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EASY-TO -LEARN TRICKS
OR
MAGIC MADE SIMPLE

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AMERICA'S DEAN OF MAGIC

STERLING
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PUBLISHING CO., INC. new york
(%& Tree 7Ze*$ C&-, L&C London & Sydney

S.. Sydney 2000. N. London W 1 Manufactured in the United States of America All rights reserved Library of Congress Catalog Card No.W.Y.. Gibson adapted from "Magic Made Simple" Copyright © 1963 by Doubleday & Company.: 76-58624 Sterling ISBN 0-8069-4546-X Trade Oak Tree 7061-2549-5 4547-8 Library . P. N. BY THE SAME AUTHOR Original Houdini Scrapbook Junior Magic © 1977 by Walter B. Ltd. Brickfield Hill.O. Inc. 419 Park Avenue South. New York. Distributed in the United Kingdom and elsewhere in the British Commonwealth by Ward Lock Ltd.. 1 16 Baker Street. 10016 Distributed in Australia and New Zealand by Oak Tree Press Co. Box J34.. Published 1977 by Sterling Publishing Co. Inc.

bottomless cups. an accomplished . Many of the tricks are impromptu— they can be performed on the spur of the moment with materials supplied by the spectators. SCHOOLS ABOUT THIS BOOK Have you ever wondered how a magician can cut a rope into two pieces and restore it to one long piece before your eyes? Have you ever marveled at the variety of tricks that can be performed with a deck of ordinary playing cards? Have you ever seen a magician swallow a billiard ball. that will enable you to master even the most complicated tricks and magical effects. CO. combined with easy to follow illustra- tions. you are given step-by-step instruc- tions. only to make it reappear be- hind his left knee? This book tells you the secrets behind these and many other tricks. The author of this book. and special thim- ble holders. but even the most advanced can be performed with ordinary objects— no special equipment need be purchased. Moreover. Others take a few minutes' preparation. Here you will find clear explanations and directions for making your own "trick" card packs.

You will learn how tothrow a pack of cards so that they all land on the floor face down— except the card a spectator has chosen. You will be thrilled by the expressions of amazement on your friends' faces when you perform these tricks. For this book contains over 175 different tricks. You will learn how to perform all these— and many. . which magically appears face up! You will learn how to force a spectator to choose just the card you want him to choose! You will learnhow to make a pencil rise from your fist and how to pull a wand which is two feet long out of a purse which is only six inches deep. and you will derive great pleasure from dis- playing the wealth of magical knowledge you have learned from this book. all designed to help you become a successful and entertaining ma- gician.magician as well as an interesting and amusing writer. many more. takes you on a tour of the entire realm of magic— from sleight of hand to mind read- ing. Magic can be an endless source of fun and amusement for everyone— for the performer as well as for his audience.

46 The Double Deal 47 . 19 The Climbing Ring . . . . 26 The Hypnotized Match Box (Mechanical Version) 27 Vanishing Match Box . . 34 The Restored Match . . 17 18 Instant Cut and Restored String . 22 The Rising Pencil 24 The Hypnotized Match Box (Impromptu Version) . . CONTENTS CHAPTER ONE HOW TO MYSTIFY . . . . 45 CHAPTER THREE EASY CARD TRICKS . . 36 The "Repeat" Restoration 39 Three Vanishing Knots 42 Ring Off! 43 The Rubbery Pencil . 13 CHAPTER TWO CLOSE-UP TRICKS . . 33 Improved Matchless Match Pack . 31 The Matchless Match Pack . . .

..... .Count-Down Cards 49 Four-Heap Deal 50 Let's Face It! 53 Face Up— Face Down 56 The Red Card 57 You Do As DoI 60 New Do As I Do . . ... 89 Farmer and Sheep 92 Silk Through Wand 97 CHAPTER FIVE MAGIC WITH CARDS . . . 100 Cuts 100 The Single Cut 100 The Multiple Cut 100 The Undercut 101 .. 85 Fooled— and Fooled Again! . 63 Coins and Cards 65 Ups and Downs 67 Behind Your Back 72 CHAPTER FOUR TRICKS WITH ORDINARY OBJECTS 75 One out of Three 76 The Suction Cup 79 The Knot Slide-Along 81 Cut and Restored Rope .

. . }Q2 The Overhand Shuffle .. . . \ 04 Dealing Cards 104 The Group Deal 1 04 The Reverse Deal 105 The Turnup Deal 106 False Cuts and Shuffles 107 False Single Cut 107 False Three-Heap Cut 108 False Triple Cut 109 False Dovetail Shuffle 110 False Overhand Shuffles . 113 The Alternating False Shuffle or Packet Shuffle 113 Simple Card Sleights 115 The Glide 115 The Slip 118 The Slide 119 The Turnover 120 Turning the Pack 121 The Glimpse 121 . 110 The Pull Away Ill Top to Bottom 112 Bottom to Top 112 Stacked Pack Shuffle 112 Overhand Cut Shuffle 112 Front and Back Cut Shuffle . . jq3 The Front and Back Shuffle . .Shuffles 102 The Dovetail or Riffle Shuffle . . . .

. 131 Draw-Shuffle Location. 132 Draw-Shuffle Control . . . 126 The Fan Force . . 133 CHAPTER SIX FINDING A CHOSEN CARD. 135 The Riffle Glimpse 136 The Wrist Glimpse 137 The Divided Pack 139 Reds and Blacks 140 Two-Suit Setup 140 Odds and Evens 141 The Pointer Pack 142 Bottom-Card Location 144 Count-Down Location 145 Card Controls 147 The Shuffle Pass 147 The Turned-Up Joker 149 The Push-Away Pass 150 The Delayed Cut 151 Automatic Reverse 152 Double Reverse 1 54 . 125 Single-Cut Force. . . . 129 The Bottom Glimpse . . 131 The Flash Force . 127 The Draw Shuffle .The Double Lift. < 123 Palming a Card . .

.. 182 How to Palm a Coin 183 The Finger Bend 183 The Thumb Palm 184 The Standard Palm 185 Coin Vanishes 187 . 172 Doubled Thoughts 1 75 Four-Ace Deal 176 The Assembled Aces 179 CHAPTER EIGHT MAGIC WITH COINS . . . 167 The Seventeen Cards 1 68 Card from a Hat 171 Card on the Wall 172 The Card That Finds Itself. CHAPTER SEVEN REVEALING A CHOSEN CARD.... .. 156 Any Number Down 156 Quick-Count Trick 157 The Card Turns Up 158 The Knockout 159 Double Choice 160 Spell It Out 161 You Can't Get It 162 The Magnetized Card 163 A Hair Raiser 164 Turn It Over 165 Just Say "Stop" 166 Three Heaps—Three Cards .

.... jgg Other Effective Productions . jgg The Spin Vanish I97 Simple Coin Productions 1 98 From the Finger Bend . jgg From Hand to Hand 200 March of Dimes 204 Coin from Wand 205 Double Coin Production 207 CHAPTER NINE THIMBLE TRICKS 208 The Thumb Palm 209 To Produce a Thimble 210 Production at Knee or Elbow . . . . 220 Color-Changing Thimble .. \ 93 From the Thumb Palm . jgg From the Standard Palm . ... 211 Simple Thimble Vanish 212 Swallow Vanish 213 The Finger Switch 214 The Take-Away Vanish 216 Twist-Away Vanish 218 Eight Thimble Production. . ... 227 . . . .. . . .. .Simple Vanish 187 The Throw Vanish 189 The French Drop 190 The False Drop 191 Multiple Coin Vanish 194 The Sleeve Vanish ..

231 Tap the Numbers 232 Paired Thoughts 234 Face-Card Fantasy 237 The Ten Pairs 241 Cup... 279 Index 281 . CHAPTER TEN MENTAL MYSTERIES . Dish and Saucer 244 The Word-Cards 248 Within the Circle 250 Predicted Thoughts 253 The Nine Slips 255 Mystic Book Test 257 The Repeat Book Test 260 A Sense of Taste 262 The Two Rows 264 Name the Number 268 Cards and Symbols 271 Coins and Colors 274 CHAPTER ELEVEN PLANNING A MAGIC SHOW .. .

.

1. How to Mystify

The way to
best learn magic by performing.
is

This makes the process both simple and en-
joyable, which may come as a surprise to those
who suppose that, since tricks often depend on
clever secrets, they must be difficult to per-

form.
More often than not, it is the other way
around. A spectator, not knowing the secret,

looks for something difficult, whereas many
tricks are so easilyaccomplished that keen on-
lookers help baffle themselves by rejecting the
obvious explanation.
To the beginner, this means choosing the
right tricks, which in this case are those re-
quiring little or no but which have some
skill,

neat or helpful feature that will pass unnoticed
or unseen.
From the very outset, it must be noted that
there are two sides to every trick:
the effect, or how the trick appears to
the audience, which you must stress while you
perform it.

the method, which is known only to the
magician, which you must keep constantly in
mind, but never even hint at.

How to Mystify Jf$ 13

In many tricks that follow, these will be dis-

cussed separately, first from the standpoint of
"effect," or the impression that the magician
creates, then from that of "method" which is

how he goes about it.

presentation is a combination of "effect"
and "method," which builds the "effect" and
helps disguise the "method." In some tricks,
it is treated as an added factor, but there are

certain points of presentation that apply to all.

Chief of these is:
misdirection, or the drawing of attention
from the real secret of the trick to something
unimportant. For example, many people have
heard that "the quickness of the hand de-
So the magician uses a quick
ceives the eye."
move to make people look away while he is
accomplishing his real mission in a more de-
liberate fashion.
Another example is "up his sleeve," which
is supposed to be the magician's way of dis-

posing of anything from a thin dime to a fat
elephant. So it is good policy to show that
your sleeves are empty by pulling them up,
every now and then, always when you are
about to do something that will really fool
your audience. That, too, is misdirection.
In short, misdirection is magic. This is a
rule that has no exceptions. But there are

14 Jf$ How to Mystify

lesser rules, which—with due exceptions— are
important, too.
These are:
Never tell your audience what you intend
to do. Keep them guessing from the start, so
that the finish will be a surprise. That keeps
their thoughts away from the very thing you
don't want them to think about: namely, the
secret of the trick.
If they don't know what the effect is to be,
they cannot guess at the method.
Never repeat a trick during a performance
or show it a second time to the same group
too soon. This is the same as telling them
what you intend to do. Instead of watching
for the effect, they will be looking for the
method.
This rule is practically a corollary to the
previous one.
There are exceptions, however, in both
cases. Sometimes by telling people exactly

what is to happen, you can key them up to the
point where they fail to notice something that
is actually more important. As for repeating a

trick, there are many times when you can do
what appears to be the same trick, but either
the effect or method—or both— is different
from the first version.
Such "repeats" are particularly effective, and

How to Mystify A 15

quite a few will be described in the pages that
follow.Always take advantage of such a situa-
tion when you can. That, in itself, is a form of
misdirection.
do until you are
Practice every trick you
sure of it. This applies where "method" is
concerned. Even though the trick may be very
easy, try it over and over until it becomes
second nature. After that:
Rehearse the trick to gain the desired "ef-
fect" that youmust impress upon your audi-
ence. They want to see magic, not tricks; so
it is your job to turn tricks into magic.

Present each trick in a dramatic manner,
suiting it to your own personality or by acting
the part of a magician, if you prefer to do so.

Give special attention to your "patter," or
"talk," which is an essential part of presenta-
tion.
From individual tricks, you can form a pro-
gram suitable to your own personality, your
audience, and the occasion. These factors will
develop after you have learned and tried the
tricks in the following pages.
In order to make sure that you understand
each trick discussed in this book, it is recom-
mended that you follow along, step by step,
working out each trick with the necessary
equipment—cards, coins, etc.

16 A How to Mystify

2. Close-up Tricks
Close-up tricks form a good starting point in
magic, because you can work them for a few
persons at a time, thus limiting the number
of observers and giving you a chance to study
their reactions. From this you will gain point-
ers that will be helpful with more elaborate
or more difficult effects.
Not all close-up tricks are easy, however.
This branch of magic sometimes calls for
more skill than any other; but only for those
who make a specialty of such work. The be-
ginner can limit himself to close-up tricks that
are self-working, or nearly so; and those which
are explained in this section are mostly of
that type.
People who have witnessed magic only at
long range are apt to give you credit for being
very clever when you do close-up tricks. They
do not realize that you are presenting a type
of wizardry especially suited to close-up condi-
do not enlighten them on that score.
tions; so
The more wrong theories that spectators form
regarding your work, the better your chances
of baffling them.
Most close-up tricks are done with common
objects and these must often be given for ex-

Close-up Tricks Jf$ 17

THE RAPID KNOT Though more of a puzzle than a mystery.amination. So when you do use special ap- pliances in close-up work. which can be done either in tantalizing slow-motion style. 1 18 A Close-up Tricks . the effect: The magician lays a four-foot length of string or rope across his hands. or presented as a quick surprise. thismakes a very intriguing trick. which FIG. always be ready to pocket such items or to switch them for inno- cent duplicates.

Pressure of the thumbs keeps the dangling rope ends in posi- tion as the hands are turned inward. with the fingers pointing at a downward angle. At the same time. an ordinary piece of string. first scissors fashion. all in one continuous motion. the effect: The magician shows a two- foot length of string. the rope ends dangling be- tween thumbs and fingers. The hands are immediately drawn apart and the knot is shown in the center of the rope (fig. which he doubles to form Instant Gut and Restored String Jf$ 19 . yet practically automatic in its working. without releasing the rope ends. the method: The cord is held exactly as described and shown in fig. A knot ap- pears instantly in the center of the cord. INSTANT CUT AND RESTORED STRING A quick. performed with the simplest of objects. He brings his hands together and draws them apart.are heldpalms up. The right fingers go in back of the left hand. i. surprising trick. the first two fingers of the left hand come in front of the right and grip its end the same way (fig. ic). where the two fingers clip the rope end. lb). this one of the best among close-up is effects.

3a) and form each into a little loop of its own. the string is restored and may be given immediate examination.a loop in the center. 3 20 A Close-up Tricks . 3c). 3b) and fix them in place with a dab of transparent glue or soft wax (fig. cuts the string in two. for the method: Use a cheap but fairly thick string of the sort that is composed of long strands that can be easily separated. Draw these strands apart near the center of the string (fig. Hook these two loops together by pushing one beneath the other (fig. This now appears to be the SEPARATE CENTER FIG. then gives the ends a sud- den pull. He takes a knife. Instantly.

When you come to the join. This is prepared beforehand. the action merely pulling the joined portions apart (fig. It is then possible to separate the hanging strings a little more by spreading the join be- Instant Gut and Restored String A 21 . the actual join below the cen- ter "loop" is hidden between the left thumb and forefinger. drawing the doubled string through the left hand. 3d) formed into an ordinary loop." Bring the ends together and take them with the right hand. The right hand "cuts" the loop with a knife blade.palm upward. will appear to be a crossing of the string. and when the string is shown.normal center of the string (fig. holding the loop upward. Take the two ends of the doubled string. separate them slightly and let the center dan- gle. the string can be handled quite freely. 3c). since the join. grip it between left thumb and fingers and drop the ends. 3c shows. 3f) and the two "pieces" are "re- stored" as a single length! presentation: From the start. saying. which forms a loose fist. as fig. "Here we have a string with two even ends forming a loop at just about the center. if noticed. below what looks like a legitimate cen- ter loop. A tug on the ends of the string (fig.

the other is clamped to the top of the pencil by an eraser of the rubber-cap type. which fits snugly over the top of the pencil (fig.tween left thumb and fingers. the ring climbs the pencil and finally jumps from it. He drops a finger ring over the pencil. Pencil and ring may be examined. At command. the method: A thin black thread is used. THE CLIMBING RING the effect: The magician holds an ordi- nary pencil upright at the tips of thumb and fingers of one hand. One end is wound around a button of the coat. Allow about a foot of thread between. 4). the thread will be so loose that 22 A Close-up Tricks . drawing the string taut with a sudden pull and show the string in- stantly restored. Then continue: "All it needs is a sharp knife and a quick cut like this"— simulate cutting the "loop" with an upward sweep of the knife blade— "to make two strings out of one. so that when the pencil is held fairly close to the body. And all we need to make one string again is a magic word"— take one dangling end in the right hand— "and a quick pull!" Run the left hand swiftly along the string toward the other end.

hold it in the left hand with the rubber cap upward. Meanwhile. the ring will rise as the thread be- comes taut. Bring out the pencil. you can comment: "Amazing. the thread being unnoticed against the coat. drop it over the pencil and make magnetic passes with the right hand. FIG. 4 MOVE HAND A FORWARD ^ AND BACKWARD the ring will drop to the bottom of the pencil. isn't it. The ring will climb or slide down as you move the lefthand imperceptibly forward or back. By moving the pencil slightly away from the body. a slight forward jerk of the hand causes the ring to fly off. which should be a dark one. presentation: Fix the thread as described and have the pencil handy in the coat pocket. Up Climbing Ring Jf$ 23 . Show or borrow a ring. As the ring reaches the top of the pencil. the way the ring is magnetized.

. . As an alternate or follow-up trick you may perform: THE RISING PENCIL the effect: A pushed down into pencil is the fist. Then. is pushed down into the fist. The pencil also rises from a bottle if placed therein. the pencil is given for examination: the method: Identical with that of the Climbing Ring. you can examine the pencil and eraser as well as the ring. . A forward motion of the hand shortens the thread and the pencil rises (fig. downup . . ." With that. 24 Jf% Close-up Tricks ." Draw the rubber cap off the pencil with the right thumb and fingers. fingers— and jump!" Here you snap your right fingers and the ring jumps from the pencil. thus releasing the thread. . add: "That breaks the contact. 5). It rises point first and repeats this every time it is pushed down. At the finish. The upper end of the pencil. the items are given for examina- tion while the thread drops unnoticed against the coat front. . "Here. except that no ring is used and the trick is done in reverse. so we don't need the rubber eraser to insulate the pencil. now a snap of the . with thread attached.

the Rising Pencil may be done as a trick of its own. Forward and backward motion of the bottle will cause the pencil to rise and fall in spooky fashion. Or. being set up exactly like the Climbing Ring with the pencil in the pocket. eraser end first." Give them for examination. adding. the pencil If is pushed down in. "And now the pencil rises completely from the hand. You will find that it con- tains an invisible magnet that made the pen- cil rise!" note: worked with a bottle. Always keep the motion Rising Pencil A 25 . you state. and here it is—pencil and eraser both. In either case: HAND BACK AND FORTH FIG. exactly as with the fist. 5 Push the pencil down into the right fist and cause it to "rise" or "fall" by moving the right hand while the left makes magnetic passes above it. presentation: At used as a sequel to the Climbing Ring. At the finish. "And look care- fully in the eraser. keep the thread attached.

One or two repeats should be sufficient. This impromptu version makes an excellent follow-up to the mechani- cal method to be described. the method: The position of the left fin- gers is important. The thumb presses the side of the box. presentation: The trick should be prac- ticed so that can be performed naturally and it in a slow. This forms a screen hiding the little finger. drawing the body away rather than pushing the hand forward.as slight as possible. When pushed down by the right hand. 26 A Close-up Tricks . causing the drawer to rise (fig. while the first three fingers slant upward across the front. This adds to the effect. THE HYPNOTIZED MATCH BOX (Impromptu Version) the effect: A match box is held upright at the tips of the left thumb and fingers. The right hand makes hypnotic passes above the box and the drawer rises in a slow. the third finger cov- ering the edge of the lower end. uncanny fashion. the drawer rises again and the match box is handed for immediate inspection. 6). A slight forward tilt of the hand helps render the ac- tion imperceptible. smooth manner. which is secretly pushed up into the box.

6 AUDIENCE'S VIEW REAR VIEW THE HYPNOTIZED MATCH BOX (Mechanical Version) the effect: A box of safety matches is placed upright on the outstretched fingers of the left hand. Slowly. At the conclusion. fingers pointing toward the spectators. the method: A hidden lever is required to supply the "lift" furnished by the little fin- ger in the impromptu version. as often as desired. It is pushed down by the left thumb and rises again. This "gimmick" is easily made with a paper clip and narrow strip of Scotch tape. magi- cally. the drawer of the box rises from the cover. FIG. which is held palm up. Hypnotized Match Box ^i 27 . the drawer is taken from the box cover and both are freely shown. as here all fin- gers are fully in view.

over the other end. so the job is quite simple. the inner part is loose. 7a). which is cut along the sides and nar- rowed like a tongue (fig. Allow another Vi inch or more of tape. Insert the tab so that the gummed side of the tape is outward. With most wooden match boxes. above and below. and back beneath. 28 1X1 Close-up Tricks . pressing the two gummed surfaces together. toward the overlapping part of the match-box cover (fig. firmly imbedding the paper clip be- tween them. 7b). This tab between the two por- is inserted tions of the double side of the match-box cover. INNER FLAP (LOOKING DOWN) Start the tape about A l inch from one end of the paper clip and run it along the clip.

it can be pushed down with the extended left thumb. This is completely hidden and the action is so slight that it is imperceptible. Add a few drops of glue to fix the sides of the box firmly with the tape tab between. presentation: At the start of the trick. The drawer is then placed in the box and the pa- per clip is pressed against the end. This should be at the bottom left. Hypnotized Match Box Jf$ 29 . the finger actuates the lever and forces the drawer up- ward (fig. the tape acting as a hinge and the short end of the clip projecting at the side of the match box. which are slightly raised to clamp the box between them. when the match box is set upright on the extended fingers of the left hand. the right hand making hypnotic passes above the box. show the match box in the left hand. After the drawer has risen about halfway. In this position. and proceed as described. the lever end nestled in the bend of the fingers and covered by the thumb. the box is supported by the forefingerand little finger. 7c). so that no one can glimpse the "gimmick. The rise may then be repeated as often as desired. by exerting a downward pressure." Then set the box up- right on the left hand. The forefinger is just above the clip end and. using the right to tilt it into position.

yd). By holding it slightly below eye level or tilting the outer end a trifle down- ward. The cover may then be turned so the fore- finger is at the top (fig. while the thumb moves over and presses the right side of the cover.One neat plan is to "vanish" the special match box— as described in the Van- ishing Match Box— and leave it in the pocket. At the finish the drawer may be replaced and the box pocketed. This can be done while extending the left hand 30 £f$ Close-up Tricks . As one hand shows the drawer. once the unprepared match box has been brought into play. the "gimmick" will be completely hid- den against what is now the upper inside of the cover. giving the spectators a look clear through it. Lever the drawer to its full extent and remove it from the cover (fig. the forefinger of the other maintains pressure on the clip end. An ordinary box should be planted in the pocket beforehand. convincing manner. bringing out the ordinary box instead. instead of the special box. this time using the impromptu method. the perfect follow-up is to cause the drawer to rise again. ye) and the thumb at the bottom. At any time during the trick. In either case. so that it can be brought out later. the box can be shown apparently unprepared in a simple.

VANISHING MATCH BOX the effect: A box of matches is held up- right. the method: At the start. 8 Vanishing Match Box Jf$ 31 . the right hand is held palm down BOX IS PALMED C FIG. projecting from the loose left fist. The right hand tamps the box down into the fist. In tamping the box. the left hand is opened and the match box is gone. the box finally being placed in his hands for examination. The right hand finds it in the coat pocket.toward the spectator. the magician faces directly toward the audience.

two other procedures may be used. 8b).and the fingers project over the top end of the box (fig. 8a ) With one tap. enabling the right hand to clamp it in the finger bend (fig. the box is levered toward the audience. the downward tap and swing to the left can be done in a single move. The hand then goes below right the left. This is repeated one or two times. Once hidden. and the right hand either points or gestures toward the left hand. or produce it in some other way. presentation: For a quick or surprise van- ish. 8a). brings up the match box and replaces it in its original position. 8c and d). The performer then turns toward the left. as follows: (1) The right hand actually pushes the match box down into the left fist by a series of light taps. can then go to the coat pocket and "find" it there. but is actually 32 Jf$ Close-up Tricks . The right hand. For a more de- liberate vanish. the box is apparently driven down into the left fist. the drawer is driven down- . (2) The match box is originally held with the drawer open and extending upward (fig. which is shown empty (figs. ward. and finally the match box is palmed away. With another tap. which secretly retains the 7 "vanished' match box.

You give them the match pack. THE MATCHLESS MATCH PACK the effect: A neat. one downward move. leads into the next. creating the illusion that the match box. too. 8c) and van- ished (fig. when other people try it. 8d). Here. In the simple form. was driven down into the hand. But it when you try it. holding it in that position with your fingers. Easy? It should be. always somersaults because you know the magic word— and some- thing more! the method: Along with the magic word (which means nothing) you simply take care Matchless Match Pack A 33 . it rolls over. effective table trick that can be followed up with another that pro- duces an added climax.palmed in the right hand (fig. then you bend the empty pack in concave fashion and set it upright on the table. making a complete somersault on the table. resulting in the closing of the drawer. Clever? Yes. but when they let go. When you release the curved match pack. it simply flips flat on the table and won't do the magic som- ersault. you remove the matches from an ordinary match pack. show them how to bal- ance it. But it isn't.

If pack that does not have printing on it. as fig. Not noting the difference.THIS END . IMPROVED MATCHLESS MATCH PACK the effect: While the "somersaulting" match pack is quite effective when presented in its simpler form.__^ffl?\ ON TABLE FIG. the heavy striking surface is at the top. as just described. the heavy end down. your audience will try and you use a match fail.to set the match pack in an inverted position before releasing it. the trick takes on a highly baffling quality in this 34 Jf* Close-up Tricks . 9 When you give the pack to someone else. with to try it. That is. supplying the needed weight to carry it clear over when you let it topple along its curved side. telling him you set it upright. your turning it upside down will be less notice- able. i£-1 . 9 shows. which is the more natu- ral position.

however.advanced version. the pack will som- ersault. and it does its tumbling act. striking end down. taking care to have them completely hidden inside the pack. In this case. C872!C5oj. a few times. too. invert it. 10). Take an ordinary pack. fastening them firmly with a piece of gummed tape. even when set upright and released (see fig. the trick won't work. Thus weighted. the method: Affix two paper clips in the upper end of the match pack. SCHOUL3 That. You hand it to a friend. When other persons try it. and it somersaults. In this you need three or four ordinary case. copying your example. "See how easy it is! Try it!" You demonstrate it again with the weighted pack and he naturally sets the ordinary pack upright. Begin by setting the faked pack upright and letting it somersault. is only part of the trick. saying. Your match PAPER CUPS FIG. 10 Improved Matchless Match Pack A 35 . you stand the match pack upright. match packs as well.

36 jjd Close-up Tricks . you drop your prepared pack in your pocket. while again show- ing a spectator how easily his pack can flip. the effect: A large wooden kitchen match is placed in the center of a handkerchief. Later. Again demonstrate the "flip" with your own pack right side up. no. THE RESTORED MATCH This is an ideal close-up trick as it requires the simplest of objects. just let it flip over— like this!" Simply invert the or- dinary pack and let it somersault so promptly that the victim hasn't time to spot the fact that it started upside down. give it a flip from the upside-down position and leave it with the rest. but his won't. you really "have" them. "No. so that you can bring it out later. It's good to have a duplicate (unprepared) pack waiting there. So you hand out more to other people. all with the same result. like yours. Here. yet it is one of the easiest of all tricks to perform. because they keep setting their match packs upright. and is done literally "under the noses" of your audience. you take one of the other packs.pack performs the magic flip-flop. At intervals. Your pack alone will somersault. don't push it. saying.

there is a dupli- cate match. the method: Actually. The handkerchief is held close to a spectator and the match is broken through the cloth. open a few stitches near the corner of the handkerchief. nc. FALLS OUT RESTOREOI FIG. un- wraps the handkerchief. Beforehand. as fig. The handkerchief is shown and shaken freely to prove that only one match was used. as shown in fig. Use a handkerchief with a fairly wide hem. The magician whispers a magic word. and the match falls on the table completely restored (fig. but the manner of its conceal- ment is very neat. na shows. and push another match into the hem. lay the original Restored Match A 37 . 11 OUPUGATE MATCH IN HEM which is wrapped around it. nb). This is the match that you intend to break. In performing the trick.

and in some cases even break it themselves. letting everyone see that it is empty. your pocket. Be deliberate when you spread the handkerchief and show the "restored" match. added effect: With a really flabbergasted group of spectators you can baffle them further by putting the match back in the handker- 38 A Close-up Tricks . you can im- mediately fold another over it. Emphasize the breaking process so there will be no question later. it is safe to let them feel the match through the cloth.match in the center of the handkerchief. and then pro- ceed more slowly with the remaining corners. fold in the corners and roll the cloth into a loose bundle. so you can show its shape and break it. presentation: By first folding in the corner that contains the hidden match. In doing so. Hold it by two and put it in corners. simply unroll the handkerchief and let the original match drop out "restored" and as good as ever. After suitable mumbo jumbo. so as to make you grip the duplicate sure that —not the original—when you come to break the match. then hand the match for exam- ination. With some persons. grip the duplicate match through the cloth. shake it.

the match falls out restored and the handkerchief is given for examination. the method: Special preparation is re- quired. First. before or after the Restored Match mystery. Again. but one end is left open and a match is inserted therein. largeenough to contain a match. that you bring out and use in a different trick. it is a good plan to have another handkerchief in your pocket. prepare a small tube of thin cloth. Break one duplicate the first time. In either case. re- storing it in the same magical fashion. The handkerchief is spread.chief. The next item is a six-inch length of cord elastic. folding it up and breaking it again. the method is simple: Have a sec- ond extra match in another corner of the hem. the other when you do your repeat. "Repeat" Restoration Jjk 39 . It is also a good alternative to the usual effect. THE "REPEAT" RESTORATION Here is another version of the Restored Match that will anyone familiar with fool the method just described. The tube is sewn or glued. as it can be per- formed with a borrowed handkerchief. the effect: A wooden match is wrapped in a handkerchief and broken through the cloth. One end is tied around the match bag.

ELASTIC TINY BAG t GRIP BAG WITH MATCH 5 AND HIDE IN PALM FIG. For a firmer grip. so that the dangling end is a few inches up the sleeve. 12 the other end to a small safety pin (fig. The right hand takes the handkerchief and 40 A Close-up Tricks . Before presenting the draw the match trick. 12a). 12b). tube down to the left hand and grip it cross- wise in the palm (fig. This pinned to the inside of the left coat is sleeve above the elbow. The back of the hand is kept toward the audience. the tube can be held by bending the fingers inward.

