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EASY-TO -LEARN TRICKS
OR MAGIC MADE SIMPLE
WaLTEK <». AMERICA'S DEAN OF MAGIC
^ .
STERLING PUBLISHING
(%&
CO., INC.
Tree 7Ze*$ C&-, L&C
new york London & Sydney
BY THE SAME AUTHOR Original Houdini Scrapbook
Junior Magic
©
1977 by Walter B. Gibson
adapted from "Magic Made Simple" Copyright 1963 by Doubleday & Company, Inc.
©
Published 1977 by Sterling Publishing Co., Inc.
419 Park Avenue South, New York, N.Y. 10016 Distributed in Australia and New Zealand by Oak Tree Press Co., Ltd., P.O. Box J34, Brickfield Hill, Sydney 2000, N.S.W. Distributed in the United Kingdom and elsewhere in the British Commonwealth by Ward Lock
Ltd.,
Manufactured
1
16 Baker Street,
in the
London
W
1
United States of America
All rights reserved
Library of Congress Catalog Card No.: 76-58624 Sterling
ISBN 0-8069-4546-X Trade 4547-8 Library
Oak Tree 7061-2549-5
CO.
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
Have you
cards?
ever seen a magician swallow
a billiard ball, only to
hind
his left knee?
make
This book
it
reappear be-
tells
you the
behind these and many other tricks. Moreover, you are given step-by-step instructions, combined with easy to follow illustrations, that will enable you to master even the most complicated tricks and magical effects. secrets
Many
of the tricks are
impromptu— they
can be performed on the spur of the with
materials
supplied
by the
moment
spectators.
Others take a few minutes' preparation, but
even the most advanced can be performed with ordinary objects— no special equipment
need be purchased. Here you will find clear explanations and directions for making your own "trick" card packs, bottomless cups, and special thimble holders.
The author
of this book, an accomplished
magician as well as an interesting and amusing writer, takes you on a tour of the entire realm
magic— from
of
ing.
You
sleight of
will learn
cards so that they
down— except
how
hand
to
mind
throw a pack of land on the floor face
all
to
the card a spectator has chosen,
which magically appears face up! You learn
how
him
to choose!
how to make a pencil rise and how to pull a wand which
will learn
from your fist is two feet long out of six
will
to force a spectator to choose just
the card you want
You
read-
a purse
which
is
only
inches deep.
You
will learn
how
to perform
and many, many more. For over 175 different tricks,
this
all
all
these—
book contains
designed to help
you become a successful and entertaining magician.
Magic can be an endless source of fun and amusement for everyone— for the performer as well as for his audience.
You
will
be
thrilled
by the expressions of amazement on your friends' faces when you perform these tricks, and you will derive great pleasure from displaying the wealth of magical knowledge you have learned from this book.
CONTENTS CHAPTER ONE
HOW TO MYSTIFY
.
.
.
.
13
.
.
.
.
17
CHAPTER TWO
CLOSE-UP TRICKS
18 Instant
Cut and Restored
String
The Climbing Ring The Rising Pencil The Hypnotized Match Box .
.
.
.
.
(Impromptu Version) The Hypnotized Match Box
.
19
22 24
26
.
(Mechanical Version) Vanishing Match Box
27 31
.
The Matchless Match Pack Improved Matchless Match Pack The Restored Match The "Repeat" Restoration .
.
.
.
Three Vanishing Knots Ring Off! The Rubbery Pencil
.
33 34 36 39 42 43 45
CHAPTER THREE
EASY CARD TRICKS The Double Deal
.
.
.
46 47
Count-Down Cards Four-Heap Deal Let's Face It! Face Up— Face Down The Red Card
Do New Do As I Do
You Do As
I
.
.
.
.
.
.
Coins and Cards
Ups and Downs Behind Your Back
49 50 53 56 57 60 63 65 67 72
CHAPTER FOUR
TRICKS WITH ORDINARY OBJECTS One The The
out of Three Suction
76 79
Cup
Knot Cut and Restored Rope Fooled— and Fooled Again! Farmer and Sheep Silk Through Wand Slide-Along
75
....
...
81
85 89 92 97
CHAPTER FIVE
MAGIC WITH CARDS Cuts
The Single Cut The Multiple Cut The Undercut
.
...
100 100 100 100 101
Shuffles
102
The Dovetail or Riffle Shuffle The Overhand Shuffle The Front and Back Shuffle .
.
}Q2
.
.
jq3
.
...
04 104 1 04 \
Dealing Cards The Group Deal
The Reverse Deal The Turnup Deal
105 106
False Cuts and Shuffles
False Single
107 107
Cut
Cut
108 109
False Dovetail Shuffle
110 110
False Three-Heap False Triple
Cut
False Overhand Shuffles
.
.
.
.
The Pull Away Top to Bottom Bottom to Top
Ill
Stacked Pack Shuffle
112
Overhand Cut Shuffle Front and Back Cut Shuffle
112
The
112 112
.
.
.
113
Alternating False Shuffle or Packet
Shuffle
113
Simple Card Sleights
115
The Glide The Slip The Slide The Turnover
115
Turning the Pack
121
The Glimpse
121
118 119 120
The Double
Lift.
Palming a Card
.
,
.
Single-Cut Force.
.
The Fan Force The Draw Shuffle The Bottom Glimpse The Flash Force
<
123
.
125
.
126 127
.
.
.
Draw-Shuffle Location.
Draw-Shuffle Control
CHAPTER
129
.
.
131
.
131
.
132
.
133
.
135
SIX
FINDING A CHOSEN CARD.
136
The Riffle Glimpse The Wrist Glimpse The Divided Pack
139
Reds and Blacks
140
Two-Suit Setup
140
137
Odds and Evens The Pointer Pack
141
Bottom-Card Location
144
Count-Down Location
145
Card Controls
147
The Shuffle Pass The Turned-Up Joker The Push-Away Pass The Delayed Cut
147
Automatic Reverse Double Reverse
142
149
150 151
152 1
54
CHAPTER SEVEN
REVEALING A CHOSEN CARD.
156
Any Number Down
156
Quick-Count Trick
157
The Card Turns Up The Knockout
158
Double Choice
160
Spell It
159
Out
161
You Can't Get It The Magnetized Card
162
A Hair Raiser
164 165 166 167 1 68
Turn
It
163
Over
Just Say "Stop"
Three Heaps—Three Cards The Seventeen Cards
.
.
.
.
Card from a Hat Card on the Wall
The Card That Finds
171
172 Itself.
...
172
Doubled Thoughts
1
Four-Ace Deal
176
The Assembled Aces
179
75
CHAPTER EIGHT
MAGIC WITH COINS How to Palm
a
Coin
The Finger Bend The Thumb Palm The Standard Palm Coin Vanishes
....
182
183 183
184 185 187
Simple Vanish The Throw Vanish
187
The French Drop The False Drop
190
189 191
Multiple Coin Vanish
The Sleeve Vanish The Spin Vanish
.
194 .
Simple Coin Productions
From From From
the
.
.
.
.... ....
Bend Thumb Palm Standard Palm
the Finger the
...
Other Effective
... Productions ...
jgg I97
98 \ 93 jgg 1
jgg
From Hand to Hand March of Dimes
gg 200 204
Coin from Wand Double Coin Production
205 207
j
CHAPTER NINE
THIMBLE TRICKS
208 209 210
The Thumb Palm To Produce a Thimble Production at Knee or Elbow
.
.
.
Simple Thimble Vanish Swallow Vanish
The Finger Switch The Take-Away Vanish Twist-Away Vanish Eight Thimble Production.
.
.
.
Color-Changing Thimble
.
.
.
.
211
212 213 214 216 218 220 227
CHAPTER TEN
MENTAL MYSTERIES Tap
the
....
Numbers
232 234 237 241 244 248 250 253 255 257 260 262 264 268 271 274
Paired Thoughts
Face-Card Fantasy
The Ten
231
Pairs
Cup, Dish and Saucer The Word-Cards Within the Circle Predicted Thoughts The Nine Slips Mystic Book Test
The Repeat Book Test
A Sense of Taste The Two Rows
Name the Number Cards and Symbols
Coins and Colors
CHAPTER ELEVEN
PLANNING A MAGIC SHOW Index
.
.
279
281
How
1.
The
way to This makes the best
joyable,
to Mystify by performing. process both simple and en-
learn magic
which may come
who suppose
is
as a surprise to those
that, since tricks often
must be
clever secrets, they
depend on
difficult to per-
form.
More around.
often than not,
A
spectator, not
is
it
the other
knowing the
looks for something difficult, whereas
way
secret,
many
accomplished that keen onlookers help baffle themselves by rejecting the tricks are so easily
obvious explanation.
To
the beginner, this means choosing the
which quiring little or no
right tricks,
in this case are those re-
but which have some neat or helpful feature that will pass unnoticed skill,
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
cussed separately,
first
be
dis-
from the standpoint of
"effect," or the impression that the
magician
creates,
then from that of "method" which
how he
goes about
is
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
many
unimportant. For example,
people have
heard that "the quickness of the hand de-
So the magician uses a quick move to make people look away while he is ceives the eye."
accomplishing his real mission in a more deliberate fashion.
