed. Rising card deck With a rising card deck, the spectator chooses a card and puts it back in the deck of cards. Then, the chosen card magically rises, whether it is in the box, in the hands, on a surface, or even in a wine glass. The construction of these decks varies. The simplest of these, often described in amateur magic books, involves cutting a hole in the back of the carton so that the performer can surreptitiously push up the top card with their finger. More complex arrangements include a pair of cards gimmicked with an elastic band onto which the target card can be pushed (between the gimmicked pair), or a deck with a fine black thread passed across the top onto which the target card can be pressed down. There are without a doubt more complex and clever arrangements in use. Invisible deck The invisible deck is one of the best known card tricks. Joe Berg created the Invisible Deck in the 1930s, originally calling it the Ultra Mental Deck. Often mistakenly credited to Dai Vernon, Don Alan or Eddie Fields, the most-used presentation of an "invisible" deck of cards was invented by J.B. Bobo. The trick's title stems from the classic presentation of this effect, in which the magician hands the spectator an imaginary, or "invisible" deck. On being handed the deck, the spectator is asked to mime the acts of removing the cards from their case, shuffling them, spreading them face-up on the table, freely selecting a card, replacing it face-down among the other face-up cards, and returning the deck to its box. At this point, either the spectator keeps the imaginary deck while the