12c). letting it unfold at one corner. if borrowed. the thumbs and fingers snap the duplicate match (fig. The right hand moves forward. which flies up the left sleeve under cover of the handkerchief and the left wrist (fig. the fingers release the bag.drapes it over the left. i2d). at the left. carrying the handker- chief. so that the cord elastic is hid- den. The handkerchief. so that the cord elastic is hidden beneath the down-turned left wrist. The right hand lays a match in the center of the handkerchief. The left hand is promptly turned back up- ward and it also grips the match bag at the other end. At the same time. is then returned to "Repeat" Restoration Jf$ 41 . Make sure that the handker- chief covers the space between the left hand and the sleeve. that is. Between them. The original match falls on the table in its "restored" condition. while the hands spread the handkerchief and show it empty. which is then turned palm upward. The side edges or corners are folded loosely over the center. i2e). then folds the outer edge or corner inward over the visible match (fig. by pressing down through the folded cloth. and the right thumb and fingers then grip the bag containing the duplicate match.

THREE VANISHING KNOTS the effect: A rope— or piece of string- is tied with three genuine knots. Now run the right end through the lower loop from front to back. Keeping that end still in front. 13 42 A Close-up Tricks . This forms what is commonly termed a square knot (fig. A simple tug on the ends of the rope and the knots are gone! the method: Start by tying a knot single with the right end of the rope toward you (fig. This third "knot" actually fig. 13c). 13a). 1 3b) Keep the two loops loose as shown. tie another single knot on top.its owner. Otherwise. . bring it up in front and push it through the upper loop from front to back (fig. it may be handed for examination along with the match.

He just pulled the ends and the knots were not knots any longer!" RING OFF! Either as an alternate or as a follow-up to the Three Vanishing Knots. then tie two knots above it. . is threaded on the center of a thin rope. presentation: Practice the trick until you can do it smoothly and easily. Your talk can run along the following line: "Here is a neat knot an old sailor taught me. . the and the knots are gone! ring falls free the method: String the ring on the rope. When he wanted to heave away.unties the other two. to tied make a sailor's knot. but not too rapidly. . . ... or cut from heavy cardboard. made of metal. the effect: A which may be large ring. He one knot. . Then he tied a . this is excellent. then another. but when the ends of the rope are pulled. third knot to hold the two together.. it was easy. forming a square Ring Off! A 43 . Pull the ends and the knots will disappear. as combines the disappearance of the knots it with the penetration of a solid ring through the rope. Three knots are tied to hold the ring in place. as it is deceptive in slow motion. ..

Now bring the right end of the rope through the ring from right to left. exactly as with the Three Vanishing Knots. 14 knot. but stress the fact that the rope is being tied to the ring. so the ring will drop more easily. from front to back. presentation: Follow the same line as with Three Vanishing Knots. a few shakes will free the ring. Follow the diagrams in fig. then through the bottom loop of the square knot.Keep the loops loose. making it all the more mysterious. If the rope snarls. From there. bring the end out to the right and thrust it under and over itself. 14. with the right end toward you. then through the top loop of the square knot from front to back. 44 A Close-up Tricks . Carry it to the right of the ringand push the end under it- self. FIG. Pull the ends and the trick is done.

The observer literally baffles himself. Hold the pencil as described. which you handle in this fashion: Take the by the ends and work your pencil hands back and forth as though trying to make the pencil pliable. Rubbery Pencil Jfk 45 . THE RUBBERY PENCIL Here is both easy and decep- a trick that is tive. which the eye tries to keep in a somewhat constant position. wiggle it up and down. wiggly motion. The closer people watch. Then hold it by the point between the extended thumb and fore- finger of one hand and start shaking it up and down with a quick. and the more amazing the trick. rather than the ends. short. but keep it fairly level. the longer the better. yet becomes more intriguing each time you try it. ordinary wooden pencil. the more rubbery the pencil seems to be. The result is that seems to the center wobble. The center of the pencil will immediately begin to bend up and down in flexible fash- ion as though ithad turned to rubber. It is all an optical illusion. and a good one. Yet at the finish it proves to be a solid. All you need is an ordinary pencil. so that the free end covers about the same range as the end you are gripping.

too. no deft deals are nec- essary. can be very sim- ple to perform. So you should cultivate that style with these Easy Card Tricks. otherwise them. Such tricks. the more effective your tricks will be. brisk shuffles and rapid deals give the idea that skill is needed in even the simplest of tricks. par- ticularly those that can be performed when you are seated at a table.3. or when spectators are called upon to shuffle or deal the cards themselves. either as part of your close-up repertoire or as an act of their own. No intricate shuffles. When a performer handles a pack of cards clumsily. The tricks comprising this section have been chosen for that very reason. But here is an important tip. The more smoothly. and when you go 46 Jf$ Easy Card Tricks . people take it for granted that his tricks must be he couldn't do easy. All you need is a pack of cards and you can start doing most of them immediately. Easy Card Tricks Card tricks come in the close-up category. the more neatly you handle the cards. Conversely. when they are dependent upon subtle principles rather than a display of skill. one that applies to other types of magic as well.

while the performer's back is turned. In the instructions for doing many of the tricks in this chapter. face down in the dealer's hand. you will be told to square the pack. The performer then tells him to deal a third heap of ten cards. alternating left and right.on to the more advanced forms of card magic. the spectator counts the remaining Double Deal jf$ 47 . Squaring the pack simply means to even it up or make it neat. Finally. When that is done. you will find that many of the earlier effects will still be good numbers on your program. the effect: A person is given a pack of cards and is told to deal any number up off to twenty. THE DOUBLE DEAL This trick is based upon a neat but simple mathematical stunt and becomes a real puz- zler when presented as a card trick in which a spectator practically mystifies himself. the person is told to deal another heap with the same number of cards. The spectator then picks up either pile and from it deals the original number of cards onto the other heap. The pack is squared when it is adjusted so that the cards fall directly on top of each other. to make sure he will not forget it. gather all the heaps together and deal them into two separate piles.

In repeating the trick. making sixteen.cards he has in hand and concentrates upon that number. 48 A Easy Card Tricks . into the other. He casually tells him to "deal ten more. From one of these. For example. in this case ten. the number which the ma- gician proceeds to name. the spectator will have just half that number. The entire trick is done with the magician's back to the audience. The magician immediately tells him how many cards he holds. Told to deal the same number again. bringing the total to twenty-six. If the spectator is told to "deal six more." and those are added. eight. he deals off eight more. At the finish." as though those extra cards did not particularly matter. that number should be changed. Now the performer says. the method: The trick hinges on the third heap of cards the person is told to deal. the performer should stress the fact that the spectator has free choice of any num- ber. The cards are then dealt into two heaps which will contain just thirteen each. "deal ten more. presentation: Since the result is "set" be- forehand. so by an- nouncing. the spectator deals off eight cards." the final total will be three. That leaves him exactly five cards. "Five/' the performer is sure to be correct. the spectator deals his original number.

If told to "deal twelve more/' the total will be six. if his number is 15 he adds the digits together and deals six cards back ( 1 5 consists of 1 and 5. This should be in single fashion. and so on. he is to add the figures in his number and deal that many cards from his packet back onto the pack. Still. He can either "plant" it there. which he deals from his packet onto the pack in the same Count-Down Cards A 49 . the magician names the card! the method: Beforehand. Adding 1 and 5 gives him 6. That done. which may then be buried in the pack and shuffled there. he deals 10 cards (19=1+9 or 10). noting the final card dealt. If the number is 19. the magician notes the tenth card down in the pack. For example. reversing their order. COUNT-DOWN CARDS the effect: The magician hands the pack to a spectator and tells him to deal off be- tween 10 and 20 cards while the magician's back is turned. each card going on the one before. All done with the pack face down this until the turnup of the final card. Suppose the spectator deals off 15 cards. or get a glimpse of it while illustrating how he wants the cards to be dealt. or 6).

If the spectator can be told to deal a number between 20 and 30. That brings him back to the tenth card.reverse fashion. so a spectator can remove any four cards. variation: you note the nineteenth card. then add its figures and deal that many from his packet. which are also laid face down. FOUR-HEAP DEAL the effect: A borrowed pack is thoroughly shuffled and spread face down along the table. With 11. he would count back 2 (the eleventh and the tenth). he would count back 10. Queens and Kings) simply counting 10 each. the spectator is to deal enough additional cards to total 12. He turns his back and tells the person to turn up the first of the four cards and note its value: 1 for Ace. The same applies to any number between 10 and 20. and so on. The magician gathers the pack and hands it to the spectator. on a 10 or a King. while with 19. 50 Jft Easy Card Tricks . So he is sure to hit the known card. the one the magician knows or has predicted. 2 for Deuce. in a row. he would deal 5 cards. looking at the final card. (Jacks. all face cards. on a 7. Thus. On that first card.

say "Queen of Hearts. slightly overlapping. He would then gather the Four-Heap Deal jf$ 51 . so make sure to remove the Joker beforehand. The performer calls the name of a card. making 48 in all and leaving only 4 cards in the pack. For example. the person is told to count down into the pack and turn up the card at that number. These cards are to be dealt face down." and it proves to be the chosen card! the method: A pack of exactly 52 cards must be used. Here is a sample result: 2 OF KING OF OF 5 JACK OF CLUBS SPADES DIAMONDS CLUBS (10 (^ (7 (^ cards cards cards cards face face face face down) down) down) down) Finally. con- tinuing on with the third and fourth card. All you have to do is glimpse the bottom card after the shuffle— in this case the Queen of Hearts— and the rest is auto- matic. if four Aces were turned up.2 cards. He is to look at it and remember it. the spectator would have to deal 11 cards on each. The spectator is then to turn up the next card in the row and repeat the process.

then add enough face down to bring the total to 12. In this case. as in the example first given. That would leave 40 cards in the pack. face down. That done. but the result is the same in every case. 10 for the King of Spades. the total falls somewhere in between.44 face-down cards. making 12 in all. In most instances. 52 Jf$ Easy Card Tricks . for later verification. 10 for the Jack of Clubs. He is then to add the totals of the face-up cards and lay them aside. presentation: It is usually best to illustrate beforehand just what you want the spectator to do. drop the 4 cards from the pack on top. the spectator is told to gather the face-down heaps in any order that he wants and to place the rest of the pack face down upon the pile. he would deal 2 on each. and count down the value of the 10s (or face cards ) which would come to 40. Deal a card face up. and count down the total of the Aces. Show him how to gather the face-down cards and drop the pack on them. the cards would add up: 2 for the 2 of Clubs. drop on the bulk of the pack. which would be exactly 4. for a total of 27. saying that you will have him do that with several heaps. With four 10s. 5 for the 5 of Diamonds. or face cards. He would gather the 8 face-down cards.

As long as the spectator does most of the dealing or is convinced that you could not have manipulated the cards in any way." it is best to turn away as much as possible. time after time. Another cut. others black. the trick is 100 per cent effective. or as a "mental test. cutting the pack and turn- ing over the two top cards. and turns over the two top cards to- gether. He allows other persons to con- tinue this process. This is done behind the magician's back. so he has no way of knowing whether two cards Let's Face It A 53 . and that some are face up and others face down. spot the bot- tom card. another turnover of the two top cards. Then have the pack shuffled. he squares the packet. If you are using this method to "force" a card. To mix them further. if you turn the trick into a "pre- diction" by writing the name of the bottom card on a folded slip of paper before the spec- tator even draws the four cards from the pack. you can watch the process. cuts it. and go right into the routine. LET'S FACE IT! the effect: The magician spreads a batch of cards. showing that some are red cards. all in haphazard fashion. even helping in the gathering of the face-down piles. However.

Behind your back. which makes it all the better. stating that he will pick out each card by its color: red or black. fan them and you will find one color all face up.are turned face up or face down. Re- peat this as often as you want. showing all the red cards face up and the rest face down. cut the packet and turn over the two top cards. deal the top card face down from your left hand to your right. the magician takes the packet be- hind his back. as the system itself is well concealed from the start. your packet must contain an even num- ber of cards.one card is already face up and the other face down. 54 A Easy Card Tricks . half red. In some cases. complicating matters still more. Finally. all the black cards are faced the other way! the method: The trick is practically auto- matic. To conceal the arrangement. the other color all face down. Deal the next card face up. Continue thus through the entire packet. half black. These colors must alternate through the entire packet of about twenty cards. Do this a few times and you are ready. First. Show the packet "well mixed/' and let people cut the packet and turn over the two top cards together. Bring out the cards. he brings out the packet and spreads it. A few moments later. He turns over the fan and sure enough.

Turn the top cards over together. then turn over the two top cards yourself. This makes it all the more mysterious After placing the packet behind your back. you can let him go ahead with it on his own. turn both over so that the card which was face up is face down. If anyone asks why only two cards can be turned." even though you don't see the cards. Practice this so you can do it rather rapidly and with very little excess motion. Let's Face It Jf$ 55 . you can give it a false shuffle (explained in Chapter Five). letting the spectators watch what appears to be an additional mixing. the simplest way is to push off the cards with the left thumb. If one has its face up and the other has its face down. as any slip-up here will spoil the trick. In the deal. . But always face your audience before you start to deal the cards from hand to hand. turning the left hand over and back as you do so. presentation: After showing the cards to be well mixed— as they actually appear to be —you must stress the business of cutting the packet and turning over the two top cards to- gether. One plan is to hold the pack behind your back and let someone cut it. and the card which was face down is face up. simply say that you are keeping "men- tal count. But once you have found a trustworthy helper.

He brings them out and shows that each packet contains exactly the same number of face-up cards as the other —say six in each! Furthermore. After dealing the packet in "face up— face down" fashion behind your back. count off half the cards with the right hand and retain the rest in the left. the magician divides the packet into two heaps. As a follow-up or repeat. others facing down. With 20 cards. this would mean 10 in each hand. The packet is cut and the two top cards are turned over. as in the preceding trick. with colors well mixed and some of the cards facing up. blacks in the other. you can demon- strate the next trick: FACE UP-FACE DOWN the effect: A packet of red and black cards is shown. while all the face- ups in the other group are black! the method: Follow the exact procedure used in Let's Face It! but with one addi- tional action. Each heap will have the same number of face-up cards: reds in one. Then turn over the entire group in the left hand before bringing the two batches into sight. all the face-up cards in one packet are red. This may be done re- peatedly. 56 Jf% Easy Card Tricks . Behind his back.

That way. you can't lose! THE RED CARD the effect: Four cards are laid in a row. and which color they are. or if someone should give the packet a shuffle instead of a cut. saying. the end cards face Red Card A 57 . the best plan is to lay the heaps side by side on the table and spread one heap. note: This trick offers a good "out" if you have trouble setting up the reds and blacks in alternate fashion. avoid all reference to reds or blacks until you see whether they show up as they should. reds in one heap. presentation: This follows the pattern of Let's Face It! up to the final point. In that case. "6 face-up cards in this Then heap— all black!" spread the other and announce: "And the same number in this heap— 6— all red!" You have to spread one heap to find out exactly how many face-up cards it contains. go through with it as usual. you can turn the heaps over and show that each has the same number of face-down cards. but at the finishannounce: "7 face-up cards in this heap" (or whatever the count may be) and "7 face-up cards here— exactly the same number!" In short. There. blacks in the other. the center cards face down. Afterward.

These are lined up as follows: 5 OF 10 OF 8OF JACK OF SPADES CLUBS HEARTS SPADES Face Face Face Face up down down up Red Blue Blue Blue back back back back an odd number is called. as "1-2-3-4"— and re " turning— "5-6-7." The re- maining cards are turned over and the chosen card proves to be the only red card in the row. you are sure to end on the face-up 5 of Spades or the face-down 58 Jf% Easy Card Tricks . If an even number is called. for example the 10 of Clubs. count from right to left and back. the method: Use three cards from a blue-backed pack and one card from a red- backed pack. in the same fashion. the Jack of Spades. Whatever the number. It states: "Your choice is the red card. This is done and the slip is opened. A spectator is given a folded slip of paper and is told to name any number from 1 to 1 5." ending on the 5 of Spades. the 8 of Hearts and the 5 of Spades.up. so the performer can count back and forth along the row to reach the card thus desig- nated. count from left If to right and back again.

" Here use the right forefinger to count the tips of your extended from left fingers fore- finger to little finger and back toward fore- finger. If you hit the 5 of Spades. showing what you intend to do.8 of Hearts. take this slip. . but don't tell me what it is! Later. . If you hit the 8 of Hearts. 5 of Spades from a red-backed pack. . turn both end cards face down. we will count along the row from left to right and back—like this. you are ready to begin. . Deal the top two cards face down. You continue: "Until we reach your card. presentation: Using a blue-backed pack. . Then tell a spectator: "I want you to think of any number from 1 to 15. This also verifies the folded slip. Turn the pack face up and deal the 5 of Spades to the left of the center cards. . But first. showing that you stopped on the only red card in the row. put the Jack of Spades and then. On the bottom. beneath add the it. turn the two middle cards face up. thus fulfilling the prediction. and the Jack of Spades to the right of them. showing that you stopped on the only card with a red back. place the 10 of Clubs on top and the 8 of Hearts just below it. left and right. as it predicts the very card which will be at your number!" Red Card A 59 . Having thus "set" the cards.

If it is odd. you do as I do— and let's see what happens!" You cut your pack in three heaps on the table. YOU DO AS I DO This is a classic among impromptu card ef- fects. the effect: You take two packs of cards —those from a bridge set may be used— and let a spectator choose either pack. so your friend does the same with his pack. you do the counting from your left to your right. the count will go the opposite way. you then exchange packs. You pro- ceed to shuffle one pack. You then lift the top card of the middle heap and peek at its corner.one that will really bewilder your audi- ence. Finally." Now. you hand your pack to the spectator and say: "From now on. If even. once you have learned to handle a pack of cards in a fairly convincing style. so each shuffles the other's. he shuffles the other. He does the same. To show that all is fair. Since he is on the other side of the table. you gather the heaps and give your 60 Jf% Easy Card Tricks . Hand the person the slip and have him name his number. as you remind him: "I am remembering my card. so I want you to remember yours. Yet it is easy to do. have him do the counting from his left to his right.

put it on the mid- dle heap and place both heaps on the top heap. you have each taken the same card from a differ- ent pack! the method: After a few shuffles and ex- changes. You then say: "I am going to look through your pack and take out the card that I found in mine. So you look through my pack and find yours. Remark- ing that the noted cards are now "well buried. Pick up the bottom heap of your pack." you exchange packs again. You Do As I Do Jf$ 61 . Still keep think- ing of that bottom card of the other pack. Your friend does the same with his pack. The spectator does the same with the pack you gave him. Dramatically. you turn up the two cards. You take his pack and say: "Now. They are identical. the other person does the same with his pack. set it to the right. for example.pack two or three complete cuts." Lift off about two-thirds of the pack. the 9 of Clubs. By an amazing coincidence. then lift off the top third and put it further to the right. but don't bother to remember it. note the bottom card of the pack that you hand to the other person. Then we'll put them face down on the table. Peek at the top card of the middle heap. now the furthermost-left heap." That is done and the packs are laid aside. do as I do.

Mean- while. or it gets lost in a chance shuffle." Don't worry about which pack is which after the trick has passed the preliminary stage. with the performer shap- ing the pattern as he proceeds. he is looking through your pack. yet the two cards will remain together. presentation: This trick must be done in a confident manner. finding the Jack of Diamonds and taking it out as you instructed. you would say: "Just put your pack on the table and cut it as I do mine. he plants the bottom card— the 9 of Clubs that you secretly noted— squarely on the card at which he peeked! The pack may be cut repeatedly. and in that case you don't have to note yours. Just refer to a pack as "your pack" or "my 62 $jk Easy Card Tricks . Sometimes you may "spot" the bottom card of the pack that the other person is shuffling. So the two cards turn out to be identical. you simply look through your friend's pack for the 9 of Clubs and re- move the card just below it.In the process. simply exchange the packs again and proceed from there. If you miss a chance to note a bottom card. Instead of exchanging packs. That will be the card he looked at. So after you exchange packs again. say the Jack of Diamonds.

Each notes a card. New Do As I Do jfa 63 . not shuffled. which follows: NEW DO AS I DO Here. You have now reached the point where you are each going to look for your own card in the other's pack. hand him your pack. After you receive the other person's pack. but it doesn't matter. Two packs are shuffled and exchanged by the per- former and a spectator." Your friend gives your pack a real shuffle. now let me shuffle your pack while you shuffle mine. Just say: 'That's good.) You would then remark: "Fll shuffle your pack while you shuffle mine." try it again. you can give it a "false shuffle" in which the pack is merely cut. If the other person starts to shuffle his pack after looking at his card. so the chances are the trick may work despite it. (False shuffles are described in Chapter Five.pack/' according to convenience or the way circumstances develop." At the same time. pressing the exchange. preferably with the New Do As I Do. the effect is almost identical. It generally takes a good shuffle to separate the chosen card and the "key" card above it. If it "misses. don't give up the trick.

when drawn from the other per- son's pack. note the top card of your pack before handing it to the spectator. Then tell him: "Now do as I do. prove tobe the same." Your friend looks at the card you noted. setting it it between the other two. You both come up with the 4 of Clubs. you can include a shuffle in the routine middle heap has been after the top card of the noted by your friend. you look for your card in his deck.and these. so that it becomes the middle heap." In this case. You do this with the spectator's pack. Further- more. presentation: This version has the advan- tage that the card is "forced" on the specta- tor. say the 4 of Clubs. so the trick cannot possibly miss. He looks for his card in your deck. lift off two-thirds of the pack and carry it well to the right. you say: "Look at the top card of the middle heap and remember it. The best plan is to work the original You 64 A Easy Card Tricks . the packs are exchanged." Then you follow with the final exchange. Again. he does the same with your pack. Now. You simply say: "Now do as I do and shuffle the pack thoroughly. Then lift off the top third and bring back a short way. while you are peeking at a card in his pack. the method: During a shuffle.

which we will suppose is 1961. folds it and lays it beside the pack. which works best when dealing with a smart spectator who is looking for something else. The spectator counts17 cards and down happens to turn up the 7 of Clubs. while artful. So the magician tells him: "Go right ahead and count down seven more/' Coins and Cards A 65 . de- pends upon an odd handling of the heaps. 1 give a total of 17. COINS AND CARDS the effect: The magician runs through the faces of a pack of cards. When added. Now. the figures 1. the spectator actually takes a random card from deep in the deck. He writes something on a slip of paper. the magician tells a spectator to take any coin from his own pocket and add the figures on the date. "we will count down that many cards in the pack and use the number of spots on that card to find our predicted card/' The person looks at a coin and names the date. The newer trick. He says that he will predict the card that a spectator will select at ran- dom. which he places face down on the table. 6. showing that they are well mixed. 9. "Whatever the total. In the original trick.Do As I Do and save the newer version for a repeat." the magician says.

the spectator finds the written message. bringing the count to the eleventh card. Put this set on top of the pack. and watch for the card just below your setup— in this case the 10 of Diamonds. 1-9-6-0 66 A Easy Card Tricks . the lower the value of the card from which the count is continued. The up the seventh card. To his astonish- ment. Other dates work just as well. Run through the face-up pack. so a count of 13 more will bring him to the twenty-fourth card. you must ar- range 13 cards in descending order: King. The lowest possible total will come from 1901 or 1910. These cards can be of any suits. is the one you must predict. pro- vided the spectator's coin is dated 1901 or later. That card. The higher the sum of figures contained in the coin's date. 10. which stands for 13. showing it well mixed. It spectator turns is the 10 of Diamonds. and so on down to Ace. Queen. There he will find a King. which is at the twenty-fourth posi- tion. hence the "setup" is quickly and easily arranged. The trick is sure to work every time. The magician tells him to open the slip of paper. Thus. Jack. "10 of Diamonds/' which hits the prediction on the nose! the method: Beforehand. then count any 10 cards from the bottom and put them on top of that.

so there is no need to go on further. take the rest of the pack from him and shuffle it while he is reading the prediction and turning up the card. A date of 1—9—5—9 wou ^ t°tal 24 and bring the count squarely on the twenty-fourth card. and there it is! presentation: In running through the pack. Now. That will really mix the setup group. He then holds the packet Ups and Downs A 67 .would end on the sixteenth card. which would cany the count on to 24. Someone pushes the Joker face down into the packet of twenty (fig. and no one will notice their numerical arrangement. The ma- gician spreads the packet facing the spectators and lets one person note the card above the Joker. After the specta- tor has dealt the twenty-fourth card. The pack is then shuffled and twenty cards are counted off. The Joker is placed face up beside them. an 8. 15b). UPS AND DOWNS the effect: Two cards are dealt face down on the table. while another person notes the card just below the Joker (fig. thumb the cards rather rapidly as you reach the setup group. the magician squares the packet and lets anyone cut it. Just tell the person to read the prediction. 15a).

upright. he repeats the "up-down" process and spreads the double fan so the second specta- tor can see whether his card is in the top or bottom half. Again. the third card up. Now. i5d). The magician then "weeds" the bottom half by drawing it downward (fig. He slides the top card up. He places the remaining ten in front of the sec- ond spectator. the fourth card down. the second card down. The pack is cut at that point (fig. face toward the audience. He turns up the first and it proves to be the 5 of Clubs. the magician dealt two cards facedown. so he has the first 68 fSf% Easy Card Tricks . and places it on the top half. Originally. the magician counts off the top ten cards (fig. squaring the entire packet. squaring the two into a single packet (fig. 15I1). and con- tinues thus through the entire packet (fig. placing them face down in front of the first spectator. He then fans the packet and lets someone remove the Joker (fig. i5g). 15c). 15c). i5f). He spreads the cards in a double fan and asks the first person to note whether his card is in the top half or the bottom half. the magician draws the bottom portion clear and places it on the top. but not to mention which.

6 PACK CUT AT POINT WHERE JOKER REMOVED ONE CHOSEN CARD IS 6 DOWN OTHER CHOSEN CARD IS 5 DOWN FIG. 15 COUNT OFF TOP TEN CARDS Ups and Downs Jj% 69 .

70 A Easy Card Tricks . That heap will have the chosen card at position five. and in each case the portions are pulled apart intact and one is placed on the other. presentation: Two points must be stressed. so the second person is told to count down six cards in his heap. The card just above it will eventually come 5 down. There are two "up and down" deals or "weaves" of the cards. the card just below it will be 6 down in its group. The other card is the 6 of Diamonds. The Joker may be inserted anywhere in the packet of 20 cards. They turn up their cards and each proves to be the very card that the spectator noted. the other chosen card will be at position six in the lower heap. In counting off the top ten cards. as they represent the numbers at which the chosen cards will appear without fail if the trick is done exactly as described. The magician has scored a double "hit" in pre- dicting the exact number at which each chosen card would appear! the method: The 5 and 6 are secretly placed on top of the pack beforehand. The Joker is then removed and the pack must be cut at that point and the cut completed. keep them exactly as they are.spectator count down five cards in his heap.

Or if you slide a cardfrom the lower section to the up- per section when the Joker is removed. You do this because it has no bearing on the result and. That will put the first chosen card at posi- tion six in the top ten. You can vary the numbers at which the cards appear in their respective packets simply by sliding a card from the upper section to the lower section at the time the Joker is re- moved. In either case. Second. This is useful when working the trick for people who have seen it before. in making the up and down weaves. so you need an excuse for it. and making the cut at that point. cards of the proper value should be placed on top of the pack beforehand." But the up-and-down interlacing is itself es- sential. as the faces are facing for- ward all the time. is a good "throw off. you will put the first card at number 4 in the top 10 and the second card at number 5 in the bottom 10. therefore.First. insist that each person in turn must note which portion of the packet contains his card. the second chosen card at position seven in the bottom ten. that you do not see the cards noted by the two spectators. Ups and Downs A 71 . particu- larly as it must be done twice.

After a few more times the magician begins to call them himself. the 9 of Clubs. saying. the magi- cian counts off 6 cards and lays them face up on the pack. as "9 of Clubs- Ace of Hearts— 10 of Spades"— and he is al- ways right! the method: Behind his back. Turn your back. Putting the pack behind his back again. presentation: Ask someone to shuffle the pack. the magician notes the back card." and notes the next face-up card. and asks some- one to call the name of the card that appears there. Again behind his back. He con- tinues thus. the magician shuf- fles the pack to another card. When he shows the pack. concluding the trick when he runs out of face-up cards." 72 Jh Easy Card Tricks . he calls. he moves that card to the front. "Let me have them now. "9 of Clubs. In showing the front card and letting someone name it. brings out the pack. and has the audience name the front card. with its front or bot- tom card toward the audience. for example. so I can mix them still more. He brings out the pack. which is turned his way. the Ace of Hearts. BEHIND YOUR BACK the effect: A pack of cards is shuffled and handed to the magician behind his back.

Just keep thinking of it while I concentrate on it. move that card (say the 9 of Clubs) to the front and state: "Don't name the next card you see. bring out the pack face front and say to someone: "Name the card you see there." Behind Your Back Jf$ 73 . "Let's shuffle to another card. count off the six cards and lay them face up on the pack." This time. letting everyone see what you do. for example: "This is a black card. saying. Just a tossup. too. continue shuffling with the cards face down. it's thick with them: 8—9—10 —no. In naming each card. Next time. you name the card (9 of Clubs) and meanwhile note the next (Ace of Hearts) and continue in that fashion. but I'll say Clubs— the 9 of Clubs. saying. Have someone name another card and this time note the back card as you show the front one. But it's hard to tell whether they're Clubs or Spades. I'm sure of that." Repeat the process of having someone name the front card when you show it. A spot card. About the third or fourth time you do this.Behind your back. Maybe I can guess it. only 9." Put the pack behind your back. you can pretend to grope for the thought. Turn toward the audience.

So behind your back. too. turn it face down on the pack. as everyone can see. inquiringly." Then. spot the sixth (say the King of Hearts) and. you move it to the bottom and turn up more cards on top of six the pack. do as fol- lows: In naming the fifth card. except the bottom one. you add: "You want me to call more cards? All right. which you just named. as you put the pack behind your back. Immediately bring out the pack." You are holding the pack face down. you can give the pack an overhand shuffle of the type that brings the top card to the bot- tom. At the point where you decide to continue. so behind your back you simply turn up the 6 top cards and you will be ready. That will put it where you want it. But it happens that you know the top card. making it seem impossible that you could know any of the cards. saying: "That's enough. To continue past the sixth card. 74 Jf$ Easy Card Tricks . thus picking up where you left off. Let's try something else.