Another example is "up his sleeve," which is supposed to be the magician's way of disposing 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, In short, misdirection rule that has
14
Jf$
How
is
misdirection.
is
magic. This
no exceptions. But there
to Mystify
is
a
are
which—with due exceptions— are
lesser rules,
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 the effect or
trick,
method—or both— is
from the first version. Such "repeats" are particularly
How
but either different
effective,
to Mystify
and
A
15
quite a few will be described in the pages that
Always take advantage of such a situation when you can. That, in itself, is a form of
follow.
misdirection.
do until you are 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 Practice every trick you
second nature. After that:
Rehearse the trick to gain the desired
"ef-
must impress upon your audience. They want to see magic, not tricks; so fect" that you
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,
Give
if
which
is
an
so.
to your "patter," or
special attention
"talk,"
you prefer to do
essential part of presenta-
tion.
From gram
individual tricks, you can form a pro-
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,
mended
recom-
that you follow along, step by step,
working out each
equipment—cards, 16
it is
A How
trick
with the necessary
coins, etc.
to Mystify
2.
Close-up Tricks
Close-up tricks form a good starting point in magic, because you can work
them
for a
persons at a time, thus limiting the
few
number
and giving you a chance to study their reactions. From this you will gain pointers that will be helpful with more elaborate or more difficult effects. of observers
Not
close-up tricks are easy, however.
all
This branch of magic sometimes
more
for
calls
than any other; but only for those
skill
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
do not
when you do
realize that
close-up tricks.
They
you are presenting a type
of wizardry especially suited to close-up condi-
do not enlighten them on that score. The more wrong theories that spectators form tions; so
regarding your work, the better your chances of baffling them.
Most objects
close-up tricks are
done with
common
and these must often be given Close-up Tricks
for ex-
Jf$
17
amination. So
when you do
use special ap-
pliances in close-up work, always be ready to
pocket such items or to switch them for innocent duplicates.
THE RAPID KNOT Though more
of a puzzle than a mystery,
makes a very intriguing trick, which can be done either in tantalizing slow-motion this
style,
or presented as a quick surprise.
the effect: The magician
lays a four-foot
length of string or rope across his hands, which
FIG.
18
A Close-up
Tricks
1
palms up, the rope ends dangling between thumbs and fingers. He brings his hands together and draws them apart, all in one continuous motion, without releasing the rope ends. A knot ap-
are held
pears instantly in the center of the cord.
the method: The cord is held exactly as described and shown in fig. i. Pressure of the thumbs keeps the dangling rope ends in position as the hands are turned inward, with the fingers pointing at a
The
downward
right fingers go in
where the
angle.
back of the
left
hand,
two fingers clip the rope end, scissors fashion. At the same time, the first two fingers of the left hand come in front of the right and grip its end the same way first
(fig. lb).
The hands the knot
is
are immediately
shown
drawn apart and
in the center of the rope
(fig. ic).
INSTANT CUT AND RESTORED STRING
A
quick, surprising trick, performed with
the simplest of objects, an ordinary piece of
one of the best among close-up effects, yet practically automatic in its working. the effect: The magician shows a twofoot length of string, which he doubles to form string, this
is
Instant Gut and Restored String
Jf$
19
a loop in the center.
He
takes a knife, cuts
the string in two, then gives the ends a sud-
den
pull. Instantly,
may be given
the string
is
restored
and
immediate examination. the method: Use a cheap but fairly thick for
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. 3a)
and form each into a
little
loop of
own.
its
Hook
these two loops together by pushing
one beneath the other (fig. 3b) and fix them in place with a dab of transparent glue or soft wax (fig. 3c). This now appears to be the
SEPARATE CENTER
FIG. 3
20
A Close-up
Tricks
normal center of the string (fig. 3d) formed into an ordinary loop. This is prepared beforehand, and when the string is shown, the actual join below the center "loop" is hidden between the left thumb and forefinger, as fig. 3c shows. The right
hand "cuts" the loop with a knife merely pulling
action apart
(fig.
3c).
string (fig. 3f)
A
the
blade, the
joined
portions
tug on the ends of the
and the two "pieces" are
"re-
stored" as a single length!
presentation:
From
can be handled quite
start,
freely, since
noticed, will appear to string,
the
below what looks
the string
the join,
if
be a crossing of the like a legitimate cen-
ter loop.
Take the two ends of the doubled string, separate them slightly and let the center dangle, saying, "Here we have a string with two even ends forming a loop at
just
about the
center."
Bring the ends together and take them with the right hand, drawing the doubled string
through the
left
hand, which forms a loose
palm upward. When you come to the join, grip it between left thumb and fingers and drop the ends, holding the loop upward. fist,
It is
then possible to separate the hanging
strings a little
more by spreading the
join be-
Instant Gut and Restored String
A 21
tween "All
thumb and
left it
needs
is
fingers.
Then
a sharp knife
continue:
and a quick
cut like this"— simulate cutting the "loop"
with an upward sweep of the knife blade—
make two strings out of one. 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!" "to
Run
the
left
hand
swiftly along the string
toward the other end, drawing the string taut with a sudden pull and show the string instantly restored.
THE CLIMBING RING the effect: The magician holds an nary pencil upright at the tips of
ordi-
thumb and
one hand. He drops a finger ring over the pencil. At command, the ring climbs the pencil and finally jumps from it. Pencil and ring may be examined. fingers of
the method: A thin black thread is used. One end is wound around a button of the coat, 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. 4).
Allow about a foot of thread between, so that
when
the pencil
is
held
fairly close to
the body, the thread will be so loose that
22
A Close-up
Tricks
FIG.
4
A ^
MOVE HAND FORWARD AND BACKWARD
the ring will drop to the bottom of the pencil.
By moving
the pencil slightly away from
the body, the ring will
comes
taut.
pencil,
a
As the
slight
causes the ring to
rise as
the thread be-
ring reaches the top of the
forward jerk of the hand fly off.
presentation: Fix the thread as described
and have the pencil handy
in the coat pocket,
the thread being unnoticed against the coat,
which should be a dark one. Bring out the pencil, hold
it
in the left
hand with the rubber cap upward. Show or borrow a ring, drop it over the pencil and
make magnetic passes with the The ring will climb or slide down
right hand. as
you move
hand imperceptibly forward or back. Meanwhile, you can comment: "Amazing, isn't it, the way the ring is magnetized. Up
the
left
Climbing Ring
Jf$
23
now a snap of the up fingers— and jump!" Here you snap your right fingers and the ring jumps from the pencil. Then, add: "That breaks the contact, so we don't need .
.
.
down
.
.
.
.
.
.
the rubber eraser to insulate the pencil."
Draw
the rubber cap off the pencil with the right
thumb and
fingers,
thus releasing the thread.
"Here, you can examine the pencil and eraser as well as the ring."
With
that, the items are given for
examina-
tion while the thread drops unnoticed against
the coat front.
As an
alternate or follow-up trick you
may
perform:
THE RISING PENCIL A
pushed down into the fist. It rises point first and repeats this every time it is pushed down. The pencil also rises from a bottle if placed therein. At the
the effect:
finish,
the pencil
the method:
pencil
is
is
given for examination:
Identical with that of the
Climbing Ring, except that no ring is used and the trick is done in reverse. The upper end of the pencil, with thread attached, is pushed down into the fist. A forward motion of the
hand shortens the thread and the
rises (fig. 5).
24
Jf%
Close-up Tricks
pencil
presentation: At used as a sequel to the
Climbing Ring, keep the thread attached. Or, the Rising Pencil may be done as a trick of its own, being set up exactly like the Climbing Ring with the pencil in the pocket. In either case:
HAND BACK AND FORTH
FIG. 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. At the finish, you state, "And now the pencil rises completely from the hand, and here it is—pencil and eraser both." Give
them
for examination, adding,
fully in the eraser.
tains
an
invisible
You
"And look
care-
will find that it con-
magnet that made the pen-
cil rise!"
worked with a bottle, the pencil is pushed down in, eraser end first, exactly as with the fist. Forward and backward motion of the bottle will cause the pencil to rise and fall in spooky fashion. Always keep the motion note:
If
Rising Pencil
A 25
as slight as possible, drawing the
rather than pushing the
adds to the
body away
hand forward. This
effect.
THE HYPNOTIZED MATCH BOX (Impromptu Version)
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, uncanny the effect:
When
pushed down by the right hand, the drawer rises again and the match box is handed for immediate inspection. the method: The position of the left fin-
fashion.
gers
is
important.
The thumb
of the box, while the
upward
first
presses the side
three fingers slant
across the front, the third finger cov-
ering the edge of the lower end.
This forms a screen hiding the
which
is
pushed up into the box,
secretly
causing the drawer to
forward
tilt
little finger,
of the
rise
(fig. 6).
A
slight
hand helps render the
ac-
tion imperceptible.
presentation:
The
trick
should be prac-
can be performed naturally and in a slow, smooth manner. One or two repeats
ticed so that
should be
it
sufficient.
This impromptu version
makes an excellent follow-up to the mechanical method to be described. 26
A
Close-up Tricks
6
FIG.
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, which
is
held palm up, fingers
pointing toward the spectators. Slowly, magithe drawer of the box
cally,
cover. It
and
is
rises
rises
pushed down by the
from the
left
thumb
At the taken from the box
again, as often as desired.
conclusion, the drawer
is
cover and both are freely shown.
the method:
A
to supply the "lift"
ger in the
hidden lever is required furnished by the little fin-
impromptu
version, as here all fin-
"gimmick" and narrow
gers are fully in view. This
is
made
strip of
with a paper clip
easily
Scotch tape.
Hypnotized Match Box ^i 27
INNER FLAP (LOOKING DOWN)
Start the tape about
A
l
inch from one end
and run it along the clip, over the other end, and back beneath, pressing the two gummed surfaces together, above and below, firmly imbedding the paper clip between them. Allow another Vi inch or more of tape, which is cut along the sides and narrowed like a tongue (fig. 7a). of the paper clip
between the two portions of the double side of the match-box cover. With most wooden match boxes, the This tab
inner part
is
is
inserted
loose, so the job
Insert the tab so that the
tape
is
is
gummed
1X1
side of the
outward, toward the overlapping part
of the match-box cover (fig. 7b).
28
quite simple.
Close-up Tricks
Add
a few drops of glue to
fix
the sides of
the box firmly with the tape tab between.
drawer
is
per clip
The
then placed in the box and the pa-
is
pressed against the end, the tape
and the short end of the clip projecting at the side of the match box. This should be at the bottom left, when the match box is set upright on the extended fingers of acting as a hinge
the
left
hand.
In this position, the box
is
supported by
and little finger, which are slightly raised to clamp the box between them. The forefinger is just above the clip end and, by exerting a downward pressure, the finger actuates the lever and forces the drawer upward (fig. 7c). This is completely hidden and the
forefinger
the action
is
so slight that
it is
imperceptible.
After the drawer has risen about halfway, it
down with the extended left may then be repeated as often
can be pushed
thumb. The
rise
as desired, the right
hand making hypnotic
passes above the box.
presentation: At the
start
of the trick,
show the match box in the left hand, the lever end nestled in the bend of the fingers and covered by the thumb, so that no one can glimpse the "gimmick." right it
on the
left
into position,
Then
set
the box up-
hand, using the right to
and proceed
tilt
as described.
Hypnotized Match Box
Jf$
29
At any time during the trick, the box can be shown apparently unprepared in a simple, convincing manner. Lever the drawer to
its
remove it from the cover (fig. yd). As one hand shows the drawer, the forefinger of the other maintains pressure on the clip end, while the thumb moves over and full
extent and
presses the right side of the cover.
The finger
cover is
may then be
turned so the fore-
at the top (fig. ye)
and the thumb
bottom, giving the spectators a look clear through it. By holding it slightly below at the
eye level or tilting the outer end a
trifle
down-
ward, the "gimmick" will be completely hid-
den against what
is
now the upper inside
of the
cover.
At the finish the drawer may be replaced and the box pocketed. An ordinary box should be planted in the pocket beforehand, so that it can be brought out later, instead of the
One neat plan is to "vanish" the special match box— as described in the Vanishing Match Box— and leave it in the pocket, special box.
bringing out the ordinary box instead.
In either case, once the unprepared match
box has been brought into follow-up this
is
play, the perfect
to cause the drawer to rise again,
time using the impromptu method. This
can be done while extending the 30
£f$
Close-up Tricks
left
hand
toward the spectator, the box finally being placed in his hands for examination.
VANISHING MATCH BOX the effect:
A
box of matches is held upright, projecting from the loose left fist. The right hand tamps the box down into the fist; the left hand is opened and the match box is gone. The right hand finds it in the coat pocket.
the method: At the faces directly
IS
the magician
toward the audience. In tamping
the box, the right
BOX
start,
hand
is
held palm
down
PALMED
C
FIG. 8
Vanishing Match Box
Jf$
31
and the fingers project over the top end of the box (fig. 8a). Once hidden, the box is levered toward the audience, enabling the right hand to clamp it in the finger bend (fig. 8b). The performer then turns toward the left, and the right hand either points or gestures toward the left hand, which is shown empty (figs. 8c and d). The right hand, which secretly retains the "vanished' match box, can then go to the coat pocket and "find" it there, or produce it in 7
some other way. presentation: For a quick or surprise vanish, the downward tap and swing to the left can be done in a single move. For a more deliberate vanish,
two other procedures may be
used, as follows: (1)
The
right
match box down
it
left,
actually pushes
into the left
fist
by a
the
series
hand then goes below brings up the match box and replaces
of light taps.
the
The
hand right
in its original position.
This
is
repeated one
two times, and finally the match box is palmed away. (2) The match box is originally held with the drawer open and extending upward (fig. 8a ) With one tap, the drawer is driven downor
.
With another tap, the box is driven down into the left fist, but
ward.
32
Jf$
Close-up Tricks
apparently is
actually
palmed
in the right
hand
(fig. 8c)
and van-
ished (fig. 8d).
Here, one
downward move,
resulting in the
closing of the drawer, leads into the next,
creating the illusion that the
match box,
too,
was driven down into the hand.
THE MATCHLESS MATCH PACK the effect:
A
neat,
that can be followed
effective
table trick
up with another
that pro-
duces an added climax. In the simple form,
you remove the matches from an ordinary match pack; then you bend the empty pack in concave fashion and set it upright on the table, holding
it
in that position with your fingers.
When it rolls
you release the curved match pack, over, making a complete somersault on
the table. Clever? Yes. Easy?
It
should be.
But it isn't, when other people try it. You them the match pack, show them how to ance flat
it,
but when they
on the
table
let go, it
simply
give balflips
and won't do the magic som-
ersault.
when you try it, because you know the magic word— and someBut
it
always somersaults
thing more!
the method: Along with the magic word (which means nothing) you simply take care Matchless Match Pack
A 33
match pack in an inverted position before releasing it. That is, the heavy striking to set the
surface
needed over when you let it
at the top, supplying the
is
weight to carry topple along
its
it
clear
curved
side, as fig.
9 shows.
i£-1 .THIS
.__^ffl?\
END
ON TABLE
FIG.
When
9
you give the pack to someone
him
else,
you set it upright, with the heavy end down, which is the more natutelling
to try
ral position.
it,
Not noting
the difference, your
you use a match pack that does not have printing on it, your turning it upside down will be less noticeaudience will try and
fail. If
able.
IMPROVED MATCHLESS MATCH PACK the effect: While the "somersaulting" match pack is quite effective when presented in
its
simpler form, as
trick takes
34
Jf*
on
just
described,
the
a highly baffling quality in this
Close-up Tricks
advanced version. In this case, you stand the match pack upright, striking end down, and it does its tumbling act. When other persons try it, the trick won't work.
the method: Affix two paper clips in the upper end of the match pack, fastening them firmly with a piece of
gummed
tape, taking
them completely hidden inside the pack. Thus weighted, the pack will somersault, even when set upright and released care to have
C872!C5oj. SCHOUL3
(see fig. 10).
That, however,
is
only part of the
trick.
In
you need three or four ordinary match packs as well. Begin by setting the faked pack upright and letting it somersault, a few times. Take an ordinary pack, invert it, and it somersaults, too. You hand it to a
this
case,
friend, saying, "See
You demonstrate
how it
easy
it
is!
Try
it!"
again with the weighted
pack and he naturally sets the ordinary pack upright, copying your example. Your match
PAPER CUPS
FIG.
10
Improved Matchless Match Pack
A 35
pack performs the magic flip-flop, but his won't. So you hand out more to other people, all
with the same
result.
Your pack alone
will
somersault.
Here, you really "have" them, because they
keep setting their match packs upright, like yours. At intervals, you take one of the other packs, saying, "No, no, don't push it; just let it flip over— like this!" Simply invert the ordinary pack and let it somersault so promptly that the victim hasn't time to spot the fact that
it
started upside
down.
Again demonstrate the "flip" with your own pack right side up. Later, while again showing a spectator how easily his pack can flip, you drop your prepared pack in your pocket. It's good to have a duplicate (unprepared) pack waiting there, so that you can bring it out later, give it a flip from the upside-down position and leave it with the rest.
THE RESTORED MATCH This
is
an ideal close-up
it
requires
done
literally
trick as
the simplest of objects, and
is
"under the noses" of your audience; yet it is one of the easiest of all tricks to perform. the effect: A large wooden kitchen match is
36
placed in the center of a handkerchief, jjd
Close-up Tricks
FALLS
OUT
RESTOREOI
FIG. OUPUGATE MATCH
which is
is
wrapped around
it.
IN
HEM
The handkerchief
held close to a spectator and the match
broken through the cloth,
The magician
as fig.
na
is
shows.
whispers a magic word, un-
wraps the handkerchief, and the match
on the
11
table completely restored (fig.