Even though these are comparatively simple. your appliances are usually easy to obtain. Tricks with Ordinary Objects There are two advantages to doing tricks with ordinary objects. But they are mostly suited to somewhat longer Tricks with Ordinary Objects Jjk 75 . so they can be used when performing that type of magic. some of the simple objects used in the following tricks are not as "simple" as they seem. they lack the suspicious look of special or fancy apparatus. they may be regarded as extensions of close-up tricks.4. This puts your audience off guard at the start. In other instances. second. the method should be carefully practiced. thanks to special preparation or some hidden device. and the effect itself re- hearsed so that there will be no hesitation at the vital point. in fact all the more so. because you can introduce "faked" articles or hidden "gimmicks" without their realizing it. First. In short. but the tricks themselves are sim- ple. some secret manipula- tion or unsuspected "move" will enable you to create the magical effect. Some of the tricks in this section are adapt- able to close-up work.

the effect: Three paper cups are inverted on the table. The magician borrows an object. Then.range and before an audience larger than one or two persons. moving each to the spot where the other was. and asks someone to place it beneath one of the cups while his back is turned. These are good tricks to work at a party or before a small social group. In this way. finally stopping and lift- ing one of them. For example. always with the same suc- cess. all chance of noting any exact position of the cups will be completely eliminated. The magician passes his hand back and forth over the cups. Under that cup is the ring! the method: One of the cups has a slight identifying mark. such as a ring. You need a will table for some of them. the person is told to change the posi- tion of the other two cups. along with the needed articles. What seems to be a "one out of three" chance actually becomes one out of many more. so this should be "set" in advance. the bot- 76 A Tricks with Ordinary Objects . ONE OUT OF THREE This creates an excellent effect because it can be repeated. made by the performer and known to him alone.

that it is at the left end. Again. You find the ring just as you did before. He also notes the exact position of this cup in the row. The test may be repeated with the cups exactly as they are. he knows that the ring is under it. someone puts the ring beneath any cup and transposes the other two while your back is turned. for example. The ring is under the remaining cup. the ring must be under the cup on the right. presentation: Much depends on neatly stressing the exact procedure of the test. What if the marked cup has been moved? It's still easy to find the ring. After the ring has been placed beneath a cup and the positions of the other two cups transposed. the wizard takes another look. if the marked cup begins in the center and winds up on the right. If the marked cup is still in its original position (in this case at the left). You eliminate both the marked cup and the one that replaced it. Thus.torn lip can be bent slightly with the thumb. Use the marked cup's present position as the start for the repeat. the ring is under the cup on the left. You can do this by casually showing what is to One Out of Three A 77 . If the marked cup was on the left at the start and is now in the center.

run your hand back and forth above the cups you comment: "I as gain the impression that the ring is under here—" Slowly dip the hand at the correct cup and lift it. You may say: "Here are three paper cups and a ring. . revealing the ring. you raise the cup. you turn about." You go through the action of transposing the two cups. as it will focus your at- tention on the cup that hides the ring. . the ring. "To aid your concentration. Just think of it. . Ready? Don't look at the cup that hides . 78 A Tricks with Ordinary Objects . ." At this point.be done and giving a logical reason for it. when I sense the thought impression. . I want you to switch the other two cups." Here you lift the cup and place the ring under it. . but keep thinking of that cup alone while you reverse the positions of the other two. . . you can place it under any cup. like this. Then turn your back. . bring out the ring and leave it beside the cups. "That will clear your mind of any doubt and my mind. I want you to lift one of the cups." Here. . . place the ring beneath it and then think of that cup. as you add: "Remember. too.

the method: A small but strong magnet does the trick. and the cup drops from the knife. He sets the cup on the flat blade of the knife and presses his free right hand on the rim of the cup. being steel. takes his hand away. Place the palm of the free hand on top of the cup and pretend to create suction as you invert knife and cup. 16a). grips the magnet through the paper bottom (fig. He brings his right hand up beneath the cup. As you hold the rim of the inverted cup. is due to suction created in the cup. gives the left hand a slight twist. then he turns both over. the magician claims. a paper drinking cup and a table knife. simply lift the knife. which drops unseen into Suction Gup Jf§ 79 . Set the cup on the knife blade. 16b) and heightens the effect as you bring your hand up beneath the cup and make the reverse twist. Secretly drop the magnet in the cup beforehand. which. releasing the magnet. and the cup adheres to the knife blade! This. The cup sticks to the blade in a mysterious fashion (fig. THE SUCTION CUP the effect: The magician takes two very ordinary items. both items being given out for immediate ex- amination. and proceeds to demonstrate the impossible.

80 A Tricks with Ordinary Objects . hand then The left picks up the cup along with the knife and gives both for inspection. presentation: Test the type of cup before- hand. START THUS *J& KNIFE BLADE _i ^ MAGNET IN CUP d FIG. as close contact is re- quired between the magnet and the blade through the cup (fig. l6 =? MAGNET SECRETLY DROPS INTO PALM the right palm (fig. i6d). Talk about compressed air and its peculiar properties and add any other scientific "hokum" that you may think up. Make a great pretense of creating suction when you place your hand flat on top of the cup. 16c). to make sure it does not have too deep a bottom flange or rim.

then bending the upper portion beneath the loop. 17a). then back to the center where the knot in- stantly vanishes. and pushing it up through (fig. The rope is held in the hands. the third is tied at approximately the center (fig. test the magnet with the knife to be sure that the magnet will adhere strongly. three slipknots are tied in the rope. 17b) and tightening it there (fig. He takes the knot in one hand and slides it along the rope to the end. middle knot hanging down for the audi- Slide-Along Knot A 81 . the effect: The magician stretches a six- foot length of rope and shows a knot tied in the center. iyd). But mention magnetism. With an- other sweep. don't. of all things. Such a knot is easily made by forming a loop in the rope (fig. he slides it to the other end. or your audience may catch on just as fast as the blade and the hidden magnet! note: Before you perform this trick. 3 8). . the method: Beforehand. THE SLIDE-ALONG KNOT A good trick in its own an right. this is also excellent opening for a rope routine or a good preliminary to Cut and Restored Rope ( P . 17c) Two such knots are tied near the ends of the rope.

he pushes out the center knot (C) and draws his hand toward the end of the rope. 82 A Tricks with Ordinary Objects . 17c). the magician takes its knot (A) with his right hand and pushes out the knot. shakes the rope. then pretends to draw it to the center of the rope. both knots (A and B) being concealed in the right fist. then he slides his right hand along the rope to the other end. presentation: By bunching the rope on the table. showing the knot there (B). The magician picks up the rope with one end knot (A) in his left hand and the other end knot (B) in his right. letting the ends dangle. 17L Holding that end with his left hand. The right hand grabs both ends together. end knots hidden in the hands (fig. his left hand grasps the knot (B) and secretly pushes it out. The two ends can be picked up together by the right hand.ence to see. the end knots (A and B) can be con- cealed beneath it. This is illustrated in the two sketches in fig. He shows the center knot (C) and grips it with his left hand. revealing the knot there (A). and the left hand takes one end of the rope so that it can be stretched to prove it. Letting the rope dangle from his right hand. showing that the knot is gone. carry- ing the end knot (A) along. With his left thumb.

well-tied knot"—he tugs at it lightly with his left hand— "as you can see/' He raises his left hand to his right. a solid. steadily. "Now all we need is the magic touch/' He brings his left hand to the center of the rope. and grips the left end of the rope with its knot (A) and spreads the hands. grips the knot there (C) and secretly pushes its loop free. the right retaining its hidden knot (B).as the left forefinger points to the dangling center knot (C) and the magician states: "Here we have a rope with a knot in the center. "Then slowly. Slide-Along Knot A 83 .

as solid and firm as ever!" Here. taking both ends"—he grips them with the right hand— "so the knot can't get away. The left hand then raises its end of the rope. we give the center a single slap. the left hand knot (A) displays its for the first time." The right hand lets the rope dangle and the left comes over and grips the knot (B) while the magician states: "So once again we grip the knot and whisper the magic word while we draw it to the exact center of the rope." The right hand. all the time con- cealing its knot (B). runs along the rope and reveals the knot (B) as it reaches the end.we draw the knot along to the end of the rope" —the left hand slides along as though taking the center knot with it— "and leave it here on the end of the rope. pushing its loop free— "and give it a long. displaying its knot (A)." "And now. "There— that's about it. and pretends to draw it to the center of the rope. still hiding its knot (B). and the right hand. as if it were the center knot (C)." As he he pushes out the knot speaks. lets the rope dangle. "And that brings it clear to the other end. quick slide. and the magician continues: "So we take the knot again"— here the right hand moves over and grips the left knot (A). like 84 A Tricks with Ordinary Objects .

Do this a few times. then: Gut and Restored Rope A 85 . The hands and the rope is shown between are spread apart them. He then presses the cut ends together.this"—the magician releases the center of the rope with his left hand. A fairly thin. soft rope is best for this real baffler. which has the added feature that it can be re- peated immediately with the same surprising result. stretching it full length. or six-foot length of rope. the effect: The magician shows a five. the method: Hold the rope in the left hand. gripping it near one end. slaps it against his left hand with his right— "and the knot is gone!" The left hand comes over and takes one end while the right retains the other. spreads his hands wide apart and the rope is restored. it can be given for examination. Not only that. with no trace of a knot CUT AND RESTORED ROPE This is a simplified version of perhaps the most popular trick in magic today. brings up the center loop be- tween the ends and uses a pair of scissors to cut the rope in half. Draw the right hand down along the rope. He holds the ends in his left hand.

announces that he now has two ropes with four ends (fig. gripping it in the bend of the left fingers (fig. 18b). fingers going through to the front. i8e). Both ends are gripped by the left thumb and fingers with the hidden loop between (fig. the right hand is drawn clear along the rope to the other end. Grip the rope between right thumb and fingers (fig. Immediately. Then double a small loop upward with the right hand. between the ends (fig. Now. This appears to be the center loop. The little loop is then brought up above the left hand. the right hand dips down into the cen- ter loop. i8h). thumb in back (fig. i8d). Bring the right end up and place it in the left hand so that both ends protrude. The hand right brings the big loop up into the left hand and plants it there. Bring the right hand up to the left. This is an exact copy of the original stretching process. i8g). The left thumb aids in retaining the loop there. This is done in one con- tinuous move. i8f). 18c). 18a). It is cut with the and the magician scissors (fig. so no one suspects that the left hand conceals a loop near the upper end of the rope. taking the little end loop in- stead (fig. he has a short bit of rope with two ends (A and B) and a 86 A Tricks with Ordinary Objects . Actually.

l8 rope almost as long as the original with two ends (C and D). The right hand lays the scissors aside and Gut and Restored Rope Jf% 87 . FIG.

gathers up the center and then the ends. thumb in back. but actually the right hand is holding the short extra piece as though it were the rope end. The left hand's position is identical and the fact that it is holding a real end— which was openly shown— draws any suspicion from the right. fingers in front.takes a long end and a short end (as A and D) and presses them together (fiq. In the same action. the odd end going with it. The left hand releases the rope and runs down along it. To dispose of the tiny extra end: The right hand approaches the and folds the extra left bit of rope there. the left hand up the picks scissors and pockets them or lays them some- where out of sight. 88 A Tricks with Ordinary Objects . which lays it aside. dropping the odd end with them. The rope is now shown to be "fully" re- stored. the rope is gathered up and wadded in the left hand. Or: The right hand leaves the long ends in the left hand. holding it almost at the end (fig. catching it halfway down and stretching it level. To dispose of the extra piece. i8j). carrying the rope away and leaving the extra bit in the left hand. i8i).

so they demand. By then. green. withFOOLED printed on one side and FOOLED AGAIN on the other. By arranging the colored cards in a fan. being set at a slight angle toward one edge." but when the magician shows the card. This "half card" is pasted to one side of the red card. so that its corners do not project past any edge of the red card. They are dropped in a hat or simply covered with a handkerchief. while the third is white. are brought out and laid aside. smart spectators are figuring that the card is green on the other side. they say "Green. showing the card still white. consisting of a green card cut to about half the width of the others. the magician still retains them in one hand. FOOLED-AND FOOLED AGAIN! the effect: Three cards are shown. "Turn it around!" The magician does. Also. and blue. it is a white one. It should be shortened a trifle. each of a different color: red. In the latter case. with the word FOOLED printed on it. the red and blue. there is a special fake. another blue. When people are asked to name the remaining color. Fooled —and Fooled Again! A 89 . with the words FOOLED AGAIN in big bold letters! the method: Three cards are used: One is red. Two cards.

Simply show the "three" color cards and drop them in the hat. This is good for platform presen- tation since they can be seen at a distance. Bring out the blue first. carelessly turning it over as you transfer it to the other hand. and place the blue with it. so you can pick up the hat with one hand and reach into it with the other when you ask the color of the re- maining card. turn them around and extend them to- ward the spectators. presentation: With the hat. In bringing the cards from the hat or cloth. thus hidden from view. but only the back of the red card is shown. the blue may be shown on both sides. so the green fake is hidden. and blue. show- ing only its back. Then bring out the red. Put both in your pocket. 90 A Tricks with Ordinary Objects . about the size of playing cards. fig. small cards should be used. That leaves the FOOLED card all set for the double-barreled finish. The FOOLED card is behind the set lengthwise others. 19 shows how the "fake" card is made and how the cards are held. you can make up the cards in a larger size. After covering the "three" color cards with the cloth. If you intend to use the handkerchief in- stead of the hat. thanks to the special fake.they appear to be three cards— red. green.

so it can be drawn straight down from the cloth. RED GREEN BLUE FINAL CARD BLUE RED RED 1/ GREEN If BLUE MOW CARDS ARE HELD BACK VIEW FIG. you bring the lower half of the cloth up in front and shift the card behind it. Good comedy can be intro- duced by pretending to show the cloth empty after removing the red and blue cards. shown. 19 This automatically brings the back of the blue card to the front. and laid flat on the table. You say that the green card has vanished and you let the cloth drape downward. then you let the rear Fooled—and Fooled Again! Jf$ 91 . With your other hand. but the audience can see the outline of a card behind it.

The only requirements are a pack of ordinary playing cards and two hats. saying they represent five sheep. A pair of paper bags. Between them. out grazing in a pasture between two barns. openings upward. 92 A Tricks with Ordinary Objects . or similar receptacles may be used instead of the hats. first front and then back. All the cards can then be shown as ordinary. later. or boxes. either in the pocket or behind some object on the table. These cards are easily made up from colored cardboard and the words FOOLED and FOOLED AGAIN can be boldly marked on a white card. It is a good idea to have an ordinary red card that can be switched for the fake card. he deals five spot cards.portion of the cloth drop. FARMER AND SHEEP Here is an intriguing trick involving a story with a magical climax. which he turns face down. as you want the audience to know that you are trying to hide the "van- ished" card. the double impact of its FOOLED and FOOLED AGAIN message will be all the stronger. When you finally take away the cloth and show the card. The clumsier this is done the better. repre- sented by the hats. the effect: The wizard places the hats on the table.

rep- resenting the farmer's daughter. and so on. then right. He places a Jack in each hat and lays the pack to one side. Immediately. right. then left. To indicate this. then one from the right. so they call them into the barns: First one on the right. right— until all the sheep are in the barns. left. then one on the left. He two Jacks from the pack. The Queen is replaced face down on the pack. The sheep Farmer and Sheep Jf% 93 . the other a King. Here. one from the other. the wizard brings a face-down card from the hat on the left. saying deals that they are a pair of tramps who want a place to sleep. so each goes into a barn. making five in all. The tramps decide to steal the sheep. the farmer arrives with his daughter. So she goes to tell her father. left. By then. the farmer's daughter looks from the house and sees that the sheep are gone. the magician turns up the top card of the pack and shows it to be a Queen. representing the farmer. the tramps become worried and they let the sheep out again— one from one barn. Just then. The magician turns up the two top cards of the pack: one is the Queen. The performer illustrates this by dropping the "sheep" cards into the hats in alternating fashion.

are back, but the farmer is suspicious. He goes
to get the sheriff, while his daughter stays and
slyly keeps watch.
Here, the magician turns the King face
down on the pack and places the Queen face
up under the pack, but extending partly out-
ward, as though keeping watch.
Right away, the tramps steal the sheep
again, just as before— right, left, right, left,
right. The magician puts the sheep cards into
the hats in that order. Then he turns up the
two top cards of the pack, showing the King
and with it a Joker. To these he adds the
Queen.
The magician states that the farmer's
daughter (Queen) tells the farmer (King)
and the sheriff (Joker) exactly what happened.
So the farmer goes into one barn— the King
is dropped in the hat on the right— and the

sheriff goes into the other— the Joker is
dropped in the hat on the left— expecting to
catch the tramps red-handed with the stolen
sheep.
But instead, the farmer finds all his sheep
together, in one barn. From the hat on the
right, the wizard brings out the King and the
five spot cards. In the other barn, the sheriff
finds only the two tramps, sound asleep. Here,
the magician brings out the Joker and the two

94 A Tricks with Ordinary Objects

Jacks from the hat on the left. He then shows
the hats to be empty.
the method: The trick hinges on the fact
that an odd number of cards (five) are used
to represent the sheep and that they are put
in the hats and taken out face down. This en-
ables you to proceed as follows:
First, in placing a Jack in each hat, turn
the Jacks so their faces are toward you and tilt

them forward. When
you come to the sheep
cards— the spot cards—put them in the hats,
right, left, right, left, right, as described, keep-
ing their faces toward you and tilting them
backward.
In replacing the sheep on the table, when
they are released from the barns, take out
the Jack from the hat on the left and lay it

face down. Then take the Jack from the hat
on the right and lay it face down, slightly
overlapping the first Jack.
Next, take a spot card from the hat on the
left and lay it to the right of the face-down
Jacks. Take a spot card from the hat on the
right and lay it to the right of the Jacks. Take
a spot card from the hat on the left and lay it
between the Jacks and the other two spot
cards.
People think that you have replaced the orig-

inal sheep cards, or five spot cards, on the

Farmer and Sheep Jf$ 95

table and that a tramp card, a Jack, is still in
each hat. Actually, the Jacks are on the table,
the hat on the left is empty, and there are two
spot cards in the hat on the right.
When the sheep are again taken into the
barns, you begin by picking up a spot card
and dropping it in the hat on the right; then
a Jack into the hat on the left; a spot card into
the hat on the right; a Jack into the hat on
the left; finally, a spot card into the hat on the
right.

If you laid them down correctly, they will
be in position for this series of pickups. By
keeping the backs of the cards toward the spec-
tators, no one will know that two of the sup-
posed "spot" cards are really Jacks. This puts
the five sheep in the right barn and the two
tramps in the left.
presentation: Follow the routine exactly
as describedand the presentation becomes al-
most automatic. Use the right hand for moving
cards in and out of the hat on the right; use
the left hand with the hat on the left. This
enables you to handle them in a smooth,
rapid fashion that is both easy and natural.
Rehearse the routine along with the story
line so that there no fumbling or hesitation.
is

Then no one is apt to notice that you pick up
the "sheep" beginning with the right, and lay
them down beginning with the left.
96 Jf$ Tricks with Ordinary Objects

Use of the Queen, King and Joker provides
further byplay that diverts attention from the
secret of this highly entertaining trick.

SILK THROUGH WAND
the effect: A spectator holds a wand
while the magician wraps a silk handkerchief
twice around the center and ties the ends in a
firm knot. He sudden tug and
gives the cloth a
pulls it through the wand. Both ends of the
wand may be held during this surprising dem-
onstration.
A pencil or a ruler can be used instead of
the wand. A pencil is all right with a silk, but
in using a handkerchief of heavier cloth, such
as a bandanna, a ruler is better and a cane is

particularly good. The larger the handkerchief,
the better.
the method: Use a rather large handker-
chief and twist it rope fashion. Hang the silk
over the wand so that the ends dangle.
Now grasp the ends and bring them up un-
der the wand and over it, so that the wand is
completely girded by the silk, each end dan-
gling from the same side where it hung be-
fore (fig. 20a).
Have the spectator place his finger on the
crossing above the wand, so that you can pull
Silk Through Wand A 97

the ends tighter. He holds the wand with his
otherhand while he does this.

Take the ends of the and bring them
silk

back over the finger, down under the wand,
and up over the top, where you tie them in a
tight knot (fig. 20b).
Have the spectator draw his finger from the
folds of the silk and grip both ends of the
wand. Give the knotted ends of the silk a sharp
upward pull and it will come clear of the
wand, apparently passing right through the
wand (fig. 20c).

By reversing the direction of the ends when
the finger is placed in position, you actually
unwind the handkerchief while apparently
wrapping it more tightly. Once the finger is
drawn away, a sharp tug will pull the knotted
handkerchief clear of the wand.
presentation: Although this is an easy
trick, it must be done smoothly to be convinc-

ing, so it should be practiced to acquire that
knack. As you bring the handkerchief back
across the spectator's finger, change the ends
from one hand to the other. This speeds the
action and prevents the ends from crossing,
which would ruin the release. It looks natural
and gives the impression that you are about to
tie the ends in a knot, which you actually do

after carrying them around again (fig. 20b).

98 A Tricks with Ordinary Objects

20 Once the knot is tied. Silk Through Wand A 99 . make "show" of a having persons hold the ends of the wand and play up the "pull through" at the climax. WIND ENDS BACK AROUND- TIE KNOT-DRAW OUT FINGER SPECTATOR'S FINGER HELD LIKE THIS HANDKERCHIEF PULLED THROUGH WAND \J FIG. This is one trick in which a strong presentation is essential.

5. But if cer- tain cards are clustered together— for example. the cut is said to be "completed." Actually. ranging from simple puzzles to difficult sleights. though it does bring a new card to the top of the pack. the completion of a single cut does not mix the cards. It is important to learn the proper handling of a pack at the very outset. as long as the deck is not cut where the clusters occur. which puts the pack back in its original condition. the multiple cut: Here the pack is di- 100 Jk Magic with Cards . Magic with Cards Card whole field of magic in tricks represent a themselves. any bungling with the cards may ruin an otherwise clever effect CUTS the single cut: This consists of lifting a group of cards from the pack and laying them alongside the rest. well presented. On the other hand. all four Aces— they will still retain that for- mation despite any number of single cuts. since an easy trick. may ap- pear to be a display of great skill. But if the lower group is placed on the upper group. Sometimes the lifted group is replaced.

the right Guts A 101 . With the halves thus separated. which has the same effect as a Multiple Cut. Another way is to pick up the pack between the right thumb and second finger as just de- scribed.vided into three or more heaps which are then assembled in a completely different order. other fingers at right side. 21b). a batch of cards may be pulled from the cen- pack and placed on the top or bot- ter of the tom. The usual way is to hold the pack face down in the left hand. The right thumb and second finger then grip the sides near the inner end (fig. forefinger at far end. thumb at left side. the undercut: This is a single cut in which the bottom portion of the pack is drawn from beneath the rest and placed on top to complete the cut. tilting it so the other side can be pressed against the thumb. 21a). then use the right forefinger to raise the top half of the pack. draw out the bottom portion and place it on top (fig. Or.

The lower half is promptly placed on the upper and the pack is squared. though it may be limited to a degree to suit the purposes of a particular trick. which it really is. at the same time pushing them together so that they interlace in "dove- FIG. then release them simultaneously in a downward riffle.hand drawn back quickly. The thumbs bend the ends of the packets upward. carrying the lower is portion between the thumb and second finger. SHUFFLES A shuffle mixes the cards quite thoroughly. as some practice is needed to do it well. which are brought together end to end. 22 102 Jf$ Magic with Cards . the thumbs at the inner ends and the fingers at the outer ends of their respective heaps. which drops to the table. while the forefinger releases its pressure on the upper portion. THE DOVETAIL OR RIFFLE SHUFFLE: The pack is cut into two heaps. completing a neat one-hand cut that looks quite skillful.

fig. where it peels a few cards downward. There is a variation. Sometimes the packets may be riffled at the inner corners instead of the ends. 23b). known as the front and back shuffle: Shuffles A 103 . the overhand shuffle: The entire pack is held in the right hand. The shuffle thus consists of a series of small cuts in which each new group or packet goes on the one before (fig. the fingers being at the far sides. letting them fall into the bend of the left fingers (fig.tail" fashion. and so on. The pack is tilted to an upright position and the left thumb is pressed against the upper edge. however. 22 shows. thumb at the other. The packets are then squared into one. Also. 23 This is repeated. the forefingers may aid by pressing down on top of the pack- ets. so that another small batch of cards drops upon the first group. 23a). fingers at one end. as fig.

with the thumb slanting across to the outer right corner. three. In most deals. where it is taken between the right thumb and forefinger. exactly as they are. in alternating fashion. or more cards from the pack to the right hand (fig. but after the second batch of cards is deposited on the first. and so on. so when the left thumb peels off the next batch. Now. which complete the deal by drawing the card farther from the pack. until the shuffle is completed. they will be described in detail. The right thumb 104 A Magic with Cards . which them in receives a group. the pack is held in the left hand. it falls behind those already shuffled off. throwing its cards against the base of the left thumb. 24a). the group deal: This consists of pushing two. The left thumb pushes the top card outward and to the right. The next batch goes in front. the left hand tilts forward. Since these var- iations are important in card tricks. DEALING CARDS Dealing is another common procedure which has several variations. THE FRONT AND BACK SHUFFLE: This Starts like the Overhand. the next in back. the right hand brings the pack down in back of those cards.

This type of deal is sometimes termed a count off. In dealing two or more heaps of hands. This may in- volve either the Reverse Deal or the Turnup Deal. so they can be taken in threes. the reverse deal: The Reverse Deal in- volves dealing off the cards one by one. fours. or going from heap to heap. it is generally specified in the instructions. each Dealing Cards A 105 . either completing each heap. fives. then the next. or any number desired (fig. exactly as they were counted off. because it enables a person to count off any number of cards— almost up to fifty-two in some cases— and put them back on the pack the same way they came off! Another method is to drop the cards on the table in a group. and so on. and then replace them upon the pack in their original order. FIG. the Group Deal may be used to complete one heap. This is essential in cer- tain tricks. or cards may be dealt singly. 24 is above and the right fingers are beneath the cards thus dealt. 24b). If important to the trick.

With the Reverse Deal. yet no one will realize it— except you. they will run from 10 down to Ace. Here. they will be in their original order when you pick them up together and replace the entire group face down on the pack. each new card goes on the one be- fore.going on the card that was dealt before it. so that their order is reversed. you can have a group of cards running in value from Ace up to 10. After dealing them and replacing them on the pack. the turnup deal: The Turnup Deal is a "one-by-one" deal which does not reverse the order of the cards for the simple reason that you turn up each card as you deal it. but since they fall face up. a special point should be stressed: In 106 A Magic with Cards . Thus. which makes it all the more valuable in some cases. but is so simple that it escapes general notice. the magician. This is also highly important in certain card tricks.

26a). then forward (fig.upward with the thumb (fig. One of the simplest yet most deceptive is the following: false single cut: Lay the pack on the False Guts and Shuffles A 107 . with fingers below and thumb above. 26b). which is neat in it- self. This method is good if it is done neatly. 25b). the right hand must flip them forward (fig.dealing cards face up. 25a). however. In this case. is to bring the right thumb below the card and the right fingers above. yet enable you to keep cer- tain cards just where you want them. then upward (fig. it is easy to intro- duce "false" cuts and which appear shuffles to mix the pack. if it takes them in the usual man- ner. giving the deal a deft touch. FALSE CUTS AND SHUFFLES After acquiring a natural manner of cut- ting and shuffling a pack. A still better system. the card is first flipped.

Im- mediately pick up the far heap with the right hand and place it in the left hand. placing that portion closer to you. The packets now will be: LEFT CENTER RIGHT Middle Top Bottom With the right hand. This looks like a multiple cut but is actually only a single cut. In the same action. then drop both on the center heap. variation: After laying out the heaps.table and lift off the top half with the right hand. Pick up the remaining heap (the center one) and drop it on the rest. 108 A Magic with Cards . lift off about half of that group and drop it in the center. but actually leaves the pack exactly as it was originally. use the right hand to pick up the left heap and drop it on the right heap. left Then pick up both heaps and drop them in the left hand. false three-heap cut: The pack is on the table. then pick up the near heap with the right hand and drop it on top. Lift off about two-thirds of the pack and lay this group six inches to the left. This apparently completes an ordinary sin- gle cut. pick up the heap at the and drop it on the heap at the right. The pack will be as it originally was.

27b). the fingers the front. The left hand retains the middle third. With right thumb and forefinger draw off the bottom third of the pack (fig. the thumbs pressing the back edge. 27c). Carry above the pack and with the right thumb this and second finger draw off the top third (fig. 27a shows. fig. The left hand immediately plants its heap on the False Guts and Shuffles A 109 . false triple cut: Hold the pack face down and lengthwise between the hands. Thumbs and fingers are pointed down- ward and inward. as fig. 27 The right thumb and forefinger drop their heap on the table with a slightly forward flip. and a quick inward whisk of the hand so that the falling heap clears the other heap.

false dovetail shuffle: This is a very effective way of keeping certain cards where you want them. because the shuffle is actually a standard Dovetail or Riffle Shuffle. More important is the fact that entire groups of cards— up to a dozen or so— can be kept intact on the bottom or top by using the False Dove- tail. To keep a card on the top of the pack. Then.first one. false overhand shuffles: These are used 110 A Magic with Cards . By combining the two processes. Simply cut the pack and bring the ends together. to keep a card on the bottom of the pack. start the riffle with a few cards from the lower half. The right hand then drops the re- maining heap on top. so that the top card falls last. This will allow for a more convincing riffle. the pack is in its original condition. or a larger lower packet when keeping a group on the bottom. Despite this seemingly intricate cut. so that the bottom card drops first. it is wise to cut off a larger upper packet when keeping a group on top. In such cases. cards can be kept on both the top and bottom of the pack. but is handled in a special way. though that is seldom necessary. retard the riffle of the upper half.

the left hand approaches from in back and draws down a batch of cards from the bot- tom of the pack. For top or bottom control of a single card. To keep the bottom card in position. But at the same time. This may be re- peated as often as desired. where they press the top card and draw it down along with the bottom batch. the left fingers come up between the pack and the right palm. The top of the pack is toward your right palm. the following is one of the neatest methods: the pull away: To keep the top card in place. The left hand continues to draw off clumps of cards until the shuffle is completed. Pack is in left side right hand. stand with your right side toward the audience and hold the pack lengthwise be- tween the thumb and fingers of your right hand. or away from the palm. turn your toward the audience. which are at opposite ends. while the left False Guts and Shuffles A 111 . with the top card still in place. The left thumb draws down a batch of • cards from the top of the pack. Now. as with the usual Overhand Shuffle. but with top upward.to retain the top or bottom cards—as well as entire groups—in position. In every case. the false shuffle simulates the genuine to a degree that defies detection. as with the simple Over- hand Shuffle.

stacked pack shuffle: When working with a pack in which the cards are "stacked. with the left thumb. the left thumb simply draws them away one by one. Here is one type: overhand cut shuffle: Hold the pack for the Overhand Shuffle. bottom to top: This done with a is straight Overhand Shuffle until you come to the last few cards. a false shuffle is needed to keep the setup intact.fingers go up beneath and bring along the bottom card same action." or arranged in some special rotation. Shuffle off in the the rest of the cards on top of the first batch. Bring the bottom half over with the right hand and drop the entire group on top. you can shuffle the top card to the bottom of the pack by simply drawing off the top card alone. Continue this in a fairly rapid but irregular fashion. but draw off about half the cards with the left thumb. varying the size of the batches drawn off by the left thumb. so that the last card can be dropped on top of the pack. Then. top to bottom: Using the Overhand Shuf- fle. The result is simply a series of single cuts which look like a shuffle 112 A Magic with Cards . then shuf- fling the rest of the pack onto it.