The handkerchief
falls
nb).
shown and shaken to prove that only one match was used. the method: Actually, there is a duplicate match, but the manner of its concealment is very neat. Use a handkerchief with a fairly wide hem. Beforehand, open a few is
freely
stitches near the corner of the handkerchief,
and push another match into the hem, as shown in fig. nc. This is the match that you intend to break. In performing the trick, lay the original
Restored Match
A 37
match
in the center of the handkerchief, fold
and
in the corners
bundle. In doing
roll
the cloth into a loose
so, grip
the duplicate match
through the cloth, so you can show
and break
its
shape
it.
After suitable
mumbo
jumbo, simply unroll
the handkerchief and let the original match
drop out "restored" and as good presentation: By
first
as ever.
folding in the corner
that contains the hidden match, you can im-
mediately fold another over
it,
and then
pro-
ceed more slowly with the remaining corners,
make
you grip the duplicate —not the original—when you come to break
so as to
sure that
the match.
Emphasize the breaking process so there will be no question later. With some persons, it is safe to let them feel the match through the cloth, and in some cases even break it themselves. Be deliberate when you spread the handkerchief and show the "restored" match, letting everyone see that
Hold
it is
empty.
and put it in your pocket; then hand the match for examit
by two
corners, shake
it,
ination.
added effect: With a really flabbergasted group of spectators you can baffle them further by putting the match back in the handker38
A
Close-up Tricks
up and breaking it again, restoring it in the same magical fashion. Again, the method is simple: Have a second extra match in another corner of the hem. Break one duplicate the first time, the other when you do your repeat. In either case, it is a good plan to have
chief, folding it
another handkerchief in your pocket, that you bring out and use in a different trick, before or after the Restored
Match
mystery.
THE "REPEAT" RESTORATION Here
is
another version of the Restored
Match that the method
anyone familiar with just described. It is also a good alternative to the usual effect, as it can be performed with a borrowed handkerchief. the effect: A wooden match is wrapped in a handkerchief and broken through the cloth. The handkerchief is spread; the match falls
fool
will
out restored and the handkerchief
is
given for examination.
the method:
Special
preparation
is
re-
quired. First, prepare a small tube of thin
enough to contain a match. The tube is sewn or glued, but one end is left open and a match is inserted therein. cloth, large
The elastic.
next item
One end
is
is
a six-inch length of cord
tied
around the match bag,
"Repeat" Restoration
Jjk
39
ELASTIC
t
TINY BAG WITH MATCH
5
GRIP BAG AND HIDE IN PALM
FIG.
12
the other end to a small safety pin (fig. 12a).
pinned to the inside of the left coat sleeve above the elbow, so that the dangling end is a few inches up the sleeve. This
is
draw the match tube down to the left hand and grip it crosswise in the palm (fig. 12b). For a firmer grip, the tube can be held by bending the fingers inward. The back of the hand is kept Before presenting the
trick,
toward the audience.
The 40
right
hand
A Close-up
takes the handkerchief
Tricks
and
drapes
over the
it
left,
which
then turned
is
palm upward. Make sure that the handkerchief covers the space between the left hand and the sleeve, so that the cord elastic is hidden.
The
right
hand
lays a
match
in the center
of the handkerchief, then folds the outer edge or corner inward over the visible 12c).
The
match
(fig.
side edges or corners are folded
and the right thumb the bag containing the
loosely over the center,
and
then grip
fingers
duplicate match, by pressing
down through
the folded cloth.
The
left
ward and
hand it
also
other end; that elastic
is
promptly turned back upgrips the match bag at the
is
is,
at the left, so that the cord
hidden beneath the down-turned
left
wrist.
Between them, the thumbs and fingers snap the duplicate match (fig. i2d). The right hand moves forward, carrying the handkerchief, letting it unfold at one corner. At the same time, the fingers release the bag, which flies up the left sleeve under cover of the handkerchief and the left wrist (fig. i2e). The original match falls on the table in its "restored" condition, while the hands spread the handkerchief and show it empty. The handkerchief,
if
borrowed,
is
then returned to
"Repeat" Restoration
Jf$
41
owner. Otherwise,
its
it
may be handed
for
examination along with the match.
THREE VANISHING KNOTS the effect: is
A
rope— or piece of string-
tied with three genuine knots.
A
simple tug
on the ends of the rope and the knots
are
gone!
the method:
by tying a
knot with the right end of the rope toward you (fig. 13a). Keeping that end still in front, tie another single knot on top. This forms what is commonly termed a square knot Start
single
Keep the two loops loose as shown. Now run the right end through the lower loop from front to back; bring it up in front and push it through the upper loop from front (fig. 1 3b)
to
back
.
(fig. 13c).
This third "knot" actually
fig.
42
A Close-up
Tricks
13
unties the other two. Pull the ends
and the
knots will disappear.
presentation: Practice the trick until you can do it smoothly and easily, but not too rapidly, as
talk
it is
deceptive in slow motion.
can run along the following
"Here me. ...
is
Your
line:
a neat knot an old sailor taught
He
one knot, then another, to make a sailor's knot. Then he tied a third knot to hold the two together. When he wanted to heave away, it was easy. ... He just pulled the ends and the knots were not knots any longer!" tied
.
.
.
.
.
.
RING OFF! Either as an alternate or as a follow-up to the Three Vanishing Knots, this
is
excellent,
combines the disappearance of the knots with the penetration of a solid ring through as
it
the rope.
A
which may be made of metal, or cut from heavy cardboard, is threaded on the center of a thin rope. Three knots are tied to hold the ring in place, but
the effect:
when
large ring,
the ends of the rope are pulled, the
and the knots are gone! the method: String the ring on the rope; then tie two knots above it, forming a square ring falls free
Ring Off!
A 43
FIG.
14
knot, with the right end toward you, exactly
with the Three Vanishing Knots.
as
Now bring the right end of the rope through the ring from right to
left.
Carry
it
to the
and push the end under itself, then through the bottom loop of the square knot, from front to back. Follow the right of the ring
diagrams in
From
fig. 14.
end out under and over
there, bring the
and thrust
it
to the right itself,
then
through the top loop of the square knot from front to back. Pull the ends
and the
trick
is
done.
presentation: Follow the same line as with
Three Vanishing Knots, but that the rope
is
stress
being tied to the
the loops loose, so the ring will easily. If
Keep drop more ring.
the rope snarls, a few shakes will free
the ring, making
44
the fact
A Close-up
it all
the more mysterious.
Tricks
THE RUBBERY PENCIL Here
both easy and deceptive, yet becomes more intriguing each time you try it. All you need is an ordinary pencil, the longer the better, which you handle in is
a trick that
is
this fashion:
Take the
by the ends and work your hands back and forth as though trying to make the pencil pliable. Then hold it by the point between the extended thumb and forefinger of one hand and start shaking it up and down with a quick, short, wiggly motion.
The
pencil
center of the pencil will immediately
begin to bend up and
down
in flexible fash-
had turned to rubber. The closer people watch, the more rubbery the pencil seems to be, and the more amazing the trick. Yet at the finish it proves to be a solid, ordinary wooden pencil. It is all an optical illusion, and a good one. Hold the pencil as described, wiggle it up ion as though
it
and down, but keep it fairly level, so that the free end covers about the same range as the end you are gripping.
The
seems to wobble, rather than the ends, which the eye tries to keep in a somewhat constant position.
The
result
is
that
the
center
observer literally baffles himself.
Rubbery Pencil
Jfk
45
3.
Easy Card Tricks
Card
tricks
come
in the close-up category, par-
can be performed when
ticularly those that
you are seated at a are called
upon
table, or
when
spectators
to shuffle or deal the cards
themselves. Such tricks, too, can be very simple to perform,
when
they are dependent upon
subtle principles rather than a display of
The
tricks
skill.
comprising this section have been
chosen for that very reason. All you need
pack of cards and you can
them immediately,
start
either
is
a
doing most of
as
part
of your
close-up repertoire or as an act of their own.
No essary.
intricate shuffles,
But here
is
no deft
an important
magic
applies to other types of
deals are nectip,
one that
as well.
The
more smoothly, the more neatly you handle the cards, the more effective your tricks will be.
When
a performer handles a pack of cards
clumsily, people take
must be
it
for granted that his
he couldn't do them. Conversely, brisk shuffles and rapid deals give the idea that skill is needed in even
tricks
the simplest of
easy; otherwise
tricks.
So you should these Easy Card 46
Jf$
cultivate
Tricks,
Easy Card Tricks
that
style
with
and when you go
on to the more advanced forms of card magic, you will find that many of the earlier effects will still be good numbers on your program. In the instructions for doing in
tricks
this
many
of the
chapter, you will be told to
square the pack. Squaring the pack simply
means
to even
pack
squared
is
up or make
it
when
it
The
neat.
adjusted so that the
it is
on top of each
cards
fall directly
down
in the dealer's hand.
other, face
THE DOUBLE DEAL This trick
is
based upon a neat but simple
mathematical stunt and becomes a zler
when presented
real puz-
which
as a card trick in
a spectator practically mystifies himself.
the effect: A person cards and is told to deal to
twenty,
turned.
is
given a pack of
any number up while the performer's back is
When
that
is
off
done, the person
is
told
heap with the same number to make sure he will not forget it.
to deal another
of cards,
The performer then
tells
him
to
deal a
third heap of ten cards, gather all the heaps
together and deal alternating left picks
up
original
them
and
right.
either pile
number
into
two separate
The
piles,
spectator then
and from
it
deals the
of cards onto the other heap.
Finally, the spectator counts the
remaining
Double Deal
jf$
47
cards he has in
hand and concentrates upon
The magician immediately tells him how many cards he holds. The entire trick is done with the magician's that number.
back to the audience.
the method: The trick hinges on the third heap of cards the person is told to deal, in this case ten. At the finish, the spectator will have just half that number, so by announcing, "Five/' the performer
sure to be
is
correct.
For example, the spectator deals off eight cards. Told to deal the same number again, he deals off eight more, making sixteen. Now the performer says, "deal ten more," and those are added, bringing the total to twenty-six.
The
cards are then dealt into
two heaps
which will contain just thirteen each. From one of these, the spectator deals his original number, eight, into the other. That leaves him exactly five cards, the number which the magician proceeds to name. presentation: Since the result
"set" be-
is
forehand, the performer should stress the fact that the spectator has free choice of any ber.
as
He
casually tells
him
num-
to "deal ten more,"
though those extra cards did not particularly
matter. In repeating the trick, that
should be changed.
If
the spectator
is
number told to
"deal six more," the final total will be three.
48
A
Easy Card Tricks
twelve more/' the total will
If told to "deal
be
six,
and so on.
COUNT-DOWN CARDS the effect: The magician hands the pack to a spectator and tells him to deal off between 10 and 20 cards while the magician's back is turned. That done, he is to add the figures in his number and deal that many cards from his packet back onto the pack, noting the final card dealt. For example, if his number is 15 he adds the digits together and deals six cards back ( 1 5 consists of 1 and 5, or 6). If the number is 19, he deals 10 cards
(19=1+9
or 10).
done with the pack face down until the turnup of the final card, which may then be buried in the pack and shuffled there. Still, the magician names the card! the method: Beforehand, the magician All
this
notes the tenth card either "plant"
it
while illustrating
be
dealt.
down
in the pack.
He
can
there, or get a glimpse of
how he wants
it
the cards to
This should be in single fashion, each
card going on the one before, reversing their order.
Suppose the spectator deals off 15 cards. Adding 1 and 5 gives him 6, which he deals from his packet onto the pack in the same
Count-Down Cards
A 49
That brings him back to the the one the magician knows or
reverse fashion.
tenth card,
has predicted.
The same applies to any number between 10 and 20. With 11, he would count back 2 (the eleventh and the tenth), while with 19, he would count back 10. So he is sure to hit
the
known
card.
you note the nineteenth card, the spectator can be told to deal a number between 20 and 30, then add its figures and deal that many from his packet, looking at variation:
If
the final card.
FOUR-HEAP DEAL the effect: A borrowed pack is thoroughly shuffled and spread face down along the table, so a spectator can remove any four cards, which are also laid face down, in a row. The magician gathers the pack and hands it to the spectator. He turns his back and tells the person to turn up the first of the four cards and note its value: 1 for Ace, 2 for Deuce, and so on, all face cards. (Jacks, Queens and Kings) simply counting 10 each.
On
that
first
card, the spectator
is
to deal
enough additional cards to total 12. Thus, on a 7, he would deal 5 cards; on a 10 or a King, 50
Jft
Easy Card Tricks
These cards are to be dealt face down,
2 cards.
slightly overlapping.
The
spectator
is
then to turn up the next
card in the row and repeat the process, continuing on with the third and fourth card.
Here
is
a sample result:
OF CLUBS
OF DIAMONDS
KING OF
2
5
SPADES
(10
(^
cards
JACK OF CLUBS (^
cards
(7 cards
cards
face
face
face
face
down)
down)
down)
down)
Finally, the person
into the pack
number.
He
is
The performer "Queen
is
told to count
down
and turn up the card at that to look at it and remember it. calls
of Hearts,"
the
and
name it
of a card, say
proves to be the
chosen card!
the method: A pack of exactly 52 cards must be used, so make sure to remove the Joker beforehand. All you have to do is glimpse the bottom card after the shuffle— in this case the Queen of Hearts— and the rest is automatic.
For example, if four Aces were turned up, the spectator would have to deal 11 cards on each, making 48 in all and leaving only 4 cards in the pack. He would then gather the
Four-Heap Deal
jf$
51
44 face-down cards, drop the 4 cards from the pack on top, and count down the total of the Aces, which would be exactly 4. With four 10s, or face cards, he would deal 2 on each, making 12 in all. That would leave 40 cards in the pack. He would gather the 8 face-down cards, drop on the bulk of the pack, and count down the value of the 10s (or face cards ) which would come to 40.
That done, 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 is then to add the totals of the face-up cards and lay them aside, face down, for later verification. In this case, the cards would add up: 2 for the 2 of Clubs, 10 for the King of Spades, 5 for the 5 of Diamonds, 10 for the Jack of Clubs, for a total of 27. In most instances, as in the example
first
somewhere in between, the same in every case.
given, the total falls
but the result is presentation: beforehand to do.
down
you
will
what you want the spectator card face up, then add enough
to bring the total to 12, saying that
have him do that with several heaps.
Show him how
to gather the face-down cards
and drop the pack on them. 52
Jf$
best to illustrate
just
Deal a
face
It is usually
Easy Card Tricks
Then have the pack shuffled, spot the bottom card, and go right into the routine. If you are using this method to "force" a card, or as a "mental test,"
much
it is
best to turn
away
as
as possible.
However, if you turn the trick into a "prediction" by writing the name of the bottom card on a folded slip of paper before the spectator even draws the four cards
from the pack,
you can watch the process, even helping the gathering of the face-down
As long dealing or
in
piles.
most of the convinced that you could not
as the spectator does is
have manipulated the cards in any way, the trick
is
100 per cent
LET'S
effective.
FACE
IT!
the effect: The magician spreads a batch of cards, showing that some are red cards, others black, and that some are face up and others face down, all in haphazard fashion. To mix them further, he squares the packet, cuts it, and turns over the two top cards together. Another cut, another turnover of the two top cards. He allows other persons to continue this process, cutting the pack and turning over the two top cards, time after time. This is done behind the magician's back, so he has no way of knowing whether two cards Let's Face It
A 53
are turned face
up
or face down. In
some
one card is already face up and the other face down, complicating matters still more. cases,
Finally, the magician takes the packet be-
hind his back, stating that he will pick out each card by its color: red or black. A few moments later, he brings out the packet and spreads it, showing all the red cards face up
and the rest face down. He turns over the fan and sure enough, all the black cards are faced the other way!
the method: The matic, which makes system First,
itself is
trick it
all
is
practically auto-
the better, as the
well concealed from the start.
your packet must contain an even num-
ber of cards, half red, half black. These colors
must
alternate through the entire packet of
about twenty cards. To conceal the arrangement, cut the packet
and turn over the two top cards. Do this a few times and you are ready. Show the packet "well mixed/' and let people cut the packet and turn over the two top cards together. Repeat this as often as you want. Behind your back, deal the top card face down from your left hand to your right. Deal the next card face up. Continue thus through
the entire packet. Bring out the cards, fan
them and you
will find
the other color
all
54
A
one color face down.
Easy Card Tricks
all
face up,
.
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 together, as any slip-up here will spoil the trick. Turn the top cards over together. If one has its face up and the other has its face down, turn both over so that the card which was face up is face down, and the card which was face
down
One
is
plan
face up. is
to hold the pack behind your
back and let someone cut it; then turn over the two top cards yourself. But once you have found a trustworthy helper, you can let him
go ahead with it on his own. If anyone asks why only two cards can be turned, simply say that you are keeping "mental count," even though you don't see the cards. This makes it all the more mysterious After placing the packet behind your back, you can give it a false shuffle (explained in Chapter Five), letting the spectators watch what appears to be an additional mixing. But always face your audience before you start to deal the cards from hand to hand. In the deal, the simplest way is to push off the cards with the left thumb, turning the left hand over and back as you do so. Practice this so you can do it rather rapidly and with very little
excess motion.
Let's Face It
Jf$
55
As
you can demon-
a follow-up or repeat,
strate the next trick:
FACE UP-FACE the effect:
A
DOWN
packet of red and black
shown, with colors well mixed and
cards
is
some
of the cards facing up, others facing
down. The packet
is
cut and the two top
cards are turned over. This
may be done
re-
peatedly, as in the preceding trick.
Behind
his back, the
packet into two heaps.
magician divides the
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, all the face-up cards in one packet are red, while all the faceups in the other group are black!
the method: Follow the exact procedure used in Let's Face It! but with one additional
"face
action.