By throwing the final batch on top. Instead. Continue thus.but do not mix the pack at all. False Guts and Shuffles ^ 113 . Even better is the next one: front and back cut shuffle: This re- tains the order of the entire pack and even keeps the top and bottom cards in their origi- nal positions. but do not draw off any cards. you give the pack the equivalent of a single cut. This is a very convincing way to end the false shuffle. With a small group of cards that must be kept in rotation for some special trick. never leaving any cards at the front. receiving them in the right hand. Draw off a small batch of cards with the left thumb and bring the pack down over the front with the right hand. Drop the final batch in back and the pack is undisturbed. here is a shuffle you can use: THE ALTERNATING FALSE SHUFFLE OR packet shuffle: Hold the cards in the left hand as though about to deal and slide a batch of cards from the top with the left thumb. but drop- ping some at the back. This looks exactly like the regular Front and Back with the cards diminishing in number as you go on. as in the Front and Back Shuffle. the right hand carries the pack over to the back and leaves some cards there.

Continue in this manner and the cards will seemingly be shuffled. 28c). LEFTTHUMB PUSHES TOP LEFT FINGERS. 28 OF RIGHT-HAND PACKET which is in the same position as the left (fig. push- ingthem with the left thumb and drawing them into place with the right fingers (fig. Bring the right packet above the left and slide some cards from the top of the left packet to the bottom of the right one. 28a). You can vary this by pushing 114 jf$ Magic with Cards . but actually the group is being cut at different places. with the cards still in rotation. This is done with the left fingers and the right thumb (fig. CARDS ON TOP OF RIGHT-HAND PACKET LEFT THUMB PUSHES TOP CARDS UNDER CARDS FIG. Now bring the right packet beneath the left and slide some cards from the bottom of the left packet onto the top of the right one. 28b).PUSH BOTTOM CARDS INTO RIGHT HAND.

where they draw out the bottom card and lay it face down on the table." and some of these are "slight" as well. The pack is held face up in the left hand. thumb at the left. SIMPLE CARD SLEIGHTS Any secret move with a pack of cards is termed a "sleight. being almost impossible to detect. neatly and effectively. fingers at the right.cards from right to left as well as left to right. They are very useful in many card tricks and it is important to learn how they are performed. This is perhaps the most deceptive of all false shuffles. curled slightly across the front card of the pack (fig. THE GLIDE This simple move enables you to "change" one card into another. but looks unnatural and awkward when done with the entire pack. The left hand turns the pack face down and the right fingers end go beneath the far of the pack. 29a). so it should be used only with smaller batches of cards. the Simple Card Sleights A 115 . but as long as you follow the regular process of "top to bottom" and "bottom to top" it makes no difference.

This enables the right fingers to draw out the card just above the bottom card and lay that on the table instead. Later. the card is turned up. and proves to be entirely different from the original bottom card! the method: As the left hand turns the pack face down. Later. FIG. The projecting end of the bottom card is hidden by the left hand. 29b). the tip of the third finger "glides" the bottom card back toward the in- ner end of the pack (fig. 29 right thumb aiding in this simple maneuver (fig. 116 A Magic with Cards . the left third finger "glides" the actual bottom card forward to its original position. 29c).

The right fingers can bring the bottom card back to its original position later.h4. Simple Card Sleights—Glide A 117 . then turn the pack down and draw off the required card in normal fashion. the move can be accomplished in a slightly dif- ferent way: The left hand turns the pack face down and the right fingers. press the bottom card lightly and push or glide it back toward the heel of the left hand (fig. 30a). > > + 30 j. variation: If difficulty is experienced in gliding the card with the left third finger. laying it face down or face up. coming beneath. 30b). to* When performing various card tricks. 11 Q > *' **7"T r>» •«*• 1 FIG. This leaves the front end of the next card available so that the right fingers can draw it out in the manner described earlier (fig. it is a good plan to show certain cards on the face of the pack.

and tilts the top half slightly upward. The pack is held in the left hand. Later. but in that simple. as though about to deal. face down. The right hand then removes the upper por- tion of the pack. as no one will link it with the dealing process that took place earlier. THE SLIP This is another effective way of "changing" a card. 31a). It also enables the magician to bring a card from the top of pack to the middle. the top card of the upper packet is fig. when the Glide is used. as though hinged at the back edge (fig. The right hand takes the ends of the pack. fingers at outer. thumb at inner end. 31 118 A Magic with Cards . its employ- ment will be natural and the "change" of one card to another will seem amazing indeed. with- out having anyone guess what happened. natural action.

The right hand approaches the pack and grips it between the thumb at the near end and the fingers at the far end. Hold the pack in dealing position in the left hand. left side With both halves of the pack face front at the finish.secretly transferred to the lower picket. the method: As the right hand tilts the top portion upward (fig. the whole movement of the Slip looks like a simple cutting process and no sleight will be suspected. the lower half should be tilted upward at the same time and the performer should turn his toward the audience. To hide this. no one is the wiser. The right hand draws the pack slightly forward and upward. then lower the left thumb beneath the pack and tilt it forward to a face-up position against the left fingers. the left fingers press lightly against the top card and retain it. THE SLIDE This move is used to bring a card from the top of the pack to the bottom. when the upper half of the pack is drawn away. the card drops on the lower half. so that. Simple Card Sleights— Slide ^ 119 . becom- ing the top card of that portion. By gesturing the left hand toward the right. turning it face up in the process. 31b). or pointing the left forefinger in that direction.

Grip the top half with your right fingers at the far end. after execution of The Slide. the left fingers press lightly against the top card of the pack. face up. bringing it face to face with the top half. Hold the pack in the left hand. face down. will now be at the bottom of the deck. FIG. In fig. 32 turning it face down on the left hand (fig. 2 )- 3 During this action. 32 the 4 of Spades is the top card which. a b 120 A Magic with Cards . thumb at the near end. which remains face up as the pack is laid upon it. THE TURNOVER This is a simple way of reversing the bottom half of the pack.

with the right hand concealing the action. brings them into a natural dealing position. 33a). downward and to the right. 33b). As the right hand lifts the upper half a few inches (fig. in the fashion of the Turnover. while the left hand retains the pack. This Turnover can be used with a single card or small packet at the botom of the pack. A slanting motion of the hands. Hold the pack in dealing position in the left hand. The hand promptly right replaces the top half face down on the face-up cards and squares the pack (fig. The right hand either grips the pack by the ends or goes directly into a deal. Bring the right hand above the pack and at the same time "kick over" the entire pack with the left thumb. TURNING THE PACK This an easy and useful move when two is portions of the pack are "faced" so that either can appear to be the top of the pack. the left thumb comes be- neath the lower half and flips it over in a forward direction. and Simple Card Sleights — Glimpse A 121 . but bring the left thumb beneath it. THE GLIMPSE Glimpsing a card at the top or bottom of the pack is necessary in certain tricks.

squaring the card with the pack. 122 A Magic with Cards . Such mannerisms should be cultivated for that very purpose. the top glimpse: Push the top card with the left thumb so the card comes over the right edge of the pack. pause and press the fingers inward and upward. just as though you were starting to deal it. without attracting notice. is Once the index has been noted. tilt the pack end upward and you can look right down at the index corner of the top card. fig. 34 should be practiced so it can be done casually. or while pulling up one sleeve and then the other. but raising its edge slightly (fig." as this glimpse sometimes termed. giving a better "peek. Now. such as transferring itfrom hand to hand. the bottom glimpse: The bottom card of the pack can often be noted while handling the pack in a casual way. relax the pressure of the fingers and square the card on the pack. There. A little extra pressure from the fingers will bend the card slightly. 34a).

ready for the deal. He replaces it face down on the pack and later deals on the it table. so that only the backs of the cards can be seen. 34b) The hand is immediately tilted to the left. that is. Just squeeze the left hand slightly and the fingers will slide the pack inward. past the base of the left thumb. with thumb at the left side. such as the Jack of Dia- monds. which is why this glimpse is so effective. when the pack is held in the left hand. forefinger at the far end. and other fingers at the right side. When turned up. THE DOUBLE LIFT the effect: The magician takes the top card from the pack and shows it to be the 6 of Spades. it has changed to an entirely different card. the method: The pack is held in dealing position in the left hand. for example. Tilt the left hand forward and downward and you will note that it is almost impossible to "spot" the bottom card. Simple Card Sleights—Double Lift A 123 . The right hand ap- proaches as though to square the pack at the ends. . bring- ing the lower index into sight (fig. The best Bottom Glimpse can be made when least expected. This move is similar to the one used in Palming (see below). as in the usual dealing position.

the 124 A Magic with Cards . holding the cards while the right thumb comes beneath the inner end and the right fingers press down from above (fig. the left thumb pushes the top card and the second card very slightly to the right. The left thumb. Meanwhile. The right hand immediately turns the card face down on the pack. 35b). 35a). Later. pressing the right side. 35c). and the left forefinger. pressing the left side of the cards. so the spectators see the face of the lower card (the 6 of Spades in fig. where the right hand covers the two cards and squares them as one (fig. This enables the right hand to turn over the two cards as one. assist in this operation.

later producing it from his pocket. 36 BACK OF HAND WITH CARD PALMED Simple Card Sleights —Palming a Card A 125 . any cards can be used in this trick. as in fig. variation: Some performers prefer to lift the two cards between the tips of the right thumb and forefinger. the magi- cian can secretly remove it from the pack. or leaving it there if he wants to dispose of it. Of course. the method: The move itself is quite sim- VIEW FROM BELOW (AUDIENCE. bending the cards slightly to hold them neatly together. top card drawn off and proves to be the is Jack of Diamonds. DOES NOT SEE THl$) FIG. 35& PALMING A CARD the effect: By palming a card. as in the case of an extra or duplicate card. OF COURSE.

SINGLE-CUT FORCE the effect: A person cuts a pack of cards and notes the bottom card of the upper packet. the left hand pushing them slightly to the right. 126 A Magic with Cards . 36a). Two palmed in this or three cards can be manner. and the second finger of the left hand presses the card up into the right palm and the bend of the right fingers. Tell the spectator to cut off any number of cardsand place the rest crosswise upon them. Hold the pack in the left hand as if to deal. one by one. the method: Glimpse the bottom card of the pack or shuffle a card to that position. the left second finger presses them up into the right palm in a group. with the right hand squaring them as it covers them. Later. While you turn your back. he is to glance at the card above the break. When the cards are in position. The right hand comes above the pack from the right. the magician reveals the name of the card. The left thumb pushes the top card to the right so that it comes beneath the right hand. as if to square the cards by pressing them with the fingers at the far end and the thumb at the near end (fig. which curve inward slightly to retain it (fig.pie. 36b).

The magician begins by spreading the pack between his hands to form a wide fan. show by turning up the heap. is the original bottom card. then tell someone to cut the pack so you can put the prediction in between its halves. the "force" can be accomplished even if the subject changes his mind as to the card he wants. Furthermore. plus the slight delay when you turn your back. of course. the effect: The card to be forced is on the bottom of the pack. something quite impossible with the more standardized force. That. which you already know. presentation: Done boldly. yet is done in a most nonchalant and natural fashion. The pack actually rests on Simple Card Sleights —Fan Force A 127 . When the paper is opened. it bears the name which you can of the card just above it. makes people think that the card came from the middle. this is very ef- fective. THE FAN FORCE This is the best way of forcing a card from an ordinary or borrowed pack. since it cannot fail." you can write the name of the bottom card on a slip of paper. making a very convincing effect. as you emphasize that the pack can be cut "anywhere/' and the business of laying one packet crosswise. As a "prediction.

so that the pack may be cut at that spot.the fingers of the left hand. hidden beneath the part that represents the upper portion. showing the card so designated. and the per- former lifts the upper portion. There. the one to be forced! Here is the reason why: the method: During the spreading proc- ess. When a spectator touches a card in the fan. The left hand tilts its packet slightly in- ward. But in doing this. so that the right hand can away that card lift with all the rest that are above it. the left thumb pushes it slightly to the right. This is done. the right fingers secretly bring along the bottom card of the pack. the fingers of the right hand draw it a little farther beneath the spreading fan. That card. which helps in the spreading process— thumb above. is actually the bottom card of the pack. so that the performer can "square" the upper packet by tapping its left edge against 128 A Magic with Cards . the fingers of the left hand secretly slide the bottom card of the pack a small distance to the right. A spectator is asked to touch any card dur- ing this fanning process. so that the thumb can push the cards to the right. fingers below. however. which is naturally at the bottom or face of the upper packet.

With the Draw Shuffle. how- ever. He knows it already. The spectator can change his mind. for this is the card that he is forcing upon his unsuspecting victim. THE DRAW SHUFFLE Known as the Running Cut. thumb against the left side.the lower half. the magician doesn't have to see it. Like the simple Overhand Shuffle. with the forefinger at the far end. it consists of cutting off little groups of cards from the top of the pack and dropping them on those that went before. fingers at the right side. the Hindu Shuffle. the Simple Card Sleights—-Draw Shuffle A 129 . Actually. or facing card. and by various other names. who takes be the card at the exact spot it to where the cut was made. without the performer seeing it. The right thumb and fingers take a pincer grip at the sides of the pack near the inner end. be- cause in cutting the pack. the bottom card is always drawn to the desired spot. this is a very useful device for magical purposes. He then raises the upper packet to give the spectator a full front view of its bot- tom. even going back along the fan if he wants to. Rest the pack face down in the left hand. the pack is held flat and the cuts are made endwise.

37a). 130 A Magic with Cards . so the bottom card remains the same until after the final cut. rather than the right hand. This creates the illusion that the right hand is pulling its cards from the center of the pack. the slight opening and closing motion of the left thumb and fingers makes it look as though they. whereas they really come from the bottom. and repeats the action. the left hand again retaining a group of top cards. were drawing off the cards. This is continued until the entire pack has been shuffled off. fig. Though the action by the right is chiefly hand. The right hand comes forward. 37b). drops its packet on top of the cards remaining in the left hand. the right hand dropping the last small group on top (fig. allowing a small cards to drop from the top of the pack into the left hand. which fallon those below. 37 a right hand then draws the bulk of the pack inward group of (fig.

fig. 38).Knowing the bottom card. natural action gives the magi- cian a glimpse of the bottom card as he ex- tends his hands straight toward the specta- tors. 38 This simple. the wizard can then employ the Flash Force. The magician uses this to his advantage with the Bottom Glimpse: the bottom glimpse: This enables the performer to sight and note the bottom card during the first stage of the Draw Shuffle. the magician says to a specta- Simple Card Sleights —Draw Shuffle ^Si 131 . which follows: the flash force: While making the Draw Shuffle. so tamp the inner end as to of the left-hand cards and square them into a neat packet (fig. the magician tilts the bulk of the pack up- ward and inward. After letting a few clumps fall into the left hand.

supposes that he had a free choice of a random card. which he gives to the spectator to shuffle his own way. The magician states. As the person does this." He turns his head away at the same time and drops the right-hand cards on the pack. if he does not al- ready know it. "Tell me when you want me to stop. Shuffling slowly. The magician then squares the pack and goes into the Draw Shuffle. The magician already knows the noted card. 39). using the Glimpse to learn the bottom card. the magician sim- ply drops the remainder of the pack on top with the right hand (fig. so 132 Jf% Magic with Cards . The spec- tator. thinking it came from some- where in the middle of the pack. he invites the chooser to drop his card anywhere in the pack.tor. draw-shuffle location: The magician spreads the pack so a person can take a card. however. of course. since it came from the bottom. he did not. This puts the bottom card directly above the chosen one. "Remember the card you see there. allowing the spec- tator to insert a finger among the cards and remove one. Or he riffles the outer end. which." The word and the magician spectator gives the raises the right-hand heap so the person can see its bottom card.

After the card you can follow is replaced. draw-shuffle control: This is a neat and effective way of bringing a chosen card to the top during the course of the Draw Shuffle. but in this fashion: The right hand places its packet on top but keeps a "break" at the inner end. SPECTATOR LOOKS AT TOP CARD OF THIS HEAP AND REPLACES IT MAGICIAN KNOWS BOTTOM CARD OF THIS HEAP (ORIGINAL BOTTOM CARD OF PACKJ fig. but in this case let the center portion of the pack fall in one big clump. the thumb and second fingers gripping a few cards just below that space (fig. the Draw Shuffle is continued. It is not necessary to note the bottom card in this case. rather than run the risk of separat- ing the chosen card from its locator. with another Draw Shuffle. 40a). so he can look at a card by lifting it from the lower packet and re- placing it. 39 the magician can find it later by looking for the known card. se- Simple Card Sleights—Draw Shuffle A 133 . Simply and pause wher- start the shuffle ever a person wants you to. From there. The right hand then is drawn back.

RIGHT HAND KEEPS "BREAK" BETWEEN UPPER & LOWER PACKETS. continues the Draw Shuffle until it reaches the break. 40b) The right hand . putting the chosen card on top of the pack. note: In using this shuffle prior to a trick. 134 A Magic with Cards . letting people see this as you do it slowly. 4O OF THIS SMALL PACKET) cretly bringing away a little packet with the chosen card on top (fig. 8 . Then it drops the little group on top. it is good plan to tilt the pack edge upward a and actually draw clumps of cards from the middle.. They will then think that your later and more rapid horizontal shuffle is done in the same haphazard way. AND DRAWS OFF SMALL PACKET! . eliminating any suspi- cion regarding the bottom card. and put them on top. _ (CHOSEN CARD IS ON TOP FIG.. FROM TOP OF LOWER PACKET -_„ .

All of these simply lead to the great climax. so that you can find it by looking through the pack later. One of the simplest. yet most clever ways of learning a chosen card is by the Riffle Glimpse: Finding a Chosen Card Jf$ 135 . or by its nearness to other cards or groups of cards that may help to identify it. (2) By locating the card through its posi- tion in the pack. which is the "discovery" of the chosen card. even though its exact identity may still be unknown.6. (3) By controlling the card through some skill or subtle device so that it may be pro- duced when required. by some apparently magical means. Those three ways are: (1) By glimpsing or spotting the card in the course of its removal from or return to the pack. reveals or discloses the card itself. Finding a Chosen Card There are three basic ways whereby you can find or learn the identity of a card selected at random from an ordinary pack. wherein the performer.

hesitate slightly on one card. That is the card that you produce later. 41a). During this "riffle/' the person is asked to note and remember a card that he sees. and later a card is named or produced by the magician. 41 SIDE VIEW OF a SHOWING HOW RIGHT HAND RIFFLES THE PACK 136 A Finding a Chosen Card . facing the spectator. you can note it too. It proves to be the very card that was mentally selected by the spectator! the method: During the riffle. the right thumb bends back the upper end. That is done. That will be the card that the spectator remembers and. The right fingers press the lower end of the pack. THE RIFFLE GLIMPSE the effect: The pack is gripped by the left hand at the lower end. so that the cards can be held upright. releasing it card by card as the left hand tilts the pack forward (fig. The riffle should be neither too fast nor too FIG. since you are watching the cards.

the card that you partic- ularly note is the one that the spectator is most apt to pick. deliberately. To square the pack. Also. the fingers at the outer end. A sudden stop. so in lowering the upper packet. it is a mis- take to show too many cards too long. Gradually slowing the good policy. the thumb at the inner end. is too obvious. THE WRIST GLIMPSE the effect: A card is selected and the magician riffles the pack slowly. allowing only one card to be seen. the magician squares the pack and gives someone to it to shuffle. the tip of the right thumb presses down on the chosen card (fig. With a reasonable amount of practice. causing the chosen card to Wrist Glimpse A 137 . riffle is as the later impressions are more apt to be remembered. the upper portion is brought inward. 42a). Conversely. Slowly. the wizard knows the chosen card! the method: Hold the top portion of the pack in the right hand. you will find the right in-between speed. By then. Advance the hand slightly as the card is replaced. allowing it to be replaced anywhere that the chooser wants.slow.

too. The right thumb presses the chosen card for- 138 Jf% Finding a Chosen Card . The left hand immediately turned back is upward. is The right hand promptly comes up from below. The right hand serves to hide this. 42c). just below the base of the left thumb (fig. a CHOSEN CARD REPLACED ON LOWER HALF THUMB PUSHES CARD BACK LEFT HAND TURNS OVER GLIMPSE CARD AT WRIST aiP PACK FORWARD RIGHT HAND AND OVER WITH FOREFINGER PRESSES CARD IN FIG. 42b). This enables the magician to glimpse the chosen card and note its index. 42 EXTEND PACK FACE DOWN FOR SHUFFLE project in that same direction (fig. thumb projecting upward behind the pack. fingers extended in front of the pack. This. hidden from the spectators.

almost flipping it into the spectator's hands (fig. The left hand moves away and the right forefinger doubled beneath the pack. natural procedure. THE DIVIDED PACK the effect: The pack is divided into two heaps. which is is now shown face up and is extended toward a spectator (fig. 42c). secretly divide the pack into two distinctive groups. Slowly. Coming now to card locations. which is gripped between the right thumb at the back and the right fingers at the front (fig. 42d). the method: Beforehand. the magician finds the chosen card. In this easy. placed in the is other and shuffled there.ward into the pack. we have a basic method with various applications known as the Divided Pack. A card drawn from one heap. the right fore- finger levers the whole pack forward. Divided Pack A 139 . you can automatically separate the cards at the right place. each of which is separately shuffled. Looking through that heap. The Joker can be placed as a "divider" between these. so that by looking through the pack and removing the Joker. 42f). you have learned the chosen card while asking someone to shuffle it into the pack.

or he will note the arrangement. Each pair of suits is shuffled together beforehand. Use a red and black suit in each division.you find it by simply looking through the group and picking out the "odd" card that does not belong there. some- times while looking through it for certain cards that you want for another trick. The simplest of such setups is Reds and Blacks. or cards. When a card is taken from one half and shuffled into the other. But that is this trick's weakness. but it is much safer than Reds and Blacks. often with a borrowed pack. quite as quickly. You can't risk letting a spectator handle a packet or even see the faces of the cards. two-suit setup: This takes a little longer to arrange and you can't find the chosen card. too. You can do this quickly. Spades and Diamonds in one half of the pack. reds and blacks: Put the red cards in one half. if the cards are shown face up too often. Finding a card is quick. so there is little chance of the ruse being detected. and vice versa. since a red shows up conspicuously among the blacks. the absence of certain suits in one group 140 A Finding a Chosen Card . Therefore it is bet- ter to use a Two-Suit Setup. for example. the black cards in the other. However. Clubs and Hearts in the other.

7. a false shuffle will have to be used. and the other group— the "evens"— on the bottom. 10. 3.may be noted by an observant spectator. and King (13). where it can be located. The pack is spread for the selection of a card. but with one group— say the "odds"— on top. This also equalizes the face cards and the setup will stand the closest scrutiny. In this case. Thus the card goes into the other group. If the spectator takes it from the upper half. but that can be remedied by classing the "one- eyed" Jacks (Jack of Spades and Jack of Hearts) as "odd" and switching the other pair (Jack of Clubs and Jack of Diamonds) to the "even" group. 5. Divided Pack A 141 . This can be counteracted by dividing the pack into odds and evens. or vice versa. handling the pack: This presents another problem. One way of over- coming this is to keep the pack intact. The "evens'* are Deuce (2). and Queen (12). 8. odds and evens: The "odd" cards are Ace (1). This makes an unequal division. 4. 6. because the constant insertion of a card from one group into the other is both unnatural and suspicious. 9. Jack (11). the magician simply fans the lower half for its return.

the J A with its belt of Spades pointing upward. the method: One group is composed of "pointer" cards consisting of: A* 2* c* 6* 7* 8* 9* A* 5A c A 6* 7* 8* 9^ A<? 3<? 5<? 6<? 1* 8<? <? 9 7o Joker These are termed "pointers" because each card has a majority of its spots pointing in one direction. or replaced in its own group which can again be shuffled. They are arranged so they all point upward. certain face cards can also be classed as pointers. as a study of the cards will show. THE POINTER PACK the effect: The pack is divided and a card is taken from one shuffled group and put into the other. The magi- cian finds the chosen card. 142 A Finding a Chosen Card . With some packs. the Q* with a belt of tiny Spades point- ing to the right. A more subtle location technique is known as the Pointer Pack and is described below. the commonest being the K* with a central ornament shaded at the top. the 7 having its odd point at the top and the Joker being upright. which can be regarded as up- ward.

With the pointer packet as the top half of the pack. By turning the card back to its original position the packet is made ready for a repeat. Thus. the K* sometimes has a shaded cen- tral ornament. the magician promptly finds the chosen card because it is pointing the opposite way. These can be used as pointers when available. it can be easily located in either case. If the card goes into the top half. Also. In looking through it. Pointer Pack A 143 . it will be among cards of the nonpointer type. if it goes into the lower half. If too many pointers get turned— this may happen from a "wrong" shuffle— the other por- tion of the pack can be brought into action: A card taken from the pointer group and placed among the "ordinaries" can be easily located. then squares the packet. and spreads it again for the card's return. the KO has one high and to the right. The performer spreads the pointer packet so a card can be selected. The packet can then be shuffled. the K^ has a wider belt band at the top. turns it around. a card taken from that portion may be replaced anywhere after the pack is turned about. it willbe pointed the wrong way.

telling the chooser to place his card there. When a person cuts the pack. 144 A Finding a Chosen Card . and the card just before it will be the chosen one. Complete the cut by dropping the lower packet on the upper. spread the pack and allow a card to be drawn. find the original bottom card. The pack is given several more cuts. say the 8^. The pack can be given any number of single cuts. the mere act of completing the cut puts the bottom card (8^) directly above the card he noted. Simply spread the faces of the cards toward you. BOTTOM-CARD LOCATION the effect: The pack is shuffled and cut into two heaps. glimpse the bottom card. Square the pack. without separating the two cards. The magician looks through the pack and finds the chosen card. the method: After the shuffle. variation: Note the bottom card. undercut about half the cards and extend the top half of the pack. places it on the other heap and com- pletes the cut. A spectator notes the card at the cut. takes a card from the center and places it on the top. The chosen card will be just below the bottom card that you noted.

COUNT-DOWN LOCATION the effect: A pack is shuffled and a spec- tator draws a card from any place he wants. Single cuts will not change this. so all you have to Count-down Location A 145 . 10). he is to drop the entire pack on the pile just dealt. notes the card (say the 10*) and lays it face down on the table. square the pack. the pack can be given a few more cuts to confuse the performer completely. He does this while the magician's back is turned. The spectator is then told to deal additional cards onto his. deals its lays this card face own number on it and drops the pack on top. yet when he looks through the pack. cut it anywhere and complete the cut. Spread the pack and let the person take a card from anywhere. he finds the chosen card! the method: Note the bottom card (say the K^ ) after the shuffle. In fact. At the finish. at the performer's instruc- tion. stopping after he has dealt the exact number indicated by the value of the card itself (in this case. or hand him the pack and tell him to draw out a card himself. he puts just that many cards between your locator (K^ ) and his own card (10* ). When he down.

which you can produce later as the chosen card. There is just one hitch. "Your card is a black one. 2. be sure to tell him to count an Ace as 1. that is. In instructing the person at the start. 3 and on you reach 13. you might go on to 12 and hit the Queen of Spades. and a King." Knowing now that the card must be the 10*. you proceed to reveal it. a Jack. after reaching 10 and finding the 10 of Clubs." you would add. 11. or Q*. you would announce. to 10*. a Queen. Concentrate completely on your card and you won't go wrong again. "Yes." Getting a "No." The reply being. 146 A Finding a Chosen Card . 12. on your count of 3 you might strike the 3 of Diamonds and.do is find your known card (K^) and call the card just below it "zero/' then start count- ing: i. you will score a direct "hit" with your number. Knowing the chosen card be the 3O. 13." your comment would be. your count of 10 will come exactly on the 10 of Clubs. For instance. "That makes us even. so until When you reach his card. "and a Spade. in this case. Sometimes other cards accidentally fall into exact numerical position.

The right hand squares the pack. who holds the pack spread for the card's return. Only the tip of the finger is required (fig. In closing the pack. noted and replaced. The most direct way is by a sleight called the Pass. immediately closes the pack and gives it an Overhand Shuffle which secretly brings the card to the top of the pack. the whole operation can be simplified into the Shuffle Pass. or Shift. whereby halves are transposed as in an ordinary cut. THE -SHUFFLE PASS the effect: A card drawn is from the pack. the method: The pack is spread with the fingers of both hands below and thumbs above. 43a). Actually. only se- cretly. The magician. holding a "break" there. insert the left little finger just above the chosen card. as the shifting of half a pack to transfer a single card to the top is very cumbersome. CARD CONTROLS Getting a chosen card to the top in a single hidden action requires some form of ckrd control. thumb at Card Controls Jf% 147 . Since the Pass is usually followed by a shuffle of the pack. the Pass is unnecessary.

in the same move the right hand begins a shuffle. where they can give the pack a quick Turn your right riffle. fingers at outer end. LTTTLE FINGERHOLDS BREAK ABOVE CHOSEN CARD AUDIENCE FACES BACK OF CARDS fig. side toward the audience. 43c). and the left thumb then peels cards from the bottom of that packet. con- tinuing this bona fide Overhand Shuffle until the right-hand cards are exhausted (fig. The hands can be extended toward the audi- ence. the right hand lifts all the cards above the break. 43b). 43 inner end. as the "break"no longer being used. is the chosen card now being on top of the 148 A Finding a Chosen Card . lifting the front or top portion of the pack and carrying it over and behind the back or bottom section. That is. which is promptly tilted forward on the left fingers (fig.

have a card selected and square the pack. replaced in the pack. to find the Joker turned face up in the pack. spread it again. Drop the upper half on the lower. as in the Bottom-Card Loca- tion. so the Joker comes on top of the chosen card. He removes the Joker and promptly discovers the chosen card. and when you come to the face-up Joker. we don't need it. the method: The Joker ruse secretly aids in bringing the chosen card to the top of the pack. Give the pack a few cuts. Beforehand. Turned-Up Joker A 149 .pack. find the Joker and slide it to the bottom of the pack. Draw out the bottom half with an Undercut and extend the upper half to receive the card. as desired. "Somebody must have put the Joker in the pack— anyway. THE TURNED-UP JOKER the effect: A card is selected. re- mark." With that. It can be kept there by a series of false shuffles and cuts. Openly place the lower half on the upper half and the chosen card will be on top. placing it there face up. Spread the pack. lift away the lower half of the pack with the left hand and thumb the Joker so it falls on the table. and the magician spreads the cards face down.

The magician happens to show the bottom card of the upper half. THE PUSH-AWAY PASS the effect: A selected card is replaced on the lower half of the pack. rather than have it next to the chosen card. you draw away the upper heap." With that. the method: When the chosen card (say the 4*) is replaced on the lower half. flashing itsbottom card. edgeways. for example. the right draws off the top card and pushes it face down in the center. at the same time executing the Slip. you put the top packet under the bottom packet. so he puts that half beneath. because then we'd know where it was. you comment: "I wouldn't want to put this 10 of Diamonds right on your card. You then add: "We'll put this whole heap underneath. The spectator thinks that his chosen 4 of Clubs is being buried in this convincing fash- 150 A Finding a Chosen Card . He then buries the chosen card in the middle of the pack and proceeds to find it when needed. "And we'll push your card into the very center of the pack." While the left hand holds the pack. tilt the upper half upward." Here. which is on top of the bottom half. which secretly brings the top card of the pack onto the chosen card (4*). the 10 0. Notic- ing this.

A second card is then taken by another person. Spread the pack and have the card (10*) re- turned. who retains it so that it can be used in a later trick. Now turn to a second person. selected. you again separate the pack as you did before and natu- rally slide the upper portion under the lower. As he draws his card (say the JO). where you can control it until needed. By then. spread the pack again and ask him to take a card. but actually it is the unknown card that you "slipped" from the original top of the pack. the method: This is a neat way of de- laying a special cut that controls the first card chosen. keeping the tip of the left finger above the chosen card. the ma- gician has obtained the first card and can pro- duce it as needed. Close and square the pack.ion. But instead of separating the halves at the Delayed Cut jf% 151 . THE DELAYED CUT the effect: A card is selected and re- turned to the pack. This is simply an excuse for a later action. say the and removes it as the spectator you draw the two sections of the pack apart. The chosen card is now actually on top. The first card is 10*. sliding the upper or right-hand portion beneath the lower packet in the left hand.

with a single card face down on the top. Turn slightly to your* left while the chooser is looking at his card. and give it a complete turnover (fig. the performer finds the card and turns it face up. turn- ing it face up beneath (fig. you automatically put the first chosen card (10* ) on top of the pack. 44c). wherein the act of locating a chosen card re- sults in its revealing itself. but is actu- ally face up. In placing the lower packet on the upper. where it is seen staring at the spectator when the magician spreads the pack along the table. 44b). Spread the pack. a complete trick in itself. the method: Beforehand. slide a card from the top of the pack to the bottom. Hold the pack squared in the left hand. Have the spectator push his card 152 A Finding a Chosen Card . 44a). you draw the pack apart at the break that you are holding with your little finger. AUTOMATIC REVERSE This is a combination of card control and card discovery. square the pack. Be- hind his back. allowing the free selection of a card (fig.spot where the second card was. the effect: A card is selected and pushed into the very center of the squared pack. where it appears to be face down.

<FACE UP) IS NOT SHOWN BOTTOM CARD FACE UP fig. Square the pack. take the card from him and push it into the pack yourself. Automatic Reverse A 153 . PACK SPREAD- BOTTOM CARD PACK FACE DOWN. If he has trouble. but add that you can find it magically— and behind your back! Put the pack behind you. 44 face down into the center of the pack (fig. 44(d). showing that it is impos- sible to tell just where the chosen card went.

Each is returned to the pack. bringing the first (say J*) to the top of the pack while the second person is looking at his card (say 3 ^ ) You do this by the Delayed Cut and turn away to your left.and the chosen card will appear trium- phantly face up in the center (fig. But in this case. causing both the chosen cards to turn face up in different parts of the pack! the method: Here. which is given a magic riffle. telling the second person not to let you see his card. the Delayed Cut and the Automatic Reverse are worked together to produce a double-barreled climax. spread it along the table. Bring out the pack. So when you push the second person's card 154 A Finding a Chosen Card . and then turn the entire pack face down (fig. DOUBLE REVERSE the effect: Two cards are selected by different members of the audience. Now you go into the Automatic Reverse. sliding the top card to the bottom—where it comes face up— and giving the pack a turnover so only the top card is face down. 44c). turn the top card face up. 44f). . that card happens to be the card already selected by the first spectator. Have two cards selected.

you have two chosen cards face up instead of only one. showing both chosen cards face up. It is not necessary here to put the pack be- hind your back. the left gives it a full turnover and the about a dozen cards from the actual right lifts top of the pack and puts them underneath.into the pack. which makes the trick all the better! Double Reverse A 155 . Sometimes it takes a little while to find them. with a simple. sideward cut. The left hand can then make an undercut near the middle of the pack. which is handled openly and casually. The right fingers riffle the pack and it is spread along the table. As the right hand covers the pack.

There are cases. that very process may have brought it you can proceed di- to the top. These will be discussed individually. Revealing a Chosen Card In most card revelations. "Five. then revealed in some you already know surprising way. or can locate it. the card is first brought to the top of the pack. how- ever. where the chosen card does not have to be brought to the top of the pack." The magi- cian counts to the fifth card in the pack. thus bringing it to the top. all you have to do is look through the faces of the pack and cut just above the chosen card. If you have controlled the card after its re- turn to the pack. If the card. so rectly to the discovery. The spectator says. One of the simplest of card revelations is the following: ANY NUMBER DOWN the effect: The performer asks a specta- tor at what number he would like his card to appear. but it is not the chosen card. 156 A Revealing a Chosen Card .7.

Quick-Count Trick Jf$ 157 . Then count down the required number—in this case five—by revers- ing the order of the cards as you draw them from the pack. the method: First bring the chosen card to the top of the pack. But when you replace the cards on the pack. QUICK-COUNT TRICK the effect: Any number is named. once again. announcing: "And there's your card!" Since the chosen card is showing face up. from 1 to 15. At the person's number— say. It is not the chosen card. Show the fifth card. He does it now and counts down to the fifth card. but is done in a bolder. Repeat the count and hit it. the method: This is similar to Any Number Down. you automatically put the original top card— the chosen one— at fifth po- sition. reversing their order as you take them in the right hand. 8—simply turn over the whole batch and slap it face up on the pack. faster style that makes the repeat count unnecessary. That's when the magician remembers that he forgot to snap the pack five times. Start with the chosen card on top of the pack. The performer counts to it quickly and turns up the chosen card. This time it is the right card. then count off the cards quickly.

the left thumb secretly pushes the top card over to the right as if dealing it. The right hand drops the pack flat on the table and the air catches the projecting card and flips it face up. A chosen card instantly appears face up on top of the pack. if any one wants to know. the method: The chosen card is first lo- cated and brought to the top of the pack. This is covered by the right hand which moves along with the card. the thumb pressing the inner end of the pack. But you settle that by immedi- ately turning the whole batch face down. 158 A Revealing a Chosen Card . THE CARD TURNS UP the effect: Here is a card discovery that literally lives up to its title. The exact amount of pro- jection and proper distance for the drop can be determined by practice. 45). you can hand the pack to the chooser and let him verify your count. The magician squares the pack and drops it on the tafcle. In squaring the pack. Then the card is at the eighth position.everyone takes it for granted that it is the eighth. as they do not realize that the count was reversed. In fact. the fingers at the outer end (see fig.

THE KNOCKOUT the effect: Here is another quick and effective discovery of a chosen card. The spectator does so and knocks all the cards from the perform- er's hand. Its appearance comes as a surprise. In this case extend the pack and ask someone to strike it downward to the table. fingers below. thumb above. a sharp stroke will knock out all but the bottom card. Knockout ifr 159 . fig. the method: The chosen card is first brought to the bottom of the pack. 45 If the card jumps clear of the pack. which proves to be the chosen card. If the pack is gripped firmly between the thumb and fingers. the effect is just as good. too quick for the eye to follow. with the exception of one.

When confronted with such a situation. turns up the top card and says: "There it is!" If the bottom card is named. The magician places one card on top of the pack. the performer may be uncertain as to which one of two cards was selected. then turns the pack face up and shows the card. a chosen card may be learned through a process of elimination. the other on the bottom. if the spectator fails to knock away all the cards. Another procedure is to use the Knock- 160 A Revealing a Chosen Card . The grip is confined to an inner corner of the pack and. un- til only one of two choices remains. The card is then at the bottom of the reversed pack and is revealed in- stantly when the others are knocked away. He then says to the chooser: "Name your card. a "two-way" discovery is the answer. the Knockout can be delivered while the pack is held face up. With a chosen card on top of the pack. he is told to "hit the rest" in thesame fashion. the ma- gician gives the pack a snap. the wizard pack as slaps the though driving the card to the bottom. Or the magician himself can knock the cards away. DOUBLE CHOICE In certain tricks." If the spectator names the top card. Or oc- casionally.

Or. do a quick spell as with the Quick-Count Trick. When the wrong card turns up. The Turnup discovery can be used if the spectator names the top card as the chosen one. snap the pack and spell again. leaving either the top or bottom card. Suppose the person says. SPELL IT OUT the effect: After a chosen card has been shuffled into the pack. Simply deal off cards reverse fashion. the performer asks the chooser to name it. this time arriving on the card. and turns up that very card! the method: Have the chosen card on top. described previously. while the Knockout is reserved in case the bottom card is named. but in this case you spell the name instead of counting to a num- ber." Rapidly. variation: Spell the person's name instead Spell It Out A 161 .out. as with Any Number Down. "9 of Spades. the magician counts cards from the top of the pack. showing the 9 of Spades on the face of the dealt packet when you turn it over all to- gether. replace the packet. spelling "N-I-N-E O-F S-P-A-D-E-S" (a card for each letter). according to how the pack is held.

YOU CANT GET IT the effect: The magician places a pack of cards against his forehead and tries to con- centrate on a chosen card. He finally says." And it is funny. because the chosen 3 of Diamonds is sticking to the performer's fore- head. 162 A Revealing a Chosen Card . At the finish. which will help make it stick. Bring the chosen card to the top. he did manage to "get" it! the method: This comedy climax is easily maneuvered. tilt the head back and draw the pack slowly downward.of the name of the card." the ma- gician draws the pack away. "I just can't seem to get it. Somehow. repeating: 'Tunny. What was it?" As the spectator says. so the top card will adhere to the forehead. "3 of Diamonds. It works out the same. I just can't get it. but apparently you don't know what the card is until it finally turns up. Pause long enough to push the top edge of the pack against the card. then turn the pack face toward the audience and press the pack against your forehead with your right hand.

more deceptive. the method: The chosen card is on top of the pack. then raises the right hand slowly. The right forefinger is pointed straighttoward the spectators when it is placed on the upper edge of the pack. the bottom card fac- ing the audience. Magnetized Card Jjk 163 . Raise the right hand slowly and the card will rise automatically as though drawn by the forefinger. the chosen one. thanks to the constant pressure of the little finger. so they can grip the card quickly and hand it to the spec- tator. namely. letting the cardgo back in place. which makes it. one on each side of the chosen card. For a finish. From a little distance. The chosen card rises from the pack as though magnetized. either lower the right hand slowly. or extend the right thumb and second finger. This enables the performer to extend his right little finger and press unseen against the top or rear card it of the pack. it will appear to be rising from the center of the pack rather than the back. THE MAGNETIZED CARD the effect: The magician holds the pack upright in his left hand. He rests his right forefinger on the upper edge of the pack.

FIG. 46 AUDIENCE'S VIEW MAGICIAN'S VIEW A HAIR RAISER the effect: The magician holds the pack in his left hand. the method: Hold the pack with its long side toward the floor. with fingers in front. As the right hand goes through its pretense. He pretends to take a hair from his head and attach it to a card somewhere in the pack. He pulls the imaginary hair with his right hand and a chosen card swings up out of the pack (fig. 46). 164 A Revealing a Chosen Card . the left thumb simply presses the top card (which is the chosen one) and pivots it upward. front of pack toward the audi- ence. thumb in back. the ef- fect is very surprising. From in front.

TURN IT OVER
the effect: A card is chosen and re-

placed in the pack. The magician starts deal-
ing cards from the top of the pack, turning
each card face up and dropping on the it

card before, as he warns the chooser: "Don't
tell me your card— just let me find it!"

Soon, the chosen card— say the King of
Clubs—turns up, but the performer keeps on
dealing, insisting, "Don't tell me your card,
Fll soon get to it" Finally he slows the deal
and stops, saying: "The next card I turn over
will be your card!"
When the spectator smiles or shakes his
head, the magician reaches among the cards
already dealt and turns the chosen King of
Clubs face down. He has turned over the
chosen card as he said he would!
the method: Force or glimpse the card,
so you know it beforehand, or have it next to
a locator. No need to look for it, just let it
turn up in the deal. Keep on past it, then
gradually slacken the dealing speed and study
the backs of the cards before you turn them
up, as though that had something to do with
it. Then pull the "turnover" surprise as de-
scribed.

Turn it Over Jf% 165

JUST SAY "STOP"

the effect: A card is chosen and re-

turned to the pack, which the performer turns
face downward in his left hand. He shows the
bottom card, draws it off with his right fingers
and flips it face up on the table.
He continues this with a few more cards,
then speeds the deal a trifle as he tells a
spectator: "Just say 'stop' whenever you
want/' Soon, the person says, "Stop!" and the
wizard stops. He drops the next card face
down, the persons turns it up and finds it to
be the chosen card!
the method: Find the card, preferably
by a locator method, and place it fifth from
the bottom of the pack. Draw off the bottom
card, tilting the pack slightly upward as you
do, and deal the card face up on the table.
Do the same with the second card, but don't
tilt the pack as you deal the third card. That's

when you announce: "Just say 'stop' when-
ever you want." Draw off the fourth card and
then draw back the fifth card (the chosen one)
by means of the Glide (page 49).
From then on, you keep drawing out cards
just above the chosen one. When the person
says, "Stop!" draw off the chosen card next,
and that's it.
note: If a quick spectator says, "Stop!" as

166 Jjk Revealing a Chosen Card

you are about to deal out the fourth you
card,
are still all right. Just glide that card back and
pull out the chosen card instead!

THREE HEAPS-THREE CARDS
the effect: A selected card— say the Ace
of Hearts—is returned to the pack, which is
cut into three heaps. The magician shows the
bottom cards of the heaps—for example, the
9 of Clubs, King of Diamonds, 5 of Diamonds
—and deals them in a face-down row.
The spectator then designates one card-
say the King of Diamonds— and the other two
(9 of Clubs and 5 of Diamonds) are turned
face up, the performer asking in each case,
"Is that your card?" To which the spectator
replies, "No." The magician gestures to the
final card and says, "Then that must be it-
turn it up."
Again, the person is saying "No" when he
turns up the supposed King of Diamonds,
only to find that it is his card— the chosen
Ace of Hearts!
the method: Using a locator system,
look through the pack and put the chosen
card (Ace of Hearts) second from the bottom.
In this case, weassume that the bottom
will
card is the King of Diamonds.
Lay the pack face down and cut off a small
Three Heaps —Three Cards A 167

group—about one-third—to the and a
right
similar group to the left. Show the bottom
card of each group in turn and apparently
deal it face down on the table.
But with the center group use the Glide to
draw back the bottom card (King of Dia-
monds) so that you draw out the chosen card
(Ace of Hearts) face down instead. Now tell
the spectator to place his hand on any card.
Usually, he takes the center one, so you turn
up the others and he finds that he has his
chosen card.
note: Ifhe takes an end card, tell him to
slide it away and take another. If it's the other
end card, have him slide that away, too,
which leaves him the center card.
But if his second choice is the center card,
you immediately turn up the third card and
say, "Is that yours?" When
he says, "No,"
you turn up the first card, and ask, "Is this
yours?" Again, a "No." So you tell him:
"Then you must have it, yourself." And he
has!

THE SEVENTEEN CARDS
the effect: A spectator is given a batch
of cards and told to shuffle them and deal
them into two heaps. If there is an odd card
left over, he is to look at it, then place one

168 A Revealing a Chosen Card

heap on top of the other with the odd card
in between. There happens to be such a card,
which we will suppose to be the 9 of Clubs,
which the person remembers.
The magician takes the packet and deals
several rows of five cards each, giving the
spectator the choice of any such row. The
five cards are dealt so the spectator has a
choice of three, and he takes one of
finally,

the three cards. It proves to be the chosen 9
of Clubs.
the method: You use 17 cards but do
not mention the exact number. Since the
spectator deals them into two heaps and puts
the odd card between them— after looking at it
—the chosen 9 of Clubs becomes the ninth
card in the packet.
You proceed to deal the cards face down
to form the following layout:

1 2 3

4 5 6

7 8 9 10 11

12 13 14

15 16 17

You then "Take a row of 5 cards—
say,
across, up and down, or diagonally." Actually,

Seventeen Cards A 169

But by rushing the choice. 10. it will be his chosen 9 of Clubs. 14. 2. Or you can work it as a prediction by writ- ing the name of a card on a slip of paper and letting someone hold it. 'Take either row of 3 cards. 5. exactly as described with Three Heaps- Three Cards. 4. 11. 15. 17. 9. the ninth card (the chosen 9 of Clubs) is sure to be in the center. 13. proceed to "force" the center card. 6. Then lay out your 5 cards: ^ * 9 * * Again.9." the 9 of Clubs will again be the middle card. Whichever row is taken. 16. When the person turns up the final card. 9. while you lay out 17 170 A Revealing a Chosen Card . you can gather up the chosen row before the average person realizes that fact. 3.there are only 4 such rows. 9. the cards are face down and when you say.8. consisting of the following arrangements: 1. note: You can use this as a regular dis- covery of a card taken from the entire pack by simply counting off 17 cards and making sure that the chosen card is among them. 7. Deal them in a row: * * g Then. 12.

47b). The predicted card is placed in the center and. 47a). drop the pack in one section and slide off the top card so it goes in the other section (fig. the is pack is dropped into a hat. and the chosen card sails out (fig. after the rest have been eliminated. In placing the pack in the hat. fig. the magician snaps his finger from beneath. CARD FROM A HAT the effect: A card chosen. A well-delivered flip beneath the side con- taining the single card will send it scaling through the air.cards as described. the method: Bring the chosen card to the top. 47 CHOSEN CARD FUP HERE Card from a Hat jfa 171 . the paper is opened and found to contain the name of the card that was finally turned up.

the method: Have a dab of gum or soap handy on a coat button. Bring the chosen card to the top of the pack and. The performer cuts the packet and turns over the two top cards together. with the exception of the chosen card. showing how it mixes the cards still further. He repeats this a few times. Throw the pack squarely and cleanly against the wall. adding: "If the top card is facedown. the blacks face down. If 172 A Revealing a Chosen Card . the reds face up. This is a very startling climax. while the rest fall. All the cards fall to the floor. He hands the packet to a spectator and lets him continue the process. turn it up and remember it. as you turn away. then cut the pack once more. CARD ON THE WALL the effect: The magician throws a pack of cards against the wall. its weight will cause the chosen card to stick there. The performer turns his back and tells the spectator to cut the pack again. THE CARD THAT FINDS ITSELF the effect: A dozen red cards and a dozen black cards are shuffled in alternating fashion. which stays on the wall. back first. press the gum or other sticky substance on the back of the chosen card.

Reds and blacks are well mixed. Colors do not matter. cutting the pack and turning over a new top pair.it happens to be face up. it proves to be the. Bringing out the packet. anyway. Turn over the packet with the left hand and push the next card into the right. you change the color sequence. simply remember it and turn it face down. Go back to Card That Finds Itself A 173 . Finally. push the top card into the right hand. cut the pack. turning over two cards to- gether. he hands it to the performer.chosen card! the method: Arrange the cards alter- nately face up-face down at the start. except when the spectator turns over his single card. but all are face up with the exception of one card. who runs through the cards behind his own back. but the face up-face down setup is not disturbed. the spectator can resume his former procedure. red. Receive the pack behind your back with the left hand and proceed thus: With the left thumb. but you put them in red. The face- down card is removed from the packet and. when turned up. the performer spreads it face up on the table. Whenever you turn over two cards as one." That done. black rotation to draw attention from the real secret. black.

Turn the packet over off and push off another card. the red packet can be turned face up and actually shuffled into the black packet. Make sure that you impress upon the spec- tator exactly what he is to do* when he con- tinues your procedure. Then the trick is sure to work. you can show how sometimes a red and black card are turned over together. and later stress the turning of the single card.the original position with the left hand and push another card. presentation: At the start. 174 A Revealing a Chosen Card . This will bring the cards all face down—or face up— with the exception of the single card that the spectator noted and turned over him- self. simply go through the double packet and arrange them alter- nately face up and face down. If you miss on one or two cards. Continue thus throughout. dovetail fashion. as long as you stress the reds and blacks and the you intend to mix fact that them. In turning over pairs.' Or you can simply set them that way to be- gin with. but referring to "reds" and "blacks. or two reds. or two blacks.

This done while the magician's back is is turned and he tells each person to hand his card to the other. When he spreads the pack across the table. the magician has the pack separated into two groups (say reds and blacks) and he keeps them that way with a special shuffle. The magician up turns to the table. make Doubled Thoughts ^St 175 . the red card automatically goes among the blacks and the black goes among the reds. Thanks to their "doubled thoughts" the wizard finds both cards and brings them from the pack. At the out- set. are then replaced in the pack. seated or stand- ing opposite. DOUBLED THOUGHTS the effect: The magician shuffles a pack of cards and spreads it face down. When they exchange cards and put them back. so that two persons. the method: This involves a very clever use of the Divided-Pack principle. gathers the pack and glances through it while the two persons concentrate on their cards. can each take a card. so that each will know both The cards cards. clear across the table. Thus the performer easily finds both when he runs through the faces of the pack. all the red cards are at one end and all the black cards at the other. So each person natu- rally draws a card of an opposite color. presentation: In spreading the pack.

fi- nally drawing out the chosen cards." When the word is given. and hand it to your friend across the table. Then let me know. look at your card. this is really a surprising effect and well worth including in any routine." Once you have turned away. you say: "You each have a card? All right. gather the cards together and look through the pack as though concentrating deeply. Look remember at the card. or whatever com- binations you prefer. note: Instead of reds and blacks. FOUR-ACE DEAL Although one of the simplest of card tricks. remember it. pointers and non-pointers. the two groups may consist of odds and evens. although those near the ends can be widely spaced. place it in your own end of the pack and straighten the cards so I where you put the can't tell ones you chose. "But I want you both to wait until my back is turned. 176 A Revealing a Chosen Card . it. You simply state: "111 spread the pack across the table so you can take a card from your end"— this to the person on the left— "and you can take one from your end"— this is to the person on the right. you turn around. You each have the other's card? Good.sure that the cards near the middle still over- lap.

then into quarters. the magician keeps track of the Aces so that at the finish. with "A" the Ace heap: A B C D Four. The top cards of the heaps are then turned up and they prove to be the four Aces! the method: The four Aces are on top of the pack at the start. After the pack is cut in four heaps.Ace Deal £k 177 . Get the four Aces to the top of the pack and use the Riffle Shuffle. presentation: Here is a suitable routine which may be varied as required. but we will assume that he forms them in a square. As a result. the effect: The magician shuffles a pack of cards and asks someone to cut it into four equal heaps. As the heaps are not exactly equal in size. though false shuffles and cuts may be added. the magician follows a set rou- tine in telling the spectator to transfer cards from heap to heap. False and cuts may then shuffles follow. They are kept there dur- ing a simple riffle shuffle. letting the top cards fall last. Then: Have a person cut the pack in half. keeping the Aces on top. there is one on top of each heap. He may set the heaps as he wants. he has the spectator move cards from one heap to another until they are equalized.

The other two are still on A. you decide that D needs a few more cards. Now move cards one by one from B to C. then one from C to A. Now. which follows. however. or vice versa. not Aces. B looks a bit short. soyou have him move three from A to D. You then decide that C needs one more card. and a few from D to B or D to C. so have him move a card from A to C. Tell him to turn up the top cards of the various heaps and he will be surprised to find that he has dealt him- self four Aces! What makes this simple trick so effective is the fact that no one expects what is going to happen. and then from D to B. They are thinking in terms of heaps. until they just about balance. Have him move a few cards from the top of C to D. 178 A Revealing a Chosen Card . All is ready for the climax. For that reason. so you tell him to move a card from D to B. This puts two Aces on top of D. one at a time. It makes a good preliminary. to a trick such as The Assembled Aces. Next. whichever seems to balance best. never show the trick after another Ace Trick.

which is genuinely shuffled and cut. which isn't needed.. put the heaps on the pack and cut the pack. A person is given a choice of a heap. onto the top. Have the Joker on the bottom of the pack.about halfway down and simply throw the balance. Dealing cards face up soon brings you to the Joker. The heaps are gathered and replaced on the pack. or bottom half. This brings the Joker just above that group. There you deal 4 heaps of cards. That heap is turned up and is found to con- tain the 4 Aces! the method: Simplicity is again the key- note. one by one. You can now shuffle the pack. face down. overhand style. On each Ace he deals 3 more face-down cards. Deal 4 Aces with 3 odd cards on each. with 4 cards in each. so that they form a square: B C A D Assembled Aces Jf$ 179 . so he discards it and proceeds to deal 4 heaps of 4 cards each. THE ASSEMBLED ACES the effect: The magician deals the 4 Aces in a row. The magician then deals cards face up until he comes to the Joker.

After the gathering. draw more than half the cards and put them on the top. just as you did the Aces. so you can count to that heap. saying "One— two— three. The Aces arriving in a heap together will then be a surprise. 3 or 4. the more you have for your shuffle. The original heaps. all magically assembledl presentation: At the outset. count from C to D to A. only run down to the twelfth card. In undercutting the pack just before the shuffle. D. tap Heap A and say. Now. al- though the action is automatic. After the brief but genuine shuffle. the Aces will be in heap A. the shuffling." Always. "One. you can follow with a false shuffle and a couple of 180 A Revealing a Chosen Card . with their Aces. start at B. 2. ask some one to call any number. and then deal three more on each— one by one around the square— as you did before. announce that you will again deal four cards. as you count off." In the case of 4. Assuming that you dealt them B-C-D-A. and so on. 1. you stress that are dealing four separate piles with an Ace in each. going to C. so the more you put on top. If his number is 1. Heap A is the one turned up and there are the Aces. "One— two—three— four." If he takes 2. A. count from B to A. saying "One— two." If his choice is 3.

But the Joker is usually more effective and gives a good reason for the halt. Assembled Aces A 181 . you can use any bot- tom card as your "key" and simply stop deal- ing face-up cards when you come to it. Instead of the Joker.genuine cuts— each about half the pack in depth—which will keep the pack almost as it was.

Magic with Coins Tricks with coins run from close-up effects to showier manipulations in which coins are made to vanish and appear at the finger tips in very surprising style. skill is needed. flip them. as much as dexterity. What makes a good coin trick is facility.8. Here. So the first step in coin magic is to learn to handle coins with a light. At the same time. You can't just try a coin trick a few times and expect to impress au- diences with it. because it is apt to seem slow and laborious when done that way. jingle them. you will become acquainted with the basic sleights on which some of the simpler yet very baffling tricks depend. In this section. Similarly. the sleights used in this type of magic range from those which are simple and comparatively easy to some of the most expert of all manipulative work. toss them from 182 Jft Magic with Coins . Just pick- ing up a coin can be a clumsy action. easy touch: spin them. as you will see when the tricks themselves are studied. so that you can devote yourself chiefly to effect and presentation. the methods and routines have been kept as sim- ple as possible. as you may have found out when trying to make change in a hurry.