After dealing
up— face down"
the
packet in
fashion behind your
back, count off half the cards with the right
hand and
retain the rest in the left.
20 cards, this would
Then
mean
With
10 in each hand.
turn over the entire group in the
left
hand before bringing the two batches into sight. Each heap will have the same number of face-up cards: reds in one, blacks in the other.
56
Jf%
Easy Card Tricks
presentation: This follows the pattern of Let's Face It! up to the final point. There, the best plan
to lay the heaps side
is
by
side
on
the table and spread one heap, saying, "6
Then 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, face-up cards in this
heap— all
and which color they
are.
black!"
Afterward, you can
turn the heaps over and show that each has the same
number
of face-down cards, reds in
one heap, blacks in the other. note: This trick offers a good "out" if you have trouble setting up the reds and blacks in alternate fashion, or
if
someone should
give the
packet a shuffle instead of a cut. In that case, go through with
it
as usual,
but
announce: "7 face-up cards in this heap" (or whatever the count may be) and "7 face-up cards here— exactly the same number!" at the finish
In short, avoid
all
reference to reds or blacks
you see whether they show up should. That way, you can't lose!
until
as they
THE RED CARD the effect: Four cards are laid in a row, the center cards face down, the end cards face
Red Card
A 57
up.
A
and
is
spectator told to
is
given a folded slip of paper
name any number from
so the performer can count back
1
to
1 5,
and forth
along the row to reach the card thus designated.
This states:
is
done and the
"Your choice
is
slip
is
opened.
the red card."
The
It re-
maining cards are turned over and the chosen card proves to be the only red card in the row.
the method:
Use three cards from a blue-backed pack and one card from a redbacked pack, for example the 10 of Clubs, the Jack of Spades, the 8 of Hearts and the 5 of Spades. These are lined up as follows: JACK OF
OF
10 OF
SPADES
CLUBS
OF HEARTS
Face
Face
Face
Face
up
down
down
up
Red
Blue
Blue
Blue
back
back
back
back
5
8
SPADES
an odd number is called, count from left to right and back again; as "1-2-3-4"— and re " turning— "5-6-7," ending on the 5 of Spades. If an even number is called, count from right to left and back, in the same fashion. Whatever the number, you are sure to end If
on the face-up 5 of Spades 58 Jf% Easy Card Tricks
or the face-down
8 of Hearts. If you hit the 5 of Spades, turn both end cards face down, showing that you
stopped on the only card with a red back, thus fulfilling
the prediction. If you hit the 8 of
Hearts, turn the two middle cards face up,
showing that you stopped on the only red card in the row. This also verifies the folded slip.
presentation: Using a blue-backed pack, place the 10 of Clubs on top and the 8 of
Hearts just below
On
it.
the bottom, put the
Jack of Spades and then, beneath
add the 5 of Spades from a red-backed pack. Having thus "set" the cards, you are ready to begin. Deal the top two cards face down, left and
right.
Turn the pack
face
it,
up and
deal the 5
of Spades to the left of the center cards, and
Then
the Jack of Spades to the right of them. a spectator:
tell
"I 1
want you
to think of
to 15, but don't
we
will
tell
any number from
me what
count along the row from
and back—like this. Here use the right .
.
it
is!
Later,
left to right
."
forefinger to count the
from finger to little finger and back toward finger, showing what you intend to do. tips of
You .
.
.
your extended
left fingers
continue: "Until
But
first,
take this
we
fore-
fore-
reach your card.
slip, as it
predicts the
very card which will be at your number!"
Red Card
A 59
Hand the person the name his number. If it counting from your
and have him odd, you do the
slip is
left to
your
right. If even,
have him do the counting from his left to his right. Since he is on the other side of the table, the count will go the opposite way.
YOU DO This
is
a classic
AS
I
DO
among impromptu
card ef-
one that will really bewilder your audience. Yet it is easy to do, once you have learned to handle a pack of cards in a fairly fects,
convincing
style.
the effect: You take two packs of cards —those from a bridge set may be used— and choose either pack.
let a spectator
You
pro-
ceed to shuffle one pack; he shuffles the other.
To show
that
all is fair,
you then exchange
packs, so each shuffles the other's.
Finally,
you hand your pack to the spectator and say: "From now on, you do as I do— and let's see what happens!" You cut your pack in three heaps on the table, so
pack.
your friend does the same with his
You then
lift
the top card of the middle
heap and peek at its corner. He does the same, as you remind him: "I am remembering my card, so
I
want you
Now, you 60
Jf%
to
remember
yours."
gather the heaps and give your
Easy Card Tricks
pack two or three complete
cuts, the other
person does the same with his pack. Remarking that the noted cards are
now "well buried," You then say:
you exchange packs again. "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. Then we'll put them face down on the table." That is done and the packs are laid aside. Dramatically, you turn up the two cards. are identical.
By an amazing
They
coincidence, you
have each taken the same card from a
differ-
ent pack!
the method: After a few shuffles and exchanges, note the bottom card of the pack that you hand to the other person, for example, the 9 of Clubs. You take his pack and say: "Now, do as I do." Lift off about two-thirds of the pack, set
it
to the right, then
the top third and put
The
spectator does the
it
lift off
further to the right.
same with the pack you
gave him.
Peek
at the top card of the
middle heap, but
remember it. Still keep thinking of that bottom card of the other pack. Pick up the bottom heap of your pack, now the furthermost-left heap, put it on the middle heap and place both heaps on the top heap. Your friend does the same with his pack. don't bother to
You Do As
I
Do
Jf$
61
In the process, 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, yet the
two cards will remain together. So after you exchange packs again, you simply look through your friend's pack for the 9 of Clubs and remove the card just below it, say the Jack of
Diamonds. That will be the card he looked at. Meanwhile, he is looking through your pack, finding the Jack of Diamonds and taking it out as you instructed. So the two cards turn out to be identical.
presentation: This
trick
must be done
in
a confident manner, with the performer shap-
ing the pattern as he proceeds. If you miss a
chance to note a bottom card, or
it
gets lost in
a chance shuffle, simply exchange the packs
again and proceed from there.
Sometimes you may "spot" the bottom card of the pack that the other person shuffling,
and
in that case
is
you don't have to
note yours. Instead of exchanging packs, you
would say: "Just put your pack on the table and cut it as I do mine." Don't worry about which pack is which after the trick has passed the preliminary stage. Just refer to a pack as "your pack" or
62
$jk
Easy Card Tricks
"my
pack/' according to convenience or the
way
circumstances develop. After you receive the other person's pack,
you can give pack
is
it
a "false shuffle" in which the
merely
not
cut,
shuffles are described in
(False
shuffled.
Chapter Five.) You
would then remark: "Fll shuffle your pack while you shuffle mine." Your friend gives your pack a real
You have now
shuffle,
but
doesn't matter.
it
reached the point where you
are each going to look for your
own
card in the
other's pack.
the other person starts to shuffle his pack
If
after looking at his card, don't give trick.
shuffle
Just
say:
now
'That's good,
up the
me
let
your pack while you shuffle mine." At
him your
the same time, hand
pack, pressing
the exchange. It generally takes a
good
shuffle to separate
the chosen card and the "key" card above so the chances are the trick
may work
despite
If it "misses," try it again, preferably
it.
the
New Do
As
I
Do, which
NEW DO Here, the effect
is
AS
I
it,
with
follows:
DO
almost identical.
Two
packs are shuffled and exchanged by the per-
former and a spectator. Each notes a card,
New Do As
I
Do
jfa
63
and
when drawn from
these,
the other per-
be the same. the method: During a shuffle, note the top card of your pack before handing it to the spectator. Then tell him: "Now do as I do."
son's pack, prove to
In this case, carry
it
lift off
two-thirds of the pack
and
Then
the
well to the right.
top third and bring
lift
off
back a short way, setting it between the other two, so that it becomes the middle heap. You do this with the spectator's pack; he it
does the same with your pack.
Now, you
say:
"Look at the top card of the middle heap and remember it." Your friend looks at the card you noted, say the 4 of Clubs, while you are peeking at a card in his pack. Again, the packs are exchanged.
He
looks
you look for your deck. You both come up with the
for his card in your deck,
card in his
4 of Clubs. presentation: This version has the advantage that the card tor, so
is
"forced" on the specta-
the trick cannot possibly miss. Further-
more, you can include a shuffle in the routine
middle heap has been noted by your friend. You simply say: "Now do as I do and shuffle the pack thoroughly." after the top card of the
Then you
The 64
follow with the final exchange.
best plan
A Easy
is
to
work the
Card Tricks
original
You
Do
As
Do
I
and save the newer version
for
a repeat. In the original trick, the spectator actually takes a
random card from deep
The newer
the deck.
trick,
while
in
artful, de-
pends upon an odd handling of the heaps, which works best when dealing with a smart spectator who is looking for something else.
COINS AND CARDS the effect: The magician runs through the faces of a pack of cards, showing that they are well mixed.
He
says that
he
will predict
the card that a spectator will select at ran-
dom.