49 How to Palm a Coin A 183 . untilyou have a thorough feel of them. HOW TO PALM A COIN Here are three basic ways of "palming" or concealing a coin in the hand. That gained. 49a and b). you will find that the simplest coin tricks can be made impressive. The easiest and most quickly acquired is the fol- lowing: the finger bend: As the name implies. which are closed sufficiently to retain it there (figs.hand to hand. The position of the hand is natural and by holding the coins in the last three fingers the forefinger is free to point at the other hand or otherwise direct attention elsewhere. the coin is either placed or allowed to slide into the bend of the fingers. all useful in various coin tricks and manipulations. The Finger Bend is particularly useful as several coins may be palmed at one time b c FIG.

the thumb palm: In this excellent method. which enables the magician to show the back of his hand with fingers partly open. the coin is concealed by gripping it in the fork of the thumb (fig. One is to place the coin on the tips of the first two fingers (fig. 50 through this method. 50b). 50a). in a natural way that seems to make concealment impossible (fig. It has the added advan- tage that the inside of the hand can be par- shown in casual fashion tially (fig. 50c) and bend them 184 A Magic with Coins . There are two ways of attaining this posi- tion. 49c). FIG.

pressing the coin into the root of the thumb (fig. running the edge of the coin along the thumb (fig. the thumb gives the coin a turnover. Note that in this final action. 5of). the standard palm: So-called because the coin is actually gripped in the palm of fig. The other way is to clip the coin edgeways between the first two fingers. 50a). exhibiting it in that manner (fig. 5od). 51 o How to Palm a Coin A 185 . if the coin is "heads up" when clipped between the fin- gers. which is then brought upward and inward to clamp the coin in the thumb fork (fig. 5oe). This half turn is essential to the palming action. The fingers then bend inward. 50a). it will be "tails up" when finally palmed in the thumb fork. The thumb then swings over and clamps the coin into the palm posi- tion (fig. That is.inward.

well worth the practice necessary to acquire it. The hand is then turned back upward (fig. the Standard Palm may prove very difficult for some people to master and long. but in either case. To make the Standard Palm. The coin is retained in that position by contracting palm so that the coin is the pressed between the base of the thumb and the opposite portion of the hand (fig. 51c) and press it there. assiduous practice is neces- sary before the hand finally gains the proper muscular knack. it is surprising how much the process can be improved by constant rep- etition. which is apt to be a giveaway. the coin can be all but 186 A Magic with Coins . the coin is placed on the tips of the two middle fingers (fig. 51a). but they should not be stretched in an awkward "starfish" spread. this is at the same time one of the best of palming methods. Others find it quite natural. The back of the hand may then be shown with thumb and fingers extended in a natural fashion (fig.the hand one of the oldest and itself. 5ie). As the ultimate. 5 id). 51b) and the fingers are simul- taneously bent inward so that they bring the balanced coin up into the palm of the hand (fig. Though easy to follow.

action of the fingers. While the required still is being attained. SIMPLE VANISH the effect: A coin is shown in the right hand and is apparently placed in the left. COIN VANISHES Vanishes are frequently used in coin rou- tines and require proper timing and good mis- direction as much as digital skill.thrown into the palm by one smooth. Some of the simplest are among the best. but turn the body toward the left as the right fig. The method: Stand facing the audience. the coin has vanished. the beginner can rely on the palming methods previously described. 52 Coin Vanishes Jf% 187 . easy. When the left hand is opened.

the coin is palmed in the right hand as it moves to the left. apparently drawing the coin upward from the right finger tips (fig. The first two fingers of the right hand should be pointing almost directly away from the audience when they are laid on the left hand. the right hand palming the coin while on its way to the left. note: All these moves should first be 188 A Magic with Coins . On the way. With the ThumbPalm. The left fingers close over the right fingers and the left hand from a horizontal is raised to a vertical position. With the Finger Bend. while the left hand closes its fingers and moves away as though receiving the coin (fig. 52c). more of a sweep is necessary. 52b). the coin is lying on the right fingers at the outset. but is naturally hidden in the action. which is held palm upward. 52a) and drawing the right hand away as the left hand closes. So the right hand pauses.hand approaches the left. or moves inward toward the body as its finger tips graze the left palm. so it is simply a matter of turning the right fingers down- ward toward the left palm (fig. With the Standard Palm. the right hand palms the coin and the left hand closes as though receiving it.

a coin may be put in the left hand and shown there. Occa- sionally. retaining the coin in the finger bend of the right hand while the left fist closes as though receiving it (fig. Continue this a few times and finally turn the body toward the left. the method: Face the audience and toss the coin from the fingers of the right hand to those of the left (fig. the lefthand causes the coin to vanish. so that when the vanish is performed. which proceeds with the "vanish. the process can be imitated exactly. The repeated tossing of the coin creates the illusion that it was given a final throw from Coin Vanishes —Throw Vanish Jf% 189 . With a rubbing motion. 53b). which finally retains it. then taken by the right. 53a) and back again." THE THROW VANISH fig. the hands never come together. 53 the effect: A coin is tossed back and forth from the right hand to the left. In this case.tested by actually placing the coin in the left hand.

with the lefthand making the pretense of a final toss and the right hand closing as though it has received the coin. 54a). this is one of the oldest of vanishing sleights. Known also as the Tourniquet. but still very ef- fective. The right hand approaches the left. the coin being in a flat or horizontal position (fig. a coin is held in one hand and apparently taken away in the other. back 190 Jf$ Magic with Coins . the method: Hold the coin at the tips of the left thumb and first two fingers. from which it immediately vanishes. The neat part of this vanish is can be done either way. THE FRENCH DROP the effect: Here. that it The body can be turned to the right. which are pointed upward.the right hand to the left.

the left thumb is lifted slightly and the left hand is given a down- ward. 54b) it At that moment. This involves a brief sequence of simple but effective moves. . the right thumb should be pointed directly toward the spectators. THE FALSE DROP This is a very effective vanish that starts out like the French Drop and ends with a real surprise. the effect: The right hand takes a coin from the left and immediately opens. with the result that the coin actually falls into the bend of the left fingers (fig. showing that the coin has vanished. so that the right fingers cover the fall of the coin into the bend of the left hand. note: It is not necessary to keep the backs of the left fingers toward the audience when beginning the French Drop. although this is a common mistake. inward turn toward the body. and the right thumb is inserted in the space beneath the coin. upward. as though taking away (fig. Instead. The left hand is then shown empty and both hands are dis- Goin Vanishes —False Drop A 191 . 54c) while the right hand apparently takes it along. The left fore- finger points to the right hand from which the coin is vanished. the right fingers closing over the coin in a forward motion.

the left hand pointing to the right. the fingers of the left hand brush the right palm lightly and the left hand is turned about so that the left thumb 192 Jfk Magic with Coins . This move is perfectly concealed by the right fingers. the right thumb moves beneath the coin from right to left (fig. but tilt it backward. 55a). 55c!). while the left side of the body is turned toward the audience (fig. In following its curve. which is closed in a loose fist. the coin being concealed behind the fork of the thumb hand (fig. front and back. with no sign of the vanished coin. The left is then turned toward the audience and is spread wide to show that the coin is not there. the right hand constantly keeps the coin from sight. As a result. The right hand is now swung upward and over to the right. but the left hand is held with the backs of its fingers toward the audience.played. which close as the coin is secretly taken away. 55b). the left thumb and fingers do not release the coin. The right hand is now opened and shown empty. the method: This starts like the French Drop. 55c). As a final touch. At this point. so that it is clipped at the back of the fork of the right thumb (fig.

The right thumb is then lifted slightly. The coin leasing the coin drops down into the bend of the left fingers Coin Vanishes —False Drop A 193 . •> d (AUDIENCE'S VIEW OF c) fig. 55e). 55 rests idly against the right palm. re- from the back grip. the left fin- gers extending below the right hand and up in back of it (fig.

the sound being exactly the same as if they were clinked together in the right hand. The back of the right hand is promptly turned toward the audience and the left forefinger points to the right hand (fig. or vice versa. and not as a solid stack. in order to release the hidden coin. 56). rather than lifted. 55g). MULTIPLE COIN VANISH the effect: Several coins are transferred from the left hand to the right. will help cover the secret action. accompanied by a backward tilt of the right. 194 A Magic with Coins . During the dropping of the coin note: (fig. The hand which takes the coins is opened and the coins have vanished.(fig. Either of the following two methods may be used: with the French drop: Instead of a sin- gle coin. When the right hand apparently takes away the coins in French-Drop fashion. 55f) a slight upward motion of the hands. use a stack. 55f) and is retained there. they fall with a pronounced jingle into the bend of the left fingers. The right thumb should be relaxed. the method: This is merely an adapta- tion of a single coin vanish applied to several coins at once. but hold them loosely spaced between the left thumb and finger tips (fig.

Actually. 57 WITH THE SIMPLE FINGER-PALM VANISH: The left hand lays the coins in overlapping fashion on the right palm. 57b). the right fingers are slanted downward. the back of the right hand being turned toward the spectators. At this point. while the left hand is cupped as though receiving them (fig. they fall into thebend of the right fingers. The right hand then apparently dumps or pours the coins into the left. or the right hand itself shifts the coins into that position (fig. with the left fingers curled up in Coin Vanishes —Multiple Coin Vanish A 195 . 57a). toward the heel of the right hand. fig.

Since skeptical spectators usually claim that a vanished object went "up your sleeve. while the right retains them palmed in the bend of the fingers. the sleight becomes not only natural. This may be difficult to perform at first. 57c). The left fist closes and moves away (fig. the two middle hand provide a short but fingers of the right quick snap that skims the coin up the right sleeve (fig. Again. but once the knack is acquired. and keep the wrist about level." it is not good policy to indulge in "sleeve work" 196 Jf$ Magic with Coins .front of them. The right fingers take the coin with a plucking sweep and the coin later van- ishes from the right hand. but almost auto- matic. roll it up inside the coat sleeve. which may be held palm up or back up as preferred. the jingle creates the impression that the coins have been trans- ferred from one hand to the other. 58). Snap the coin cleanly. If the shirt sleeve impedes the coin. rather than too hard. as though containing the coins. THE SLEEVE VANISH the effect: A coin is laid flat on the left hand. the method: Actually.

regularly. While the coin spins. in connection with certain tricks where its occasional use is justified. THE SPIN VANISH the effect: Start a coin spinning on the table by snapping it upright between the thumb and second finger. taking it away in the fist. The Sleeve Vanish is valuable. 59 Coin Vanishes —Spin Vanish Jf% 197 . the method: This is another form of the Sleeve Vanish. how- ever. The coin then van- ishes from the clutched hand. but the fingers sweep the coin fig. the hand swoops down and grabs it.

this is easier than sweeping the coin flat. giving the effect that was plucked it from the air. the knack must be acquired with practice. which should be almost directly toward the audience. By moving the hand upward during the process and bringing it to a sudden standstill at the finish. SIMPLE COIN PRODUCTIONS The production of a coin at the finger tips is an excellent effect and is easily accom- plished from any of the "palm" positions. Again. Oddly. to avoid any clicking of the coins.while it is spinning. thus skimming it up the sleeve. However. from the finger bend: Simply push the coin up with the thumb until it comes above the second knuckle of the forefinger. the start of the push-up should be slow. Several palmed coins can be produced in succession by this method. from the thumb palm: Bend in the 198 A Magic with Coins . 59). it can only be performed when seated at the table and the hand must be given a slight lift as it makes the clutch to allow sufficient space between the wrist and the sleeve. but in that case. as the clutching action supplies the necessary impetus and the spin helps the coin to skim (fig. the coin's appearance will be sudden.

it may be found at the left elbow and drawn into sight from there. By moving the hand forward and describing a small spiral during this action of the fingers. other effective productions: Starting from any palm position. the hand is raised so that the fingers point slightly upward. This enables the forefinger to press down on the upper and the fingers side of the coin. giving the im- pression that the coin is caught at the finger tips. To accomplish this. where the thumb presses the coin and mo- mentarily steadies it.second finger and lever the coin up against the thumb. from the standard palm: hand Tilt the forward and let the coin drop from the palm to the tips of the second and third fingers. are extended with the coin clipped between them. their motion will seem slight. while the coin is being worked Simple Coin Productions Jjk 199 . the right fingers should be dipped below the left elbow and brought up behind it. All in the same action. while the thumb pushes the coin to the extreme tips of the first two fingers. Assuming that it is palmed in the right hand. a coin may be pro- duced in a variety of ways. which moves the coin slightly in- ward.

where the thumb presses through the double thickness of the trousers cloth from in front. apparently tugging the coin through the cloth. easily learned and quite baffling if presented briskly. FROM HAND TO HAND This one of the best of close-up coin is tricks. A similar production can be made at the knee. drawing the coin into sight.to the right finger tips. the right thumb and fingers are drawn downward. while the fingers slide the coin into sight from in back. the coin seems to emerge from the cloth. Again. the right hand dipping behind the right knee and letting the coin drop from palm position to the finger tips. Still pressing firmly. which also retain the coin in position. Then the right fingers are brought slowly downward. so the cloth can be drawn taut between the thumb and fingers. Another effective production is the appar- ent drawing of a coin through the left sleeve. which moves up behind the left fore- arm and works the coin to the finger tips behind the sleeve. The right thumb then presses the sleeve from in front. It may be performed with 200 A Magic with Coins . The coin is originally palmed in the right hand.

Again. Let the first two fall about a half inch apart. provided they are all alike. A coin passes from one hand to the other." With each count. leaving one and five. This operation is twice repeated. but quarters or half dollars are preferable. so all six are in one hand. a coin travels in that magical fashion. and with the right hand pick up the other From Hand to Hand A 201 . dropping its two coins. while the right hand opens and drops four. until the right hand holds all the coins. three for the left hand: one— two— three— . then give the third coin a slight down- ward fling so it strikes both the others. The final coin then joins the rest. The right hand apparently puts three coins in the left. The left hand is opened. Then slap the left-hand coins on the table. the method: The trick starts with the coins in two stacks of three coins each. making a sharp clink. pick up a coin with the right hand and drop it in the left. but secretly retains one coin and promptly picks up the other stack of three. making two and four.any coins. the effect: The magician shows six coins and takes three in each hand. presentation: Begin with the statement: "Here are six coins. Thus a coin can be "passed" from the left hand to the right.

" the right hand dropping its coins. Again a coin 202 A Magic with Coins . "One." The right hand moves to the left." It picks up the second coin and palms it. the left hand dropping its two coins. saying: "And three for the right hand. the magician counting. "leaving two here. striking the coin already there. slap the right-hand coins on the table. the left hand is cupped slightly." the right hand palms a coin instead of dropping it. "One." the right hand slaps the third coin into the left." But on the count of "Two.stack of three. "and four over here. Now. The right hand then gathers its four coins along with the one it holds palmed." and the left hand closes as before. The righthand then scoops up the other stack of three coins. This causes a repetition of the clink that was heard before. as if receiving the coin." After that. The magician comments: "There goes one coin. on the count of "Two. At the same time." and the hands are opened. The left hand makes a magic pass toward the right. At the count of "Three. picks up a coin and drops it on the left hand. adding them to the one it has already palmed. the right hand again picks up a coin and drops it in the left hand. The magician continues. as the magician says.

while the right. However. with the final coin. The right hand then picks up the last coin and palms it while pretending to place it in the left hand. which closes over the imaginary coin.is passed invisibly from the left hand to the right. with a throwing motion. a neat switch can be introduced. From Hand to Hand Jf$ 203 . but is retained in the left— "and take the five coins in the left hand. causes the last coin to pass into the left. Suppose we leave it in the right"—here the Throw Vanish is executed and the coin appar- ently goes into the right hand. which spills the coins on the table as the performer states: "And here we have all six coins!" The Finger Bend is the easiest "palm" for this trick. with the comment: "It doesn't matter which hand takes the coin. The hand picks up the remaining right five and the left hand passes a final coin to the right hand. as follows: Start tossing the last coin back and forth between the hands." The left hand picks up the five coins and shakes them with the one it holds palmed. and they are slapped on the table as be- fore. the placement of the coins in the lefthand being similar to the move in the Multiple Coin Vanish.

impromptu coin production which literally proves the saying. "The closer you watch. proving that the hands contain nothing else. the half dollar projects straight be- hind and cannot be seen in the curve of the it right thumb and forefinger. one dime is rubbed against the other. palms toward the spectators. the effect: Two dimes are shown. the left hand takes the second dime and holds it in a similar position. while the right thumb secretly raises the half dollar to an edgewise position behind the dime. Meanwhile. with the back of the hand toward the audi- ence. The hands are brought together. The left hand adjusts the two coins so that when the dime is shown "full front" to the audience. and from between them the magician produces a half dollar! the method: The half dollar is originally concealed in the bend of the right fingers. the less you see/' Presented under the proper conditions. one in each hand. it is a real barrier. each held at the tip of thumb and forefinger. this free handling diverting any suspicion from the right hand's dime. Both hands are shown 204 A Magic with Coins . MARCH OF DIMES This is a neat. The left hand places one dime upright between the tips of the right thumb and fore- finger.

magically produced! Coin From Wand A 205 . and the left is turned so its fingers come in front of the right. With persons seated at an angle.briefly. the closer the right-hand dime is shown. then opened. A slight rotary mo- tion of the hand will make it difficult for any- one to glimpse the hidden coin. a longer range is needed. COIN FROM WAND the effect: Here is the real magic touch! You show your left hand empty. thus completely concealing the coin from any angle. you drop a half dollar. When worked with a spectator directly in front. keeping it full front as the hands are brought together for the climax. The left hand is closed. touch it front and back with a wand that you hold in your right hand. The half dollar is then turned broadside toward the audience and "produced" by spreading the hands slowly apart. the better. With the action. as its concealment of the half dol- lar is perfect. the second and third fingers may be lowered beside the half dollar and the hand turned slightly leftward as it comes to a pause. the tip of the right forefinger also turns the edge of the dime. As a final safeguard. From it.

while holding the wand in the right hand at the lower end. so you can tap back with the wand. mysteriously arrived from nowhere— certainly not from the innocent-appearing wand! 206 A Magic with Coins . First. Show thehand empty and tap your left open palm with the upper end of the wand. open the left hand and show the half dollar. which contains the coin. A narrow slot is cut near one end. just wide enough to receive a half dollar. the method: The coin actually comes from the wand. which should be turned slightly so the left hand takes the coin away. draw the wand from the left fist and turn the left hand over. which can be ornamented with silver paper tips. edgeways. With a little practice you will find that you can keep the coin completely hidden. its Now. make a wand of tightly rolled paper. The wand should be at least half an inch thick. preferably a glossy type. where it is lying with the half dollar away from the audience. All in the same move. Close the left fingers over the wand. Pick up the wand from the table.

one upper end. In the same natural manner. closing the left hand as it reaches the lower end. the right hand taps the back of the left with the end of the wand. one at each end. and in back of it. The left hand is opened and the half dollar is displayed. The upper produced in the left hand. you open left palm straight down casually slide the the wand. leaving the coin in the left hand. frontward. with the wand project- ing from The right hand takes the extended it. The right hand holds the lower end of the wand. coin and all. the lefthand takes the wand from the right. Two coins are placed in the slots. coin is as in Coin from Wand. Another tap with the same wand and a second coin puts in a mysterious appearance! the method: This is similar to Coin from Wand. But this time. another at the at the lower. The left hand is turned over. but the wand has two slots. end and draws the wand clear. Tightening. Double Coin Production A 207 . It is dropped on the table and again the left palm is tapped with the upper end of the wand. DOUBLE COIN PRODUCTION the effect: A tap of the wand on your empty left hand and a coin appears from no- where.

9. In the latter case. as thimbles lend themselves to manipulation more readily per- haps than any other objects. When drawn away in the other hand. either brightly painted or studded with imitation gems. giving them a sparkling ef- fect. larger thimbles may be used. Thimble Tricks Thimble Tricks form an excellent branch of magic." this type of manipulation good because the thimbles is are made to appear upon the tips of the fingers. The appliances— consist- ing chiefly of the thimbles themselves— are in- expensive. and by using colored thimbles it is pos- sible to change from one color to another. 208 A Thimble Tricks . Multiplication of thimbles adds to the sur- prise. only to reappear back where they belong. whether performing before a small group or a large audience. Yet the method is the simplest in the entire field of sleight of hand. From the standpoint of "effect. where they would ordinarily be worn. The tricks can be worked either at close-up range or on a platform or stage. yet showy when displayed upon the finger tips. they vanish. The methods used are essentially the same. suited as well to the beginner as to the advanced performer.

straighten the thumb by bringing it to a normal position alongside the hand. as in fig. clamping the thimble in the fork (fig. with the opening of the thimble inward. 60 Thumb Palm A 209 . Then double the finger inward. after he has become an advanced and highly experienced performer. guiding the thimble along the inner edge of the extended thumb (fig. Finally. 6oa. 6oc). The beginner magic who practices and in rehearses a simple but effective thimble rou- tine will find that it is still one of his best numbers. start with the thimble on the tip of the forefinger. THE THUMB PALM The most effective way of palming a thimble is to grip it in the fork of the thumb. the thimble is perfectly con- fig. To attain this position. When the back of the hand is held toward the audience. 6ob).

To hide the action of the finger. 6ia). 6ib). but this is more difficult and is used only in a few special manipula- tions. without stiffening the thumb or bend- ing it toe far inward. the hand 210 A Thimble Tricks . First. 6ic). the finger can be extended by running it along the thumb. no thimble on its tip (fig. This should be practiced until the position is acquired easily and almost automat- ically. If the thimble is slightly larger. insert it in the thimble (which hidden at the base of the thumb) is and extend the finger to display the thimble (fig. Then bend the finger inward. The thimble can be "thumb palmed" quite as effectively by starting with the thimble on the tip of the second Snger instead of the forefinger. 6od). or slippery. so that the thumb can press the thimble tightly on the finger tip as it passes (fig.cealed and the extended hand may be shown (fig. TO PRODUCE A THIMBLE The production of a thimble on the finger tip is accomplished by reversing the palming show clearly that the finger has process. It can also be palmed from the tip of the third finger.

PRODUCTION AT KNEE OR ELBOW Here. little motion of the hand is neces- sary—in fact. with a "reach. 6l should start with a slight rotary motion. 6id). the hand is brought slightly behind the elbow. just enough to hide the thumb and forefinger. FIG." or out- ward thrust. The thimble is quickly brought to the fin- ger tip and the hand is drawn downward. back in toward the body. the fingers are extended and the thimble makes its sudden appearance (fig. With the thimble palmed and the back of the hand to- ward the spectators. Then. during which the fingers are bent inward. Production at Knee or Elbow A 211 . the less the better.

Only a partial coverage is necessary to hide this action. presentation: There are two ways of cov- ering the palming action. 62a). from which it vanishes. which closes around the tip of the right forefinger and pretends to draw away the thimble (which is really no longer there).with the finger extended as though bringing the thimble from the point of the elbow. pointing to the left hand. It re- appears on the right finger tip. the thim- left ble is thumb palmed in the right hand (fig. both hands with their backs in view (fig. The left hand continues upward when the right pauses. One is to stand with the right side toward the audience and bring the right hand toward the left. 62b). SIMPLE THIMBLE VANISH the effect: A thimble is shown on the tip of a right finger. It is apparently placed in the left hand. A similar process is used to produce a thimble from behind the knee. as though drawing the thimble from the right finger. 212 A Thimble Tricks . with both hands moving up- ward in the process. the method: The thimble is thumb palmed in the right hand as it approaches the left. which helps the illusion. The right forefinger stays in sight. As the hand covers the right.

the per- former apparently places a thimble in his mouth and swallows it. so that the tip of the right forefinger is out of sight when the left hand closes around it and acts as though taking the thimble. 62 (REAR VIEW) LEFT HAND HIDES RIGHTS PALMING ACTION The other way is to start facing the audi- ence. the method: This is a variation of the Simple Thimble Vanish. SWALLOW VANISH the effect: In this bit of byplay. showing a thimble on the top of his right forefinger.FIG. The right hand palms the thimble during this sweeping action. only to have it reap- pear on the tip of his finger. where the performer faces the audience. Bring the hand upward with a rapid sweep. Swallow Vanish A 213 . with the right hand pointing directly toward the open left palm as it pretends to place the thimble there. then pivot to the left.

at the same time tilting the hand slightly inward. The lips close over the tip of the forefinger. 214 A Thimble Tricks . adding to the effect and eliminating the need of an immediate thumb palm. and in the air. A sudden gulp. From there. THE FINGER SWITCH This is a neat. then replaced on the right finger tip. from which it disappears. or bring the thimble back on the tip of the fore- finger. so that the tip of the forefinger is practically hid- den as it reaches the mouth. the effect: A thimble is shown on the tip of the right forefinger. as though leaving the thim- ble there. the thimble is placed in the left hand or the mouth. a blink of the eyes. Reach behind your elbow. It is removed by the lefthand and displayed to the spectators. and the hand is lowered slightly so that the finger can be withdrawn slowly and visibly from the mouth. deceptive move that can be used with either the Simple Thimble Vanish or the Swallow Vanish.thumb palming the thimble on the way. and a shake of the head add a comedy touch to the pretended swallowing of the imaginary thim- ble.

While the left hand is displaying the thim- ble. the method: Stand facing the audience and hold the right hand loosely fisted. not the fore- finger (fig. Due to the position of the hand. at the same time bending the second finger inward (fig. bend in the right forefinger and extend the second finger instead. apparently having left the thimble elsewhere. no one will note the difference. Immediately swing the right hand. 63 FINGER IN THIMBLE STILL ON EXTEND FOREFINGER SECOND FINGER Finger Switch jf$ 215 . The thumb side of the hand should be toward the body. Thus the thimble is actually replaced on the tip of the right second finger. This sweeping move covers the action and the right forefinger may be drawn into full sight. placing the tip of the forefinger in the left hand or the mouth. except for the forefinger which is pointing straight up. 63b). BEND SECOND fig. 63a).

of course. The left fin- left gers are closed and the thimble is removed in the left fist. should be emphasized throughout. The left hand is raised slightly and turned back toward the audience. all the time the thimble is on the tip of the right second fin- actually ger. the effect: A thimble is shown on the tip of the right forefinger. 63c). while the right hand thumb palms the thimble and then 216 Jf$ Thimble Tricks . THE TAKE-AWAY VANISH This one of the cleanest and most de- is ceptive vanishes in the entire realm of manip- ulative magic. The forefinger. yet it is so easy that it must be tried to be appreciated. and then reproduced on the right forefinger. The vanish follows. safe and unsuspected (fig. the method: Stand with right side to- ward your audience. as it leaves the left hand (fig. It can be thumb palmed while the left hand is being shown empty. six inches or more. from which it immediately van- ishes. which is placed in the open hand (fig. 64c). 64a). 64b). doubling the right forefinger inward. thimble and all. Close the left fist loosely around the thimble and draw the right hand straight downward (fig.

it can be taken away quite deliber- but at close range or with bad angles a ately. 64c). downward snap of the finger will speed the take-away and render it unnoticed. which is opened and shown empty (fig. THIMBLE FIG. 64 PALMED comes upward. 64d). Normally. note: The thimble is actually in view when the right finger moves downward from the left hand (fig. its forefinger pointing toward the left hand. but so momentarily that the spectators do not have time to glimpse it. Take.A way Vanish A 217 .

The Take-Away can be worked by hav- ing the thimble on the second finger at the start. By opening the left fingers with a rubbing mo- tion. TWIST-AWAY VANISH Here is a very neat and convincing vanish of a thimble. while the forefinger points to the left hand. the thimble may be thumb palmed or repro- duced on the tip of the second finger. However. instead of the forefinger. He shows a thimble on 218 A Thimble Tricks . Instead. the magician spreads his left hand palm front. the right second finger is simply doubled inward and retained that way. starting with it on the tip of the right second finger. This is particularly effec- tive during a routine where it is the middle thimble of three already produced and on the finger tips. in this case it is not necessary to palm the thim- ble at all. prefer- ably from behind the knee or elbow. the effect: Standing with his right side toward the audience. the effect is conveyed that the thimble was rubbed away to nothingness. Later. The thimble can be thumb palmed on the down swing in the manner already described. The hand draws attention in its direc- left tion by its well-timed lift and turnover.

The left hand literally seems to "twist away" the thim- ble from the right finger (fig. palm front. and the thimble is gone! the method: The thimble never leaves the right second finger. so that the second finger can dip down into the left palm. 65 the tip of his right second finger and brings the right hand. 65b). while the right turns inward toward the body. 65a). displaying the thimble there (fig. then opens. the left thumb Twist-Away Vanish A 219 . The "twist" leaves it doubled into the right hand. The left hand makes a squeezing motion. up in back of the left. The left fingers close around the thimble and both hands are rotated in deliberate fash- ion. RIGHT HAND TWISTED 'PALM AWAY* -LEFT HAND TWISTED UPWARD FIG. the left hand twisting upward.

While the left hand vanishing the thimble. The thimble is placed in the left hand. 220 A Thimble Tricks . giving the magician a "full hand. It is de- tailed here in its basic form. 65c).being kept loose enough for the tip of the right second finger to pass by." Then. thimbles appear one by one on the tips of the left fingers. a complete act in itself. After a few more vanishes and reappearances. addi- tional thimbles appear on the third and fourth fingers. in rapid succession. the right hand is either points with its forefinger. so that the magician is showing eight in all. EIGHT THIMBLE PRODUCTION This is the most spectacular of thimble routines. In the course of more manipulations. the effect: The magician reaches into the air and produces a thimble on the tip of his right forefinger. It can be ex- panded as desired by introducing color changes. the thimble is re- placed on the right forefinger and another thimble suddenly appears on the second fin- ger. or other effects. or thumb palms the thimble so that all the right fingers can be extended (fig. penetrations. from which it vanishes. only to re- appear at the left elbow.

similarly placed. four thimbles are placed as follows: One in the right change pocket of your jacket. During a series of vanishes and reproductions. the opening of the thim- ble upward. with their openings down. Finally. Instead of this. A suggested sequence for all these moves is given in the presentation that follows. These thimbles are arranged in a row.one hidden in the left trousers cuff. tucked out of sight beside the neck. he brings out the next three thimbles as though each was the original mak- ing its reappearance. one. one at the left side of the shirt collar. when the right hand is flashing four thimbles. or wherever else it may be obtained for immediate production. Four other thimbles are tucked up beneath the performer's belt on the left side of the body. the magician secretly obtains the first thimble from the change pocket and catches it on his right forefinger. a special thimble holder may be used and placed in a convenient position under the coat. In making the "one-to-eight" production. to form a com- pact pocket from which the thimble can be easily drawn by inserting the finger. at the right side of the shirt collar. the method: Beforehand. the left fingers obtain the second set of four from the belt or holder. Eight Thimble Production A 221 . which can be "tucked" from the inside with a small safety pin.

Reproduce the thimble on your right forefinger under cover of your left elbow. but palming it in the right. Turn the left side of the body slightly toward your audience. Show the left forefinger bare and simultaneously produce the right- hand thimble on the tip of your right fore- finger. Face the audience and vanish the thimble by pretending to swallow it. Vanish it again and produce it from beneath the right knee. presentation: In pocketing some object. as though it were the original thimble. and dip your left forefinger into its side of the shirt collarand bring out the thimble hidden there. keeping its back toward the spectators. With your right side toward the audience. reach in the air and produce the thimble on the tip of the right forefinger. as if it had traveled invisibly along the right arm. Turn your left side more toward the audi- ence and extend the right hand. the Take-Away Vanish being the most effective method. actually palming it in your right hand. secretly obtain the first thimble and thumb palm it in the right hand. actually palming it. Vanish the thimble by apparently placing it in your left hand. Pretend to "push" the left-hand thimble into the right elbow. 222 A Thimble Tricks .

The right hand then reaches into the air and catches a "new" thimble (actually the origi- nal) on the tip of the second finger. making three in all. from which it disappears. so that the right hand now has two thimbles. The left thumb and second finger remove the thimble from the left forefinger. The thimble from the right forefinger is now placed in the left hand. They place it openly on the right forefinger. You are now set to repeat the "along-the-arm" deception. (If you prefer. only this time the right forefinger "pushes" its thimble into the elbow and the left hand left reproduces its thimble on the tip of the left forefinger. Now the right hand displays two thimbles. The backs of the hands are always toward the audience. and a third is thumb palmed. A reach in the air and the palmed thimble is produced on the tip of the right third finger. swinging both arms clear across in pendulum fashion. actually being retained in the right hand by the Take-Away. you can begin by moving the thimble from the right forefinger to the third finger with the left hand. Then produce Eight Thimble Production A 223 . The right forefinger goes to the right side of the shirt collar and brings out the thimble. Pivot your body so that the right side is toward the audience.

) Again. Then. the left fin- gers are extended in front of the right hand. its fingers extended wide apart. this somewhat exaggerated move attracts attention to the right hand. actually palming it itself. and the right dips a finger into the left trou- sers cuff. The thimble is vanished from the left hand. showing a thimble on each left finger tip. its back toward the audience. This frees the right forefinger for the produc- tion of the fourth thimble. fingers doubled inward. This 224 A Thimble Tricks . the body is pivoted so the left side is toward the audience.the palmed thimble on the tip of the right forefinger. one on each finger tip. or dip toward the left ankle. while the right side is turned directly toward the audience. bringing out the thimble that is waiting there. while the left brings its fingers up beneath the belt and obtains the four thimbles that are waiting there. In either case. each with a thimble on its tip. The left hand now moves a thimble from the right forefinger to the right little finger. In catching this final thimble. the right hand apparently places a thimble in the left. out of sight in the hand. The left hand then swings upward. With that. the right hand should either reach high. one by one. The right hand is turned palm front.

the left thumb can move to the tip of the next finger. or even better.should be done rather rapidly. This may be fastened beneath the coat lapel. As each finger is extended. some per- formers preferring to place them in the out- side breast pocket. the watch pocket of the trousers. adding an ele- ment of surprise to the production. thimble holders: The placement of the various thimbles is purely arbitrary. where it will slide free when the finger is inserted. the thimble being placed on the short end of the clip. 66 Eight Thimble Production A 225 . A simple holder for a single thimble can be arranged with a small safety pin and a large paper clip. beneath the coat la- pels. pressing its thimble firmly in place as the finger is ex- tended. »J ==S=** PAPER CUP SHIRT FRONT INSERT FINGER AND PUSH INWARD V FIG.