He
folds
it
writes something
and
places face
Now,
lays
it
down on
on
a slip of paper,
beside the pack, which he
the table.
the magician
a spectator to take
tells
any coin from his own pocket and add the figures on the date. "Whatever the total," the magician says, "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 date,
person looks at a coin and names the
which we
added, the figures
The
suppose
will 1,
9, 6,
1
is
1961.
When
give a total of
down
17 cards and happens to turn up the 7 of Clubs. So the magician tells him: "Go right ahead and count 17.
down
spectator counts
seven more/'
Coins and Cards
A 65
The
up the seventh card. It is the 10 of Diamonds. The magician tells him to open the slip of paper. To his astonishspectator turns
ment, the spectator finds the written message, "10 of Diamonds/' which hits the prediction
on the nose! the method:
Beforehand,
you must
ar-
range 13 cards in descending order: King, Queen, Jack, 10, and so on down to Ace. These cards can be of any suits, hence the "setup" is
quickly and easily arranged. Put this set on
top of the pack, then count any 10 cards from the bottom and put
Run
them on top
of that.
through the face-up pack, showing
it
and watch for the card just below your setup— in this case the 10 of Diamonds. That card, which is at the twenty-fourth position, is the one you must predict. The trick is sure to work every time, prowell mixed,
vided the spectator's coin later.
The
1901
or
eleventh
bringing
1910, card.
There he
for 13, so a
him
sum
the will
come from
count to the find
a King,
count of 13 more
to the twenty-fourth card.
Other dates work the
dated 1901 or
lowest possible total will
which stands will bring
is
just as well.
The
higher
of figures contained in the coin's
from continued. Thus, 1-9-6-0
date, the lower the value of the card
which the count 66
A Easy
is
Card Tricks
would end on the sixteenth card, an would cany the count on to 24.
A
1—9—5—9 wou
date of
^
8,
t°tal
which
24 and
bring the count squarely on the twenty-fourth card, so there
no need
is
to go
on
further.
Just tell the person to read the prediction;
there
it is!
presentation: pack,
and
thumb
running
In
through
the
the cards rather rapidly as you
reach the setup group, and no one will notice their numerical arrangement. After the specta-
tor has dealt the twenty-fourth card, take the rest of the
he
is
pack from him and
shuffle
it
while
reading the prediction and turning up
the card. That will really mix the setup group.
UPS
AND DOWNS
the effect: Two cards are dealt face down on the table. The Joker is placed face up beside them. The pack is then shuffled and twenty cards are counted
off.
Someone pushes the Joker the packet of twenty
(fig.
down into 15a). The maface
gician spreads the packet facing the spectators
and
lets
one person note the card above the
Joker, while another person notes the card just
below the Joker
Now, lets
(fig. 15b).
the magician squares the packet and
anyone cut
it.
He
then holds the packet
Ups and Downs
A 67
upright, face toward the audience.
He
slides
the top card up, the second card down, the third card up, the fourth card
down, and con-
tinues thus through the entire packet
(fig.
15c).
He
spreads the cards in a double fan and
asks the is
first
person to note whether his card
in the top half or the
bottom
half,
but not
mention which. The magician then "weeds" the bottom half by drawing it downward (fig. i5d), and places it on the top half, squaring the two into a single packet (fig. to
15c).
Now, he
repeats the
"up-down" process and
spreads the double fan so the second spectator can see
whether
his card
is
in the top or
bottom half. Again, the magician draws the bottom portion clear and places it on the top, squaring the entire packet.
He
then fans the packet and
remove the Joker
(fig. i5f).
lets
someone
The pack
is
cut
at that point (fig. i5g), the magician counts off
the top ten cards (fig. 15I1), placing
face
down
in front of the
first
them
spectator.
He
places the remaining ten in front of the sec-
ond
spectator.
Originally,
down. to be the face
68
fSf%
the magician dealt two cards
He 5
turns
up the
first
and
it
proves
of Clubs, so he has the
Easy Card Tricks
first
6
PACK CUT AT POINT WHERE JOKER REMOVED
ONE CHOSEN CARD
OTHER CHOSEN CARD
FIG. COUNT OFF TOP TEN CARDS
IS
IS
6
DOWN
5
DOWN
15
Ups and Downs
Jj%
69
spectator count
The
other card
second person
down
five cards in his
the 6 of Diamonds, so the
is
down
told to count
is
heap.
six cards
in his heap.
They turn up
their cards
and each proves
to
be the very card that the spectator noted. The magician has scored a double "hit" in predicting 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, as they represent the numbers at which the chosen cards will appear without
done exactly
The
fail
if
the trick
is
as described.
may be inserted anywhere in the packet of 20 cards. The card just above it will eventually come 5 down; the card just below it will be 6 down in its group. There are two "up and down" deals or Joker
"weaves" of the cards, and in each case the portions are pulled apart intact and one
placed on the other.
The
Joker
and the pack must be cut
is
is
then removed
at that point
and
the cut completed.
In counting
off
the top ten cards, keep
exactly as they are.
That heap
chosen card at position
five;
will
them
have the
the other chosen
card will be at position six in the lower heap.
presentation: 70
A Easy
Two points must be stressed.
Card Tricks
you do not see the cards noted by
First, that
the two spectators, as the faces are facing for-
ward all the time. Second, in making the up and down weaves, insist that each person in turn must note which portion of the packet contains his card.
You do
this
because
result and, therefore,
it
has no bearing on the
is
a good "throw off."
But the up-and-down interlacing is itself essential, so you need an excuse for it, particularly as it must be done twice. You can vary the numbers at which the cards appear in their respective packets simply
by
from the upper section to
sliding a card
the lower section at the time the Joker
is re-
moved, and making the cut at that point. That will put the first chosen card at position six in the top ten, the second chosen card at position seven in the
bottom
ten.
Or
if
you
from the lower section to the upper section when the Joker is removed, you slide a card
will
put the
first
card at
10 and the second card
bottom This people
number 4 in the top at number 5 in the
10. is
useful
who have
when working seen
it
the trick for
before. In either case,
cards of the proper value should be placed
on
top of the pack beforehand.
Ups and Downs
A 71
BEHIND YOUR BACK the effect: A pack of cards is shuffled and handed to the magician behind his back.
He
brings out the pack, with
tom
its
front or bot-
card toward the audience, and asks some-
one to
call
name
the
of the card that appears
there.
Again behind fles
his back, the
magician shuf-
the pack to another card, brings out the
pack, and has the audience
Ace ways
of
the front
few more times the magician
card. After a
begins to call
name
them
himself, as "9 of
Clubs-
Hearts— 10 of Spades"— and he
is
al-
right!
the method: Behind his back, the magician counts off 6 cards and lays them face up on the pack. In showing the front card and letting someone name it, the magician notes the back card, which is turned his way, for example, the 9 of Clubs. Putting the pack behind his back again, he
moves that card to the front. When he shows the pack, he calls, "9 of Clubs," and notes the next face-up card, the Ace of Hearts. He continues thus, concluding the trick when he runs out of face-up cards.
presentation: Ask someone to shuffle the pack. Turn your back, saying, "Let me have
them now, 72 Jh Easy
so
I
can mix them
Card Tricks
still
more."
Behind your back, continue shuffling with the cards face down, letting everyone see what you do.
Turn toward the audience, bring out the pack face front and say to someone: "Name the card you see there." Put the pack behind
your back, saying, "Let's shuffle to another
Repeat the process of having someone name the front card when you show it. About the third or fourth time you do this, count off the six cards and lay them face up on the pack. Have someone name another card and this time note the back card as you show the front one. Next time, move that card (say the 9 of Clubs) to the front and state: "Don't name the next card you see. Just keep thinking of it while I concentrate on it. Maybe card."
I
can guess
it."
This time, you
name the
card (9 of Clubs)
and meanwhile note the next (Ace of Hearts) and continue in that fashion. In naming each card, you can pretend to grope for the thought, saying, for example:
"This
is
spot card, too,
—no, only they're
say
A
a black card; I'm sure of that.
9.
it's
But
thick with them:
8—9—10
hard to
whether
it's
tell
Clubs or Spades. Just a tossup, but
Clubs— the 9
I'll
of Clubs."
Behind Your Back
Jf$
73
To
continue past the sixth card, do as
fol-
lows:
In naming the
fifth card,
spot the sixth (say
the King of Hearts) and, as you put the pack
behind your back, turn
it
face
down on
the
pack. Immediately bring out the pack, saying:
"That's enough. Let's try something else."
Then, call
inquiringly,
more
You
me
you add: "You want
to
cards? All right."
are holding the pack face
everyone can
see,
that you could
making
know any
it
down,
as
seem impossible
of the cards, except
the bottom one, which you just named. But it
happens that you know the top So behind your back, you move
card, too. it
to the
more cards on top of the pack, thus picking up where you left off. At the point where you decide to continue, bottom and turn up
six
you can give the pack an overhand
shuffle of
the type that brings the top card to the bot-
tom. That will put
it
where you want
it,
so
behind your back you simply turn up the 6 top cards and you will be ready.