Another plan is to set the holder edgeways. 66. By inserting the finger. One suitable position is at the lower left edge. The left hand obtains its thimbles at that time. which enables the left hand to drop naturally at the sideaway from the audience. Another neat production is from behind a necktie. then sewing four upright paper clips to it. The thimbles are set mouth downward. a paper clip being attached to the shirt front. The holder is attached inside the coat with safety pins at the corners and as otherwise re- quired. fig. so that they form a row. sufficiently spaced to place a thimble on each clip. so that the thimbles are in a vertical row. For the production of the four additional thimbles in the left hand. leav- ing the clip in place. the thimble is easily pushed free. so that when the fingers are inserted a slight upward slide will free them from the clips. while the right hand is catching its fourth thimble. many magicians prefer a special holder because it is safer and easier to handle than drawing thimbles from beneath the belt. This is shown in fig. thimble and all. 67 shows a thimble holder of this type. A good holder can be made by covering a strip of cardboard with cloth on both sides. just 226 A Thimble Tricks .

the left hand slides inside the coat and makes the steal. PM SEW SLIDE THIMBLE DOWN OVER SMALLER LOOP Of CUP PUSHUP FIG. Whether the thimbles are tucked beneath the belt or kept in a holder. Then there will be no fumbling if the fingers meet the rims of the thimbles instead of the openings. the left fist is closed and the Color-Changing Thimble A 227 . While the right hand is catching the fourth thimble. it is a good plan to have a row of five instead of only four. V. COLOR-CHANGING THIMBLE the effect: A red thimble is placed in the left fist. where it changes into a blue thimble. A shift of a fraction of an inch either way and you will have four thimbles at your finger tips. Again. 67 below the inside pocket.

the right hand itself helps hide the maneuver. this switch is never noticed (fig. 68d). Both hands are raised to the vertical. which is doubled into the hand so that it is hidden as you stand with your right side toward the audience (fig. the left hand displaying the blue thimble between thumb and fingers (fig. a t> FIG. the thimble is red again. the right forefinger drawn downward and the is left fist is opened. 68a) With a sweeping motion. Done rapidly. . the method: Show a red thimble on the right second finger. 68 228 A Thimble Tricks . 68b and c). When the left hand is opened. A blue thimble is on the right forefinger. By pointing the fingers toward the left hand. blue thimble is pushed into it. the right second finger being doubled. the right hand places its forefinger in the left fist.

Now the left hand replaces the blue thim- ble on the right forefinger. The left hand is Color-Changing Thimble A 229 .

This time. all fingers of the right hand can be shown. 68g). 230 A Thimble Tricks . and during the action. containing the red thimble. 68e). when the left fist is opened. the red thimble has replaced the blue (fig. apparently pushing the blue thimble there (fig. dropping the blue thimble along with it. 68f). 68i). which secretly draws away the red thim- ble (fig. the right second finger extended into the left is hand. 68j). At this final stage. The opening of the left fist is turned di- toward the audience and the right hand rectly shows the blue thimble (fig. The left hand promptly closes into a fist.turned forward and downward to show its back (fig. then thumb palms it in approaching the left (fig. In the same move. The right hand takes the red thimble and pockets it. 68h). the right forefinger is poked into the left fist.

Rather than a "trick/' you are presenting a "prob- lem" which should astound the mind. Naturally. asyou would another trick. have been mental in effect.10. The whole tempo changes. This should be quite apparent to you. Mental Mysteries A 231 . the chief difference being that mental mysteries are presented more de- liberately and with greater stress on detail than other branches of magic. because many of the tricks described in earlier sections. It depends chiefly on whether you are using mental mysteries as part of a magical program. par- ticularly some with cards. there is no reason to take this too seriously. although feats of mental wizardry have long been part of the magician's art. adopt a more serious style. Mental Mysteries This is perhaps the most "modern" type of magic. although some performers do. not just deceive the eye. If you prefer to do a mental act. The effects to follow are more strictly of the mental type. work them fairly rapidly. or as a presentation of their own. If you are doing them as magic. dex- comedy. of surprise are generally eliminated. and even the ordinary element terity. Quickness.

letter by letter." and on the final letter. each bearing a different number between 1 and 20. 17 (S-E-V-E-N-T-E-E-N). while the chooser spells his number mentally. The ma- gician taps the cards in random fashion. The numbers are as follows: 2 (T-W-O). 5 (F-I-V-E). "Stop!" The cardboard square is turned up and by an amazing coincidence it is the one that bears the mentally chosen number. 13 (T-H-I-R-T-E-E- N). 16 (S-I-X-T-E-E-N). he spells "T-W-E-L- V-E. so that the count works automatically. In forming the circle. 7 (S-E-V-E-N). he says. in this case. for instance. 11 (E-L-E-V-E-N). so if the chooser is 232 A Mental Mysteries . A person notes a number and the cards are laid face down in a circle. TAP THE NUMBERS the effect: Seven square cards are shown. the cards are ar- ranged as follows: 2 7 *3 16 11 *7 5 Make the first two taps on any cards. Thus. 12! the method: Each number is spelled with a different number of letters. but on the third hit the 2.

while you turn away. then reach for the cards. . . . look at remember it and mix it with it. so he can do this. . the rest. This allows time for the spelling. Then jump two more to 7 on around the circle. just that number and no other. Fll try to catch your thought. so you and so automatically turn up the right number on the word "Stop. like 'O-N-E' for l-or T-E-N' for '10'—and on the last letter. You continue: "As I tap the cards. want you to spell your num- I ber mentally." presentation: showing the cards. . hitting 5. numbers down. say "Stop/" Tap slowly. . with no mention of spelling. Instead of jumping two cards." You hand him the cards. . as though concentrating deeply. saying: "Let me have the cards so I can go through them while you keep thinking of your number . numbers up— "and I want you to take one.spelling "T-W-O" he will say "Stop" as he completes his spelling and you will turn up his card. but you have set your circle in the correct order. In speak of numbers only. Now. you can move diagonally Tap the Numbers Jf% 233 . Just say. I have it!" You don't have it. jump two cards in clockwise fashion. "Here are some cards with numbers from 1 to 20"—here you run through them. For the next tap. . numbers down.

) They are gathered face down in the following order." the effect: Six cards. Behind his back. but with an entirely different result. as though describing a seven- pointed star. each bearing a num- ber between 1 and 20. (This means eliminating the 17-card used in the Tap the Numbers routine. the magician draws two cards from the remaining group.across the circle. A spectator is given the choice of any card. 16. 7. 11. add up to 18. The spectator looks at his two cards and they. He hands the odd card to the spectator. are mixed and dealt in a circle. its climax is a surprising mental "coincidence. which he takes without showing its number. 234 A Mental Mysteries . with the numbered sides downward. PAIRED THOUGHTS This is an excellent follow-up to Tap the Numbers because it utilizes the same cards. from the top down: 2. 13. 5. 7. Again. then another pair. 16. 5. their num- bers both add to the same total. exactly 18. completing the trio of paired thoughts. This amounts to the same as jumping but appears more like a random proc- ess. the method: The cards used bear the numbers 2. too. 11. When the two pairs are turned up. 13.

someone takes a "B" card. you pick up the other pairs together and drop the odd card on top. finally drop the odd B on top. For example. C-C) ac- pairs tually add to 18 each. each card going on the one dealt before. A A 5 13 B B 2 16 C C 11 7 The face-down (A-A. and appear at about the same distance apart as the cards in the first pair. Now deal the cards in three pairs. The left heap is then placed upon the right heap. showing that they total 18. Hand the odd card face down to the spec- Paired Thoughts A 235 . Put them behind your back. B-B. They are then dealt in two heaps. The diagram below indicates the proper position for each pair of cards. all with the numbered side down. bring out the two bottom cards (A-A) and lay them face up. then C-C. Bring out the next pair (C-C) and turn them up. again they total 18. left-right- left-right-left-right. putting one on the other. The second pair of cards should be more widely separated than the first pair. while the third pair should be closer together than the second. When someone takes a card. You pick up A-A.

as follows: 2 13 7 11 5 16 Call attention to the fact that the sum of each pair (top and bottom) is different: 2 and 11 equal 13. saying. or push it aside. as you have just shown. His pair (B-B) also totals 18. saying." Each pair is added in the same way so that at the finish you can say: "Put any pair together and they add up to a dif- ferent total. The cards are then set for the deal as described. gather the cards as follows: Put number 2 down on 7 and place them both on 13. completing the "coincidence. pro- 236 A Mental Mysteries . Remove 17 be- fore you start. "Five and eleven 11 are sixteen.tator and let him match it with his own. Now gather them by placing 7 on 2. since it is not needed. saying. "Thirteen and seven are twenty. you can lay the cards in two rows. When working Paired Thoughts as an indi- vidual item. 7 and equal 12. then put 11 down on 5 and put them both on 16. Now turn the cards face down. "Seven and two are nine/' Put 13 on 7." That is the case." presentation: When using this trick as a sequel to Tap the Numbers. deal them in two heaps and gather them as described." Then put on 5. 13 and 16 5 equal 29.

the similarity of the faces of Jacks and Kings being helpful. where each pair adds up to the same total. what is more. say the Jack of Clubs. Face-Card Fantasy A 237 . however. with no duplicate of the chosen card among them. the magician asks the spectator to name the card he chose. FACE-CARD FANTASY This intriguing effect can be presented either as a test in psychology or as a mind- reading experiment. one by one. is the same: You name a card which a person has mentally selected from a group of four. and he immediately shows the faces of the other three cards to prove that all are different. Jack of Spades. The result. The magician puts the cards in his pocket. keeping their backs toward the audience. King of Hearts. it is the very card that the magician now brings from his pocket.ceeding through to the finish. Whatever the card. preferably. you can do it without fail! the effect: The magician spreads a fan of four face cards and asks someone to con- centrate upon one card alone. the method: The four cards originally shown are. As he reaches into his pocket for the fourth card. then brings out three of them. Jack of Clubs and King of Diamonds.

. Jack of Hearts and King of Spades. which he has placed there be- forehand. say: so tell everybody what it is. presentation: Show the original four cards as you comment: "Here are four face cards.Diamonds. taken at random from the pack. nor this one . start shifting the cards in a shuffling fashion." Bring out the extra cards one at a time. King of Clubs. This enables you to put them in a fixed order. the magician has three other face cards. . nor this one. Do you have a card?" At this point. Hearts. but keep their faces to- ward you as you transfer each card to the other hand. . . the magician simply counts to it and draws it from his pocket. while I put the cards in my pocket. In his pocket." Placing the cards in your pocket you continue: "This isn't it . He brings out these three "extras/' and when the person names the mentally se- lected card. turning the faces toward yourself as though trying to guess the chosen card. . I would like someone to think of one of these cards and concentrate upon it"—here you turn the fan toward one person— "and keep it firmly in mind. But keep concentrating. you add: "I have it. so they can see 238 Jf$ Mental Mysteries . Clubs. . You then "That leaves only one card. . Spades. with a nod. Then. say.

King of Diamonds." As the person names his choice. saying to the Face-Card Fantasy A 239 . as you comment: "Ex- actly five cards— andone has been selected just mentally. but without hesitation— "in fact it should be your card"— here turn the three "extras" face toward the audience— "be- cause your card isn't one of these. Then turn to your right. the Jack of Diamonds. King of Hearts. so this must be it!" Turn the card toward the spec- tators to prove it. letting some other persons see the cards. but in the opposite direction. Have them in their final order. simply close the fan after the person makes his choice. Jack of Spades. so that the only card which "registers" with these people is the Jack of Diamonds. Jack of Clubs. Put the five cards in your pocket (above the extras) but retain the Jack of Diamonds and bring it out immediately. alternate routine: Use a fifth card. but place it in front of the others so it is the most conspicuous card of the five. saying: "I hope this is it"— here you draw out the card slowly." You can spread the fan slightly. Jack of Diamonds. Instead of shuffling the cards. count down in the pocket (Diamonds—Clubs) or upward (Spades— Hearts) to obtain the correct card.for themselves whether it is the card I kept.

.

chooser: "Don't tell me the name of your
card— yet. Just answer one question: Did you
take the Jack of Diamonds?"
If he says, "Yes," you show it and the trick

is done. If he says, "No," you turn to the

right and say: "Then someone over here must
have thought of it." Since they saw only the
Jack of Diamonds, someone is sure to nod
You then tell the original chooser: "Forget
the Jack of Diamonds. We'll eliminate it—
along with three more cards— until we have
just one card left in the pocket—your card— so
name it!"

While speaking, you proceed with the usual
routine of removing the three extras and bring-
ing the named card from the pocket after it

is called. This version gives you a more logical
reason for asking the name of the selected
card; also, with five cards there is less chance
of someone realizing that the cards shown at
the conclusion of the trick are actually differ-

ent from the originals.
Whichever way the trick is presented, at the
finish you can place the four (or five) cards
in your pocket and continue with some other
trick. Then, remembering that the cards be-

long in the pack, you bring them from the
pocket and replace them there. With them,
you bring along the extras and add the entire
batch to the pack, leaving your pocket empty.
240 A Mental Mysteries

THE TEN PAIRS
the effect: Twenty small objects are laid
on the table, so they form 10 pairs, for ex-
ample: a key and a cigar; a penny and a match
pack; a watch and a pencil; a ring and a cig-
arette pack; and so on. Similar articles can be
used, such as coins of different value, cig-
arettes of different brands, keys of different
shape, provided there is enough variance so
that each can be recognized individually.
While the magician's back is turned, differ-
ent people pick different pairs and remember
them. With 10 people, all 10 pairs would thus
be noted; with fewer people, some pairs would
be left out, which does not matter. That done,
the performer separates the pairs, placing the
objects more or less at random, until they
form four cross-rows with five objects in
each.
Now, the performer asks one person which
rows his pairs are in. The moment the person
replies, "The first and third," the performer

picks out the 2 objects. He turns to another
person with the same query. The reply might
be: "Both in the fourth row." Again, the per-
former picks out the chosen pair. He continues
untilhe has identified each pair of objects.
the method: The pairs, although they
appear to be placed at random, are actually
Ten Pairs Jf$ 241

set in a special order. Looking at the center
of the table, you imagine that you see four
words spelled in big letters:

T A R O T
E N D E R
I O N I C
S C A D S

Place the first pair of objects on each im-
aginary T, then a pair on A and A, R and R,
O and O, and so on, right down the line.
These words: tarot, ender, ionic, scads, con-
tain ten pairs of letters, all forming different
combinations, as far as the four rows are con-
cerned.
Thus, when you ask someone which rows
contain his objects, if he and
says, "First
third," you pick out the pair represented by
the letter "O ." If he says, "Both in the fourth
row," you pick up an object from each letter
"S." Use the same procedure with all the re-
maining pairs.
presentation: It does not particularly mat-
ter whether you work this as a mind-reading
feat or a memory both puzzling
stunt. It is

and entertaining, in either case. Simply make
sure that each person understands that he is
to pick a pair of objects, but leave them where
they are.

You then start placing the pairs yourself,
242 Jfk Mental Mysteries

saying, "I'll place these here and there, so
they will be mixed in random fashion." But
all the while you are setting them according
to your formula.
For a repeat, it is always good to lay out the
pairs differently. One way is to change the
order of the words, which varies the procedure
somewhat. It is still better to have other for-

mulas in reserve, so you can switch to them
instead. Here are two such arrangements:

MOTOR
S H E E R
N I N T H
M I L L S
or
S A L A D
z I P P S
T I T L E
O O Z E D

Originally, this trick was done with playing
cards instead of different objects; it is still

effective when performed that way. Simply
shuffle apack and deal 10 pairs of cards, face
down, letting a different person glance at each
pair and remember it.

The pairs are then gathered face down in
any order and you proceed to deal them face
Ten Pairs A 243

up from the packet, placing them according to
your word-formula. People then indicate the
rows in which they see their cards and you
pick out the pairs in the usual fashion.

CUP, DISH AND SAUCER
Here is a mental mystery with ordinary
objects seen on every table, making it an excel-
lent dinner-party stunt. The items used are a
cup, dish and two dozen lumps of
saucer, plus
sugar that can be poured from a bowl onto a
plate, or simply dumped on the table.
the effect: You ask three people to assist
you with this telepathic demonstration. For
convenience, we will call the first person
Andy, the second person Ben, the third
Charles. You begin by giving Andy a lump
of sugar; you give Ben two lumps, and Charles
three.
Now you state: "While I am in the next
room, I want one of you to take the cup, an-
other to take the dish, the third to take the
saucer— an absolutely free choice among the
three of you. Understand?"
After they nod agreement, you add:
"Whoever takes the cup must take the same
number of lumps that I have already given
him and hide those lumps under the cup.
Whoever takes the dish must take twice as
244 A Mental Mysteries

remaining lumps or you may give me a false mental impression. in dramatic style. Cup. Dish and Saucer Jfk 245 . that enables you to look through items of solid tableware. These words are: cadets." On your you pass your hand back return. you point from the dish to another person.many lumps as he already has and hide them in the same fashion. those that you told people not to touch. But first. not X-ray vision. and forth over the cup. and declare: "You took the dish!" Turning to the final person-in this case Andy—you conclude: "That means you took the saucer!" You are right on every count! the method: Actually it is a matter of counting. DRASTIC. Whoever takes the saucer is to take four times as many lumps and hide them/' you warn: "Don't touch any of the Also. write them out in the form of a column. you must memorize a list of words. dish and saucer. What you count are the left-over lumps of sugar. say Ben. as you announce: "You took the cup!" Next. Then. tell- ing each person to keep concentrating on the item which he chose. When you are ready. SCORED. cus- tody. dickens. you point from the cup to one person. say Charles. SARDONIC. or better still. call me back. with certain letters under- lined.

Whoever takes the cup is to take the same number of lumps that you originally gave him. You gave him three lumps. Whoever takes the dish is to take twice as many lumps as you gave him. the second person. S. respectively. Whoever chooses the saucer is to take 4 times the number of lumps you gave him. DraStiC 6. the third person. When listed they appear thus: 1. Also that there is note that the large letters. 246 A Mental Mysteries . Suppose Ben. D. You have given him 2 lumps of sugar. takes the cup. Those letters stand for Cup. appear in each word but in different order. So Ben takes 2 lumps and hides them. CaDetS 2 DiCkenS 3 CuStoD y 5. Here is how you use the list to work the trick: Suppose Andy. You have already given him 1 lump of sugar. Suppose Charles. the first person. SCoreD 7 SarDoniC Note no No. C. So Andy takes 4 lumps and hides them. takes the dish. Dish and Saucer. should take the saucer. 4 on the list.

Gup. lying over to one side as though they didn't matter. for example. a dish. Two lumps. and a spoon. meaning that Andy had chosen the dish. Ben. You can use more than 24 lumps of sugar. S. the second person. cup. instead of a cup. say a coin. and a saucer. and you are right! If they had picked the objects in some other order. Andy. You gave out 6 lumps to start with. took the cup. Dish and Saucer Jfa 247 . That means the first person. the third person. D. Ben the and Charles the saucer. if you use 28 lumps. mentally substract 4 from the left-overs before counting through your list. That makes a total of 18. But they matter a great deal! No. would spell dickens. So Charles takes 6 lumps and hides them. The three persons have taken 12 more. You tell them that. C. so you can ignore them. your key word would be different. took the saucer. Charles. Matches can be used instead of lumps of sugar. but make sure you know how many more. D. a dollar. 6 on your list is the word scored. Other objects can be used. So there will be 6 lumps left. making it sound very mysteri- ous. according to the left-over lumps. since they also conform to the initials C. took the dish. That is. but just as accurate. Its "key" letters appear in the order S.

still face down. some cards on which specific words are printed. one from each heap. THE WORD-CARDS This intriguing mental mystery requires a pack of cards bearing various letters of the alphabet. the effect: The performer runs through a packet of twenty-five cards showing that each bears a different word. one by one. also. it is easy enough to make up a set. Suppose he says. Similarly. He deals these into five face-down heaps and lets five people select cards at random. In 248 Jf$ Mental Mysteries . Now. This is repeated with the other persons. Alphabet cards can be ob- tained with certain card games. The word- cards can be the size of playing cards or larger. so the whole outfit is easily prepared. and they spell least. the required word-cards can be hand-lettered in colored pencil on pieces of cardboard cut to a convenient size. with the words printed lengthwise. He asks the first person to name the word he selected. so that only the choosers know the words they have taken. but if none are handy." The performer lays down his letter cards. the performer picks out several letter cards. "Least. and laid aside. The remaining cards are collected. using blank cards the size of calling cards.

The third. For the first person. fourth and fifth words can be handled in the same way by simply picking out the letters that spell any word in that group. spear. each cross-row becomes an individual heap. calling off "slate. This holds for all 5 words in the group: slate— steal—least- stale—tales. showing them as you do. When he calls the word on his card. each composed of words formed by the same letters. presentation: Start by running through the Word-Cards A 249 .every case the magician spells out the word correctly. smite"— and so on. one by one. you form a packet of 25 that you can run through. With the second person. But when the cards are dealt in 5 heaps. the method: The words on the cards are: SLATE STEAL LEAST STALE TALES SPEAR PEARS REAPS PARSE SPARE SMITE TIMES ITEMS EMITS MITES CANTER NECTAR TRANCE RECANT CRETAN GRANDEE ENRAGED GRENADE ANGERED DERANGE By one column of cards upon an- setting other. you pick the letters a-e-l-t-s from the alphabet cards and keep them toward you. you simply spell it letter by letter. a-e-p-r-s will spell any chosen word.

Turn the packet face down. such as the name of a friend." When he word is "Least. a place. saying: "Mix them all you want. The spectator is then told to 250 A Mental Mysteries . deal the five heaps and hand each to a different person. but act as though you were spelling the spectator's word mentally. He tells a spectator to write anything he wants within the magic circle. Just concentrate on that one card and the word that you find on it. Call the word and see how close I came. He then unfolds it and draws a circle in the very center. a telephone number or an address. then draw one card and lay the rest aside without looking at them. you pick out the proper letter cards. WITHIN THE CIRCLE the effect: The performer takes a square sheet of paper and folds it into quarters. Tell him: "Keep spelling the word to yourself—letter by letter— now I've got it. emphasizing that: "Here are twenty- five different words—" calling them off rapidly as you show them." states that the show the letters one by one as you pick them in that order. Continue with the other per- sons." That done.cards. acting as though you were spelling out each word through sheer concentration.

SECRETLY RETAIN FIG. date. 69 THIS TEAR PIECE TEAR OPEN CENTER. the per- former deliberately tears it in half. then places the pieces one upon the other and tears them into quarters. or whatever was written. the method: The information is written and the paper is folded and torn into quarters exactly as described. he keeps telling the spectator to concentrate on what he wrote. initials. But trickery begins when the fragments are pocketed or burned. Within the Circle A 251 . He either thrusts the torn frag- ments into his pocket or lays them in an ash tray and sets fire to them. Upon receiving the folded paper. and the amazed specta- tor admits that it is absolutely correct. Finally. AND PUT SUP AND LEARN AWAY REST NAME fold the paper and hand it back to the per- former. In either case. the performer gives the name.

69). During the tearing process. when you secretly open the center piece. whether seated or standing. which are on your side of the pad. into the Later. giving you a chance to read the mes- sage there. is to take a pad in the left hand and begin to write "thought impressions" with your right hand. and beginning over again. If you are seated at a table. crossing them out. The right 252 Jf$ Mental Mysteries . as you must find some subterfuge whereby you can open and read the center portion that you tore from the "destroyed" message. you can let your left hand rest in your lap while opens the center of it the slip. presentation: This is extremely important. you keep track of the center portion of the paper (fig. the left thumb retains that center piece and presses it bend of the left fingers. This action enables you to open the torn center between the left thumb and forefinger. or places them in the ash tray. you will find that it contains the entire circle that holds the written message. peo- ple suppose that you are disposing of the en- tire message. The three-quarters that are pocketed or burned are unnecessary. When the right hand takes the torn pieces and pockets them. Another way. tearing away a sheet from the pad. but they serve a useful purpose: when you show them in your right hand.

during which you read the message and finally answer it by writing the name or number on the pad. PREDICTED THOUGHTS the effect: A spectator is asked to think of any number between 1 and 1000 and to keep it in mind without naming it. you get rid of the center slip. since the center portion that you retain must be small enough not to be noticed while you are opening and reading it. Experiment with different sizes until you find one large enough to make the trick seem natural and yet not so large that the action becomes difficult. you simply open the torn segment and read it. In pocketing the pad. On the way. You can then tear the sheet from the pad and hand it to the spectator. Predicted Thoughts jfa 253 . you can walk away and bring back a pad from a table in the corner of the room. It is best not to use too large a piece of paper for this trick.hand can help in this operation. He turns a small glass upside down and places this predic- tion on the bottom of the upturned glass. The per- former writes something on a small slip of paper. saying it is your thought impression. which he rolls into a ball. If you burn the torn portions in an ash tray.

secretly retain- ing the center portion. which he burns. You merely pretend to write a number on it. The second person unrolls the little ball and reads the prediction. The magi- cian picks up the glass. who tears it into pieces. Call the dummy "A" and the duplicate 254 A Mental Mysteries . You set fire to the rest. Now. This is folded into quarters and given to the magician. as in Within the Cir- cle. This slip is rolled up and placed on the bottom of the inverted glass as a "dummy. unless you want to take a 1 in 1000 chance that you may be right. say 281. While they are burning. you take the paper and tear it into quarters. the spectator writes his number in the center of a square of paper. He finds that the magician has written that very number— 281— on the little slip that he in- scribed beforehand! the method: The little slip is exactly one-quarter the size of the larger square of paper. you secretly roll the center portion into a little ball exactly like the dummy that is on the inverted glass. The first person names the number he has in mind." After the spectator writes his number on the larger square and folds it. drops the prediction into it and hands the glass to another specta- tor.

THE NINE SLIPS the effect: A sheet of paper is torn into nine slips. and drops it into a hat. while the right hand turns the glass mouth up. You don't even have to know the number for your "prediction" to be right! presentation: Worked as described." Hold "B" pressed between the tips of your left thumb and second finger. The left hand seemingly drops "A" into the glass. A spectator writes a name on a slip. Now he writes other names on the re- Nine Slips A 255 . but actually presses it be- tween the tips of thumb and forefinger. With your right hand. Pick up "A" with the tips of the left thumb and fore- finger."B. the trick is almost automatic. pass the glass to a spectator and have him open the slip and read your "prediction/' It is sure to be right because what he reads is the actual number that the first spectator wrote in the center of the larger square. drop- ping "B" instead. Be deliberate but neat in "switching" the lit- tle pellets and the trick will prove itself a real barrier. all the same size. Emphasize that you have written your "prediction" or "thought impression" before the spectator wrote his. folds it.

folds them the same way and mixes them in the hat. Do this neatly. the performer goes through the slips one by one and finally gives the name that the person has in mind! the method: Use a sheet of paper with smooth edges. so the slips look alike. if necessary. will be 256 Jf% Mental Mysteries . the original center of the sheet. 1 1 I 1 B C j D e j v j f »AH 6 ! H I BQ RND SUP WITH ALL ROUGH EDGES SUPS DROPPED IN HAT G FIG. but one. While the spectator concentrates on the original name. 70 maining slips. 70a). cut any rough edges with a pair of scissors. Fold the paper into thirds—both ways— so it can be torn into nine equal pieces (fig.

Go through them one by one. one by its four rough edges. 70b). That makes it look like real mind reading. with page 105. It will whereas every other slip will have at least one smooth edge (fig. name by name. o. More names are written on the remain- ing but you can always pick out the right slips. have four rough edges. MYSTIC BOOK TEST the effect: The performer hands a book to a spectator and tells him to open it to any page. add its component figures and count to the word at that position. He is to note the number of that page. the performer writes some- thing on a sheet of paper of his own. presentation: Stress the fact that you are trying to catch one thought out of nine and that the slips are merely incidental. and 5 total 6. For example. the figures 1. the performer turns his back. then start over and stop on the chosen one. or put it on top of the others so that he uses it to write the name he has in mind. The two Mystic Book Test A 257 . slightly different. While that is being done. When the spectator concen- trateson his word. Hand the slip with the four rough edges to the person first. so the per- son would note the sixth word.

enabling him to consult the list and find the correct word according 258 £fk Mental Mysteries . grim 181. than 4. in 184. "got" the thirteenth word on page 184. one 125. way 12 3 . can be typed on a single page of a large pad. as: 1. the 2. but the result is worth it. give 121. heard 3. listing the words that may be chosen. page by page.slips are unfolded: the magician's word is iden- tical with the word written by the spectator! the method: This trick requires consid- erable preparation. while long. Thus "grim" was the fourth word on page 121 of a specific book.of 124. Such a list. it These are simply excerpts from a complete list. so that it will turn over with the flap. Thus the wizard is still holding the pad when he turns away. It is placed beneath the top flap of the writing pad and is gummed along the upper edge. "arrived" the fifth word on page 122. The magician uses the pad to obtain a sheet of paper so the spectator can write his chosen word. a 183. letter 122. or on a page of a smaller pad. if finely printed with a pencil. arrived 182. Take a suitable book— a paperback novel will do—and go through it. got 5. out 185.

to the page the spectator named. this should be well rehearsed to be effective. Fold the paper and hold it. presentation: Though simple and direct. Then you say: "I want you to think of any number within that range. you can name another one." You turn your back. closing the pad as you Mystic Book Test A 259 . you open the pad. you run through it. wouldn't it?" Here. as though he read the specta- tor's mind. then turn to that page. do you want to change the page number? If so. You have the book lying on the pad and as you hand the book to the spectator. You're satisfied? Very well. Incidentally. beginning with the first word on the page. Then add the figures in the page number and count that many words. mentioning that it has some 200 pages or more. the list sheet going along with the flap. write it on this sheet of paper. 167? All right. turn to your page and count to the fourteenth word while my back is turned. name it . This is the word that the magician writes on another sheet of paper. . that would be fourteen. You tear off the next sheet and hand it to the spectator. turn to that page and add the figures. . Then continue: "When you find the word. You have a number in mind? All right.

is "an- other. so let someone open both slips and compare them. 260 jf$ Mental Mysteries . so when you again face the audience you are holding the pad with a blank sheet showing. Study the spectator as he holds his folded slip and tell him: "Keep concentrating on the word that you have written .. . but immediately raise the flap and bend it back alone. tear off your sheet and fold it. . you keep the pad. and the book may be checked by mem- bers of the audience to make sure you selected the right word." That is done. so you can spot the "key word" for page 167. Meanwhile. which. Say it over a few times in your mind. THE REPEAT BOOK TEST While the Mystic Book Test may be re- peated. "Here is the impression I received.." Fold the list sheet back with the flap. . the words prove to be the same. we will assume. it has "one weakness: the somewhat arbitrary adding of the figures in the page number to count down to the word. but might meet with an objection or suspicion on a second try. I think I have it." Here you write the word on the pad. which apparently had nothing to do with the test. This is natural enough the first time.do.

the effect: A spectator is given a book and told to call the number of any page. but deceptive.That's when this alternate trick comes in handy. When he re- turns. In your pocket you have a duplicate copy of the book. going through the "concentration" process as though read- ing their minds. it is compared with the chosen word and both are the same. he writes a word on a slip of paper. The page and word are looked up and writ- ten on a sheet of paper. presentation: This should follow the pat- tern of the Mystic Book Test quite closely. Upon leaving the room or going to an obscure corner. In short. You then put the book away and return. bring out the book. you simply duplicate the same operation as the spectators. finding the same word while they are hunting for it. while another spectator calls the number of a word on that page. which is folded. to keep the counting simple. say from 1 to 250. the one difference being that you must retire Repeat Book Test A 261 . The magician leaves the room or goes to an obscure corner while this is taking place. turn to the stated page and count down to the number given for the word. the method: This is bold. say from 1 to 50.

the duplicate should be in another room. specta- tors select one of the packages and drop it in his hand. 262 A Mental Mysteries . the better. it diverts suspicion from the simple secret of the extra book. a pocket dictionary is very good. While a good effect in its own right. A SENSE OF TASTE the effect: The magician hands around some rolls of candy drops: lemon. cherry. there may be a slight suspicion that you were close enough to note or overhear something. All this builds to a perfect excuse to go out of the room. They hide the rest so the magician cannot see them when he turns to face his audience. At the same time. With a large book. The smaller the book. Also. grape. or- ange. this test is recommended as a "repeat" because the Mystic Book Test does not require you to step from sight and it is obvious that only one book is used. or any other flavors.to sufficient seclusion to consult the duplicate volume. Yet within brief moments the ma- gician names the flavor in the package which he holds. lime. All are exactly alike in size and general appear- ance except for their distinctive labels. While the wizard's back is turned.

So you say. Slide the label on again and you can name the flavor and hand the candy roll back to your mystified audience. slide off the label and find the break. presentation: This is helped by stating that experimenters have learned that there is a close association between telepathy or extra- sensory perception. so they may be identified as follows: lemon—broken near one end lime—broken near both ends orange—broken at center grape—broken at center and one end cherry— not broken Thus prepared. and the sense of taste. the packages are given to the spectators. and so you proceed to do. Having proven this to your own satisfaction. do not hesitate with A Sense of Taste A 263 . you are now prepared to demonstrate it pub- licly. or breaks. Use a type of candy package which has a loose label that may be slipped on and off. When you receive one behind your back. Slide off the labelsand break some of the packages. If desired the trick may be repeated with one of the other rolls. the method: The rolls look but they alike. the candy drops being wrapped within an inner lining of tin foil. are neatly prepared beforehand in an unsus- pected way. If you repeat the trick.

matches. that is entirely up to the per- son. disposing of the package and the evidence it represents. we will assume that the trick is done with playing cards. When the person is ready. and put the packages in your pocket. Work it briskly. By having duplicate (unprepared) packs in your pocket. While he is arranging the rows. each with the same number. Open that one and pass the candy around. just in case anyone decides to examine them. Any number may be used. and from which row. but to state how many cards he takes. THE TWO ROWS Cards. checkers— almost any small and handy items may be utilized in this impromptu mental mystery. For sim- plicity. or can even go into another room. so that he will have it firmly fixed in mind. you can later lay them on the table as though they were the originals. That done. the magician tells him to take away cards from either row. from three or four to twenty. as long as he is within earshot. coins. the person can take more cards 264 Jf$ Mental Mysteries . except for the final one. this being essential with all mental tests. the ma- gician turns his back.it. top or bottom. the effect: A person istwotold to deal rows of cards.

the magician says. add them. he names the exact number of cards that remain! # the method: The number of cards in each row does not matter. That leaves the rows like this: rTI/A'p « T* *¥* T* ^P *«* *f* T* T* ^F* *• BOTTOM: * * * * Two Rows jfi 265 . Then. You then ask the per- son to take away cards. or move them ashe chooses. Thus: He moves 3 cards from the bottom row to the top. as long as they are equal at the start. or he is allowed to transfer them from one row to the other. but to tell you what he does. or he may add cards. thus: rn/\« n* *r in *t* *c *r +n BOTTOM You do not see these cards. At one juncture. assume that the person puts seven cards in each row. suddenly. but at no time does the spectator state how many cards either row contains. but you take a high number of your own— say 20—and imagine or visualize the rows as containing that many cards each. "Stop!" With that. the magician suggests a number for the person to take away. and says so.from either row. as long as he tells how many cards were moved and states which row— or rows- happened to be involved. For example.

subtracting 16 (bottom) from 24 (top) so you have 8 cards in your 266 Jf$ Mental Mysteries ." The person then decides to add one card to each row." Now. He takes 3 (the number bottom row) from the 11 cards in his in his top row. BOTTOM: * * * Meanwhile. Now comes the important part: You tell the person to count the number of cards in the bottom row and to take that many from the top row. you mentally move 3 from bottom to top. 16 in the bottom. stating that fact. so that the rows stand: rr /™\TTj . He has: np/^TO » ^p nr ^r ^r *r nr *n nr v ^r BOTTOM: * * You say to yourself: "Two from 17 leaves 15 in the bottom row. Working from your "key" number of 20. with 23 still in the top. you are doing the same with your imaginary rows. giving you 24 in the top. you add one to each of your rows. which gives him: rp^yp . 17 in the bottom row. • ^r ^r ^r *r ^r ^h ^r ^h ^r *fi *f BOTTOM: * * * Mentally. saying to yourself: "Twenty-three in the top row. suppose the person takes away two from the bottom row. He announces that fact and per- forms the action.

any- thing from two up to twenty. That leaves him with a single row: ******** You. You then tell the person to take away his bottom row entirely. providing he states the exact number in each case. but be sure you Two Rows A 267 . so he will have it fixed in mind. then another with the same number. tell the person to deal a row of cards. He then has: * * * * You do the same and announce your final total: "Four!" presentation: Your aim should be to keep this test intriguing and same time rea- at the sonably simple. too.top row. you add. As he does so. identical with the row now on the table! From then on. "It canbe a small number or a large one. for you are both working right along with with the same number. That is why it has been described in exact detail. eliminate your imaginary bottom row and that gives you a single row with just 8 cards. remember these points: First. Assume that he simply takes away 4 cards. In presenting it. in order to avoid any false steps. You go him. you can let the person add or subtract cards as he wants.

I have it!" NAME THE NUMBER Similar to the Two Rows. but tell me how many move and cards you what you do with them. so as to fix it firmly in mind. You then say: "Now take away or add cards to either row. You can simply move them from one row to the other if you want. From these partial thoughts. I want you to count the cards in the smaller row. you continue. That's enough. without telling me. You've done it? Good. Now. this makes a good alternate or follow-up to that "test" be- cause there is enough difference between them to throw observers off the trail. Take that row entirely away. "Stop! I think I have it. tell me how many. or take some away if you prefer. Just to make sure our minds are tuned. but this time." Then. Add a few more.deal the same number twice—and don't change it— at least not yet!" Here. I am trying to gain a full impression. with that done. you convey the impression that you are already beginning to grasp his numerical thought. 268 Jfk Mental Mysteries . take the same number from the other row." After a few such moves (as already de- scribed) you say. "Now move a few more and tell me again.

which can go in either row he prefers. the person is told to count the cards in what is now the short row and to take that many from the other row. without stating the number (which in this case happens to be 2). namely: # * * * After due concentration and proper recep- Name the Number jf$ 269 . Suppose he says. The magician's back is turned while this is being done. The rows might prove to be: # # # # # # # s£c s{t sk jie jic jjc The person is name a small then asked to number. then to concentrate upon the number of cards in the one remaining row. "Five." The ma- gician tells him to take 5 cards from the long row and lay them aside. That leaves: * * * * # * Reverting to the first row the magician tells the person to take it away entirely. the effect: A person is told to take an odd number of cards or other items (as matches or coins) and lay them in two rows. less than the number of cards in either row. The rows will then stand: # # # # # # Next. equal except for the extra card.

" the ma- giciannames the number: "Four. . then his go through the next steps with the same pre- tense of concentration. 270 Jk Mental Mysteries . Let's take away the first row entirely." but in that case specify that the long row be at the top to start. or simply call them "top" and "bottom. you can term them "long" or "short" as described." the method: Follow the routine as given and the trick will work itself. Such rehearsals are necessary in order to work it smoothly and effectively. and so on. act as though you were di- vining the number of cards even then. your "key" num- ber for the climax being one less than the random number which the person named at your request! In this case. When the person adds the "odd" card to one row. there would have been 2 left. Play up the "mental" angle at every stage. You've done that? I thought so. he picked and that meant 5. If he had taken 3. In telling him to re- move the first row. In referring to the rows. . count the . Now.tion of transmitted "brain waves. presentation : A few rehearsals should make the trick quite clear. you can say: "Your mind seems to be going from one row to another. there would be 4 at the finish. Have the person choose number.

just large enough to receive a card comfortably. "That's too small. a tri- angle. Fix on the final number and keep it firmly in mind. who holds it to his head." Or. this proves to be correct. The envelope is given to the magician. One. one by one. seals it. When the envelope is opened. now. I am counting to it myself. and hides the other cards. above one. While the magician turns away. and names the symbol on the card. Count them mentally. With the cards is an en- velope. He calls attention to the fact that each card bears a different symbol: a circle. This mental test can be repeated with the Cards and Symbols Jf$ 271 . the rows would be equal- ized. three. a square.cards in the one remaining row. two." you simply say. someone puts one of the cards into the envelope. "Name any number at the start. you can say. four! That is the number!" note: If a person should remove only one item as his number." CARDS AND SYMBOLS the effect: The mental wizard shows four cards. So if he specifies "One. each about 3X4 inches in size. let's make it larger. but less than the number of cards in either row. concentrates. an X-mark.

It can be varied by having four different persons take an envelope from a packet and place a card in it. which bears the circle. The card with the triangle is cut slightly narrow. they vary slightly in di- mensions. slipping in easily but snugly. proving that it is impossible to see through them. is just the size of the envelope. too. the method: Although the cards appear to be identical in size. the difference can be checked swiftly and by holding the opposite edges secretly of the envelope between the thumb and finger and pressing slightly. One card. is normally indetectable After a card is sealed in the envelope. the difference about i/i6th of an inch.same success. which also is unnoticed. Again. too slight a difference to be noticed even when the cards are handled as a group. Therein lies the subtle secret of the trick. this. is The card with the "X" is cut both short and narrow. Yet the magician can name all four cards as easily as one. If there is no "give" in either direction. The card with the square is cut i/i6th of an inch short. the 272 Jf$ Mental Mysteries . how- ever. The envelopes can be thoroughly inspected before and after the performance.

The en- velope should then be lifted to your forehead. Put one. say at top and bottom. the "X" card is inside. presentation: Attention should be paid to the handling of the envelopes in a smooth. take it by the edges." By then. If the envelope yields to sideways pressure only. Transfer the envelope to the other hand."circle" card is in the envelope. Cards and Symbols A 273 . casual fashion. pressing it as you do. in an envelope and hold it to the light to prove that it is impos- sible to see through it. little concentration is necessary because you will know what card is in the en- velope. bol. In showing the cards. but not sideways. If there is a "give" from top to bottom. pressing them the same way. it is the "square" card. seal and concentrate upon its sym- it. it contains the "tri- angle" card. Then have a person put a card in the en- velope. When you reach for the envelope. stress the fact that they differ only in their symbols. so that you can concentrate upon its contents and pick up a "mental impression. then another. If pressure shows a slack in both directions. which naturally takes it by the opposite sides.

COINS AND COLORS the effect: The magician opens an en- velope and from it takes three smaller enve- lopes. if he took the blue envelope. half dollar. the magician concentrates with his back still turned and gives the following instructions: He tells A thathe took the red envelope. he can put in either the dime or the half dollar. each of a different color: one red. each coin of a different value: penny. If he took the yellow envelope. he is to put the dime in it. If he took the blue envelope. one yellow. If he took the yellow envelope. if he is to put the penny in it. He lays them on the table and places five coins beside them. Next he tells B that if he took the red en- velope. A. and C. He turns his back and tells each person to take an envelope. he can put in either the penny or dime. Now the magician indicates three persons. he can put in the dime or quarter. nickel. without letting him know who has taken which. quarter. one blue. he can put in the nickel or the half dollar. if he took the yellow envelope. If he took the blue 274 A Mental Mysteries . he must put in the coin of lowest value that is still on the table. dime. That done. B. Finally he tells C that if he took the red en- velope. he is to put the nickel in it.

The magician allows due time for that. and C. B has the blue envelope and the penny is in it. being in ignorance of how the envelopes are distributed. and the magician's statements are correct: In this case. as each per- is all son really has but one choice. As an afterthought. Theenvelopes are brought out. A. must specify each in turn. the magician tells B that if he took the dime. and if the half dollar is still on the table. B. C has the red envelope and the half dollar is in it! the method: Remarkable though the ef- Coins and Colors if$ 275 . because he has only one envelope and already knows its color. This done rather rapidly.envelope. he can put in either the nickel or quarter. He then proceeds to tell each person what color envelope he has in his pocket. picks up the two coins still on the table— say the dime and quarter—and drops them in his own large envelope. and also the coin that he has in that envelope. That done. then tells all three persons. But the magician. the magician turns around. to put their envelopes in their pockets. he can put back the dime and place the half dollar in the envelope in- stead. A has the yellow envelope and the nickel is in it.

All form it are the envelopes and the coins. Nor is this too difficult. b— io^f. B: r— 10^ or 50^. They are listed thus: A: r— 1#. The rest is also told on the envelope in a slightly more elaborate chart which you must prepare as follows: 1* St 10^ 25<* 50^ # # A-bl B-y C-r * * A-y C-bl B-r * A-y B-bl * C-r * A-y * B-r C-bl * * A-r C-y B-bl B-y * # A-bl C-r * A-r B-bl C-y # * * B-bl A-y C-r A-r B-y * * C-bl B-y * * C-r A-bl 276 £f$ Mental Mysteries . y— 5^. because: You have those instructions written on the large envelopewhich you retain. plus the proper instructions to A. Andy. this trick is self-working from you need in order to per- start to finish. b— 1^ or 10^.feet may sound. y— 10^ or 25^. C: r— 5^ or 50^. B. y— Lowest. But that is only half the story. b— 5^ or 25^. Ben. and Charles. so you can check them while your back is turned. and C who can be our old friends.

and Charles the red one. so Andy has the nickel in his yellow envelope. yellow. telling you that Ben's blue en- velope contains the penny. A. This means. A is in yellow. C in red. B. y. B in yellow. this trick is simplicity itself. quite obviously. r. C. are the colors: red. so that in the first row. you see 5^ at the top of A's. Coins and Colors Jf% 111 . and C is in red. Tests with actual envelopes and coins will prove helpful by creating famil- iarity with the effect. Once you turn your back. so Charles has the half dollar in his red en- velope. if you follow the routine as given. that Ben has the blue envelope. You see 1^ at the top of B's column. The small letters. and you see 50^ at the top of C's. you should give the details carefully to your three assistants. represent the three persons. A will appear in blue. presentation: Far from being complex. So the moment you gather the dime and the quarter. blue. In the chart. the capital letters. and the later rows will be treated in the same fashion. The stars ( * ) signify the coins that you pick up from the table. bl. But this can be simplified by marking the letters with colored crayons. you note from your chart (on the back of your big envelope) B is in blue. Andy the yellow one.

You tell each person the color of his envelope and immediately add the name of the coin that it contains.avoiding any indication that you are reading them from your envelope. if it is still there. too. act as though you were reading minds from the very start. then to pick a coin as you specify and concentrate on it. makes it seem almost as though you had visualized all that had happened up until that point. The climax of the trick can be dramatically handled. Instead. you can say to Ben. "And you have the penny— in the blue envelope!" After the envelopes are opened (and the coins removed). put them into the large en- velope and place it in your pocket so that no one sees the chart you used in the trick. To vary this. The little touch of reverting to Ben's choice and telling him he can put back the dime and take the half dollar. Tell each person to concentrate on the color of his envelope. 278 A Mental Mysteries .

Planning a Magic Show Now that you have a large stock of tricks. 43) The Climbing Ring (p. you can do the Nine Slips next. 22) The Rising Pencil (p. 244) or The Ten Pairs (p. 255) Tap the Numbers (p. Instant Cut and Restored String leads into Ring Off! while the Climb- ing Ring and the Rising Pencil follow in natural sequence. 234) Cup. 241) In this program. 19) Ring Off! (p. PROGRAM 1 Instant Cut and Restored String (p. Since you have the pencil available. 24) The Nine Slips (p. how do you go about selecting some for a perform- ance? Listed below you will find some sugges- tions for different kinds of programs. but since all are of Planning a Magic Show Jfk 279 . 232) Paired Thoughts (p. Dish and Saucer (p. This changes the pattern of Program 1 into a series of mental effects.11.

if you desire. and a handker- chief can be borrowed for the trick. PROGRAM 2 The Matchless Match Pack (p. A table knife can be used instead of the wand in Silk Through Wand. This program is especially suited for working at a table. 79) Silk Through Wand (p. is) The Suction Cup (p. making it strictly impromptu.a close-up or impromptu variety. 36) The Rapid Knot (p. for example. you can start with the mechanical version of the Hypnotized Match Box and add the im- promptu method after you vanish the box. It allows opportunities for repeats. 34). 39). 280 Jf$ Planning a Magic Show . 26) Vanishing Match Box (p. 200) Here you appear to be dealing with seem- ingly impromptu tricks. the Restored Match can be followed by the "Repeat" Restoration (p. they are in keeping with the occasion. no mental effects be- ing involved. you can follow the Matchless Match Pack with Improved Match- less Match Pack (p. Also. 31) The Restored Match (p. 97) From Hand to Hand (p.33) The Hypnotized Match Box (p.

chosen 135-155. Card Controls. 140 hair 164. 144 47. 249. assembled. Packet Shuffle. 147. 13-16 154-155. 100-102. 248. 122. 135. revelations 156-181. 113-115 129-134. cuts. 262-264 172-174. word 248-250 colored 57-60. reds and 147-148 blacks 140. "divider" 139. 176-178. 257-260. palming Bottom to Top shuffle. count-down Alternating False Shuffle or 49-50. 131 141. self-turning card 158-159. cuts 100. hat 171. tricks46-74. Bottom Glimpse. "breaks" (cards). coins 65-67. pointers 142-143. Automatic Reverse. 133. 156-157 false 107-110. Any Number Down. symbols 271-274. 1 12 125-126. "discovery" 148. locating book test. blacks and reds (cards). red 57-60. 260-265 144-145. 179-181 104-105. beginners. bottom 168-171. 105-106. 151-152. 152-154. 89-92. Index aces. 249 152-155. Assembled Aces. 147 Index A 281 . 179-181 controls 133-134. 135. 156-157. 143. seventeen alphabet 248. 160. 115-134. 25 magnetized 162-163. pack Bottom Card Location. 72-74 158-159. Behind Your Back. 139. 121. magic 101-134. bottle. location 132-133. sleights 144. deals 47-49. mystical. 112. 156-181. 142. alphabet cards. 153-154 106-107. self-finding candy. repeat. 140.

suction. 79-81 Eight Thimble Production. 148.cup and saucer 65-67 telepathy. Cards and Symbols. card. 154-155 colors and coins. 133-134. 274-278 Dovetail or Riffle Shuffle. 19-22 172-174 Cuts. drop. 171 Cut and Restored Rope. 139 Coins and Colors. 271-274 129-134. Card on the Wall. 104-105 Cup. 160 Draw Shuffle Control. false. 46-74 244-247 effect. 175 Coins and Cards. 244-247 Coin from Wand. 133-134 cord elastic. "discovery. 100-102 Card Turns Up. deals. 205-206 Divided Pack. 187-198 Double Coin Production. 79-81 220-227 282 A Index . 13 cup. Controlling the Card. French. dimes. 76-78. 151-152 Climbing Ring. Double Deal. Double Lift. cut and restored string. Count-Down Cards. palming 183-187. 274-278 Double Choice. false. magic Delayed Cut. 175-176 color-guessing (cards). 47-49 227-230 Doubled Thought. 22-24 cuts. vanishes 187-198 152-159. 207 Color-Changing Thimble. 176-178 to hand 200-203. 49-50 132-133 Count-Down Location." card. colors 274-278. 100-102. Easy Card Tricks.Card from a Hat. 135. 104—107 card coincidence 65-67. 135 102-103. 191-194. 107-110 Close-up Tricks. 41 Draw Shuffle Location. 65-67 "divider. dish. from hand 104-107. 158-159 cuts and shuffles. 152-155. Draw Shuffle. Dish and Saucer. paper. cup. 160 coincidence. coin and card." card. 151-152 182-207. 129-134 147. 123-125 53-56 Double Reverse. 39. false. 204-205 productions 198-207. 145-146 190-191 Count Off deal. 172 85-88 Card That Finds Itself. 47-49. 17-45 coin Dealing Cards. 139-142. 160-161 Coin Vanishes. 110 controls. 50-53.

104 Joker. riffle. in Instant Cut and Restored multiple coin vanish. single cut. 137-139 alternate routine. 176-178 Improved Matchless Match Four-Heap Deal. 80 Finding a Chosen Card. optical. 19-22 Front and Back Cut Shuffle. 92-97. 160-161 Glimpse. flash. 135— How to Mystify. 89-92 force. 113 Front and Back Shuffle. 136-137. 146 240 Farmer and Sheep. turned-up. 63-65 127 illusion. 108 Handling the Pack. 127-129. 214-216 Hypnotized Match Box (Im- Flash Force. 149 Index A 283 . 122. 45 Four. 121 evens and odds. 109-110 Hand to Hand. (Mechanical) 27-31 Fooled-and Fooled Again. 50-53 Pack 34-36 French Drop.Ace Deal. 89-92. 13-16 155 How to Palm a Coin. 126. Face-Card Fantasy. 183-184 Finger Switch. 107- 110 False Dovetail Shuffle. 141 glimpse. 122. 36-42. 141-142 False Triple Cut. 92-97 hokum. bottom. wrist. 164 False Overhand Shuffle. new. 89-92. 183- 187 Finger Bend. 237-240. 239-240 glimpsing the card. fan. 97-99 False Single Cut.26. 60-63. 131-132. 164 Hair Raiser. 255- False Drop. 110 hairand card trick. 56-57 Group Deal. identical choice trick. 211-212 Glide. top. 104-105 False Cuts and Shuffles. thimble trick. 110- handkerchief. 194 String. 129-134 hits. 127-129 256 fantasy. 135 Face Up-Face Down. 131-132 promptu) . 115-118 elimination process. with face cards. 171. 191-194 Fan Force. . elbow. 107-108 False Three-Heap Cut. 190-191. 200-203 hat. 111 with wand. 237- Hindu Shuffle.

thimble thumb match pack. mechanical 141. 39-42 Paired Thoughts. repeat. concept of. card. 13-16 knot. 257. 112. 195-196 Multiple Cut.pack. 34-36 palm. with French Drop. 232-234 location. 113-115 match box. naming. 47. 45 Magic with Cards. 257- knife. 257-262 284 J/k Index . 255- 196. 209-210 improved version. 194. 125-126. 121. 234-237 Matchless Match Pack. 27 Packet Shuffle. 185-187. 63-65 Nine Slips. repeat. pack. 231-278 palm. tricks with. false. 159-160 mystify. 268-271 knots. 141 magic show. 184-185. 76-78 280 optical illusion. broken then restored.Just Say "Stop" scenario. 47 36-39. 79-81 Multiple Coin Vanish. 31-32 pack. 81-85 Name the Number. instant. 255-257 Let's Face It!. 26. 144-145 Odds and Evens. standard.Palming a Card. 53-56 number. palm. with simple finger- 166-167 palm vanish. 125-126 34. match. 76-78. tumbling. 33-34. 36 183-187. squaring. 198- method. 76-78 match box. 204-205 110-112 marked paper cup. vanishing. 132-133. 142. 34-36 match.paper. 33. how to. 211-212 Mystic Book Test. 79-81 Overhand Cut Shuffle. coin. vanishing. promptu). 268-271. March of Dimes. 103. 135 tapping. Magic with Coins. 42-44 New Do as I Do. 279.palming. 79-81 260. 33-34. 162-163 Overhand Shuffle. 14 paper cups. 199 Mental Mysteries. planning. 139. 18-19. 194. sheet and slips. improved version. 182-207 75-97 magnet. 260-265 Knockout. 100-101 knee. 34. slide- along. 13 199. thumb. 143 version. 112 Magnetized Card. 140. hypnotized (im.209-210 misdirection. 101-134 ordinary objects. locating the card. thimble trick.One out of Three.

pointer cards. 198-206. Slide-Along Knot. 15 Simple Thimble Vanish. cut and restored. card. 105-106 Single Cut Force. 262-264 220-227 setup. 24. 102-104. two-suit. 23. 24-26. 42-43. 102. 111-112 Seventeen Cards. Sense of Taste. 39-42 198-206 repeats.Away Pass. 157-158 shuffles. 126-127 Riffle Glimpse. cup and dish tele- (thimble). 253-255 rubber-cap eraser. 142-143 ringed 43-44 Predicted Thoughts. 279. self-finding cards." 16 cup. 45 process of elimination. 100. card. sleights. 136-137 Sleeve Vanish. 160— Running Cut. 22-24. 81-85 Index A 285 . 107-108 Reverse Deal. 207. 147-148 magnetized. under a "patter. ing. 129-134. double coin. 168-171 Push. 244-247 productions. climbing. 172-174 simple coin. 76-78 pencil. false. 45 Ring 43-44 Off!. 210-211.pass. Pointer Pack. 147-148 Quick-Count Trick. 140-141 PullAway. escap. 142-143 knotted. jumping. 24-26 280 rope. 115- Reds and Blacks. 22-26 presentation. false. 119-120 ring. 36-39 213 Revealing a Chosen Card. 57-60 Simple Card Sleights. self-turning cards. 196-197 riffle or dovetail shuffle. 212- restored match. 14 Rubbery Pencil. 22-23. Rising Pencil. 158-159 thimble. push away. 211-212 pathy. 129-134 161 Production at Knee or Elbow saucer. 260-262 Simple Coin Productions. 150-151. 187- 156-181 189 revelations. magic. 140 132 Repeat Book Test. 43-44. shuffle. 81-85. "Repeat" Restoration. 150-151 show. 115-134 103 Slide. 18-19 Silk Through Wand. Simple Vanish (coin). 110-115 Rapid Knot. Planning a Magic Show. 279-280 Shuffle Pass.211-212. 97-99 Red Card. 85-88. 156-181 single cut.

42-44. 196 peat. 232-234 the Turnup Deal. ringed. 112 Three Vanishing Knots. coin. Turning the Pack. 135 three-heap cut.Away Vanish (thim- telepathy. 208-230 Vanishing Match Box.Up Joker. symbols and cards. 106-107 264 taste trick. 211 213-214 Top Bottom shuffle. 244-247. 253-255 Spin Vanish. match box. 227— 230. 42-43 198-199. 234-237. 79-81 Top Glimpse. Throw Vanish. 209-210 Suction Cup. 67-71 thimble. cut and restored. 21. vanishing acts. 149 Take. 109-110 table knife. knots. 185-187 43 string. thimble. 212-220 Thimble Tricks. 161-162 predicted.248-250 Ten Pairs.doubled. 271-274 75-99 triple cut. 108 square knot. vanish. 264—268. 165 it "talk. finger. nine slips Two Rows. 47 167-168 Stacked Pack Shuffle. 227-230. 264-268 of paper. "two-way" discovery. color change. 22-26 spotting the card. 101-102 test. 121 216-218 Turn Over. 262. 19. 184-185. 120-121 Tap Numbers. 2 10— Swallow Vanish (thimble). paired.218-220 saucer. 1 12 to switch." 16 Turnover. 42-43. Twist. 140-141 rows of objects.Slip. 118-119 thoughts. re. vanishing. 255-257. two Two-Suit Setup.A way Vanish (thimble). dish and ble). 160 word cards. false. 42-44 Three Heaps-Three Cards. mystical. 211-212. false. 210-211. 79-81 Turned. 214-216 Tricks with Ordinary Objects. 31-33 286 A Index . 257-260." 14. squaring the pack. 197-198 thread. 189-190 22. coin. production. thumb palm. 241-244 Undercut. thimble. Spell It Out. 122 surprise. 212-220 31-33. cup. 187-198. "up the sleeve. 260-265 Ups and Downs. 15 To Produce a Thimble. knotted. 42- Standard Palm.

Gibson is a renowned magician and the author of many books on magic. 172 X-ray "vision. Index A 287 .wall. Under the pseudonym of Maxwell Grant. 248-250 You Do As I Do. he created the celebrated radio character. 60-63 Wrist Glimpse." 245 wand. with card. for which he wrote all the radio scripts. 97-99. 205-206 Within the Circle. A personal friend of the legendary Harry Houdini. 137-139 ABOUT THE AUTHOR Walter B. He now lives with his wife in upstate New York. 250-253 You Can't Get It. he compiled The Original Houdini Scrapbook> and has published the only authorized explanations for many of Houdini's famous tricks and escapes. 162 Word-Cards. The Shadow.

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. The more spellbinding need only a few min- utes' preparation with ordinary objects such as cups. and plan a magic show. predict their thoughts. ?Ze** C&. or . INC. you'll learn how to "control" the minds of your spectators. pluck a coin from thin air . London U4. cards and rings. In addition. . You'll be amazed at what you can do once you find the key to magic's door. Cut a string in two and heal it into one — piece right before your friends' eyes! Watch them gasp as you hypnotize a match box . Let Walter B. Where's that key? It's right here in this book! "Junior Magic" shows you over 175 differ- ent tricks that require no special equipment. an accomplished magician. take you to the dark realm of magic and show you how simple it really all is! <^ ^* s STERLING PUBLISHING NEW YORK CO.. . Most can be performed at the drop of a hat.. & Sydney . Step-by-step in- structions along with countless easy-to- follow illustrations reveal the deep secrets behind wonders like the pencil thai floats in the air • • the card that finds itself • the kerchief that grows from a wand • the thimbles that change colors This exciting book also unravels the methods for many mind-boggling card tricks performed by professional sleights and magicians. Gibson.

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