74
Jf$
Easy Card Tricks
4.
Tricks with
Ordinary Objects There are two advantages to doing ordinary objects.
First,
with
tricks
your appliances are
usually easy to obtain; second, they lack the
suspicious look of special or fancy apparatus.
This puts your audience
off
guard at the
because you can introduce "faked"
start,
articles or
hidden "gimmicks" without their realizing
it.
In short, some of the simple objects used in the following tricks are not as "simple" as
they seem; but the tricks themselves are simple, in fact all
the more
so,
thanks to special
some hidden device. In other instances, some secret manipulation or unsuspected "move" will enable you to create the magical effect. Even though these are comparatively simple, the method should be carefully practiced, and the effect itself rehearsed so that there will be no hesitation at preparation or
the vital point.
Some
of the tricks in this section are adapt-
able to close-up work; they
may be
regarded
as extensions of close-up tricks, so they
used
when performing
can be
that type of magic.
But
they are mostly suited to somewhat longer
Tricks with Ordinary Objects
Jjk
75
range and before an audience larger than one
two persons. These are good
or
tricks to
work
at a party or
You
need a table for some of them, so this should be "set" in advance, along with the needed articles.
before a small social group.
will
ONE OUT OF THREE This creates an excellent effect because
it
can be repeated, always with the same suc-
What
seems to be a "one out of three" chance actually becomes one out of many
cess.
more.
the effect: Three paper cups on the
table.
such as a
are inverted
The magician borrows an and asks someone
object,
to place
it
beneath one of the cups while his back
is
ring,
turned.
Then, the person is told to change the position of the other two cups, moving each to the spot where the other was. In this way, all chance of noting any exact position of the cups will be completely eliminated.
The magician
passes his
forth over the cups, finally
ing one of them.
hand back and stopping and lift-
Under that cup
is
the ring!
the method: One of the cups has a slight identifying mark, made by the performer and known to him alone. For example, the bot76
A Tricks
with Ordinary Objects
thumb. notes the exact position of this cup in
torn lip can be bent slightly with the
He
also
the row; for example, that
it is
at the left end.
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
is still
in its original position
(in this case at the left),
ring
is
under
What It's still
if
he knows that the
it.
the marked cup has been moved?
easy to find the ring.
You
eliminate
both the marked cup and the one that replaced it. The ring is under the remaining cup. If the marked cup was on the
and
is
now
left at
the start
in the center, the ring
must be
under the cup on the
The
test
may be
exactly as they are.
right.
repeated with the cups
Use the marked
cup's
present position as the start for the repeat.
Again, someone puts the ring beneath any cup
and transposes the other two while your back is turned. You find the ring just as you did before. Thus, if the marked cup begins in the center and winds up on the right, the ring is under the cup on the left. presentation:
Much
depends on neatly
stressing the exact procedure of the test.
can do
this
by casually showing what
One Out of Three
You is
to
A 77
be done and giving a
may
logical reason for
it.
You
say:
"Here are three paper cups and a ring. I want you to lift one of the cups, place the ring beneath it and then think of that cup.
.
.
."
Here you under it.
"To
lift
the cup and place the ring
aid your concentration,
I
want you to
switch the other two cups, like
You go through
this.
.
.
."
the action of transposing the
two cups. "That will doubt and my mind,
clear your
when
too,
thought impression, as
mind I
sense the
will focus
it
of any
your
at-
tention on the cup that hides the ring."
At
this point,
you
the ring and leave
the cup, bring out
raise
it
beside the cups.
Then
turn your back, as you add:
"Remember, you can place it under any cup, but keep thinking of that cup alone while you reverse the positions of the other two. Ready? Don't look at the cup that hides .
.
.
the ring. Just think of
it.
." .
.
Here, you turn about, run your hand back
you comment: "I gain the impression that the ring is under here—" Slowly dip the hand at the correct cup
and forth above the cups
and
78
lift it,
as
revealing the ring.
A Tricks
with Ordinary Objects
THE SUCTION CUP the effect: The magician takes two very ordinary items, a paper drinking cup and a table knife, and proceeds to demonstrate the impossible. He sets the cup on the flat blade of the knife and presses his free right hand on the rim of the cup; then he turns both over, takes his hand away, and the cup adheres to the knife blade! This, the magician claims,
created in the cup.
He
is
due to suction
hand hand a
brings his right
up beneath the cup, gives the left slight twist, and the cup drops from the
knife,
both items being given out for immediate
ex-
amination.
the method: does the
A
small but strong magnet
trick. Secretly
drop the magnet in the
cup beforehand. Set the cup on the knife blade, which, being steel, grips the
through the paper bottom the
palm of the
free
(fig.
magnet
16a). Place
hand on top
of the cup
and pretend to create suction as you invert knife and cup. The cup sticks to the blade in a mysterious fashion (fig. 16b) and heightens the effect as you bring your hand up beneath the cup and make the reverse twist. As you hold the rim of the inverted cup, simply releasing the magnet,
lift
the knife,
which drops unseen into Suction
Gup
Jf§
79
START THUS
*J& KNIFE BLADE
^
_i
MAGNET
IN
CUP
d
FIG.
l6 =? MAGNET SECRETLY DROPS INTO PALM
the right palm (fig. 16c). picks
The
hand then up the cup along with the knife and left
both for inspection. presentation: Test the type of cup before-
gives
hand, to make sure
it
does not have too deep
bottom flange or rim, as close contact is required between the magnet and the blade through the cup (fig. i6d). Make a great pretense of creating suction when you place your hand flat on top of the cup. Talk about compressed air and its peculiar properties and add any other scientific "hokum" that you may a
think up.
80
A Tricks
with Ordinary Objects
.
But
mention magnetism, or your audience may catch on just as fast as the blade and the hidden magnet! note: Before you perform this trick, test the magnet with the knife to be sure that the magnet will adhere strongly. don't, of all things,
THE SLIDE-ALONG KNOT A good
own
an excellent opening for a rope routine or a good preliminary to Cut and Restored Rope (
P
.
trick in its
right, this
is
also
3 8).
the effect: The magician stretches a sixfoot length of rope and shows a knot tied in the center. He takes the knot in one hand and slides it
along the rope to the end.
other sweep, he slides
it
With
an-
to the other end,
then back to the center where the knot
in-
stantly vanishes.
the method: Beforehand, three slipknots are tied in the rope. Such a knot is easily made by forming a loop in the rope (fig. 17a), then bending the upper portion beneath the loop,
and pushing
and tightening
Two
it
up through
it
(fig.
17b)
there (fig. 17c)
such knots are tied near the ends of
the rope; the third
is
tied at approximately the
The rope is held in the middle knot hanging down for the audi-
center (fig. iyd).
hands,
Slide-Along
Knot
A 81
ence to
see,
end knots hidden
in the
hands
(fig. 17c).
The magician
up the rope with one left hand and the other
picks
end knot (A) in his end knot (B) in his right. He shows the center knot (C) and grips it with his left hand, carrying the end knot (A) along. With his left thumb, he pushes out the center knot (C) and draws his hand toward the end of the rope, revealing the knot there (A). This is illustrated in the two sketches in fig. 17L Holding that end with his left hand, the magician takes its knot (A) with his right hand and pushes out the knot; then he slides his right hand along the rope to the other end, showing the knot there (B). Letting the rope dangle from his right hand, his left hand grasps the knot (B) and secretly pushes it out, then pretends to draw it to the center of the rope, letting the ends dangle.
The
right
hand grabs both ends
together,
shakes the rope, showing that the knot
and the that
it
left
hand
takes one
is
gone,
end of the rope
can be stretched to prove
so
it.
presentation: By bunching the rope on the
end knots (A and B) can be concealed beneath it. The two ends can be picked up together by the right hand, both knots (A and B) being concealed in the right fist, table, the
82
A Tricks
with Ordinary Objects
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, a solid, well-tied knot"—he tugs at it lightly with his left hand— "as you can see/' He raises his left hand to his right, and grips the left end of the rope with its knot (A) and spreads the hands, the right retaining its hidden knot (B). "Now all we need is the magic touch/' He brings his left hand to the center of the rope, grips the knot there (C) and secretly pushes
its
loop
free.
"Then
slowly, steadily,
Slide-Along
Knot
A 83
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
on the end of the
rope, as solid
it
here
and firm
as
ever!"
hand
knot (A) for the first time, as if it were the center knot (C), and the right hand, still hiding its knot Here, the
(B),
left
displays
the rope dangle.
lets
The
its
left
hand then
end of the rope, displaying
raises its
its
knot
(A), and the magician continues:
"So we take the knot again"— here the right hand moves over and grips the left knot (A), pushing its loop free— "and give it a long, quick slide." The right hand, all the time concealing its knot (B), runs along the rope and reveals the knot (B) as it reaches the end.
"And that brings it clear to the other end." The right hand lets the rope dangle and the
left
comes over and
grips the
knot (B)
while the magician states: "So once again grip the knot
while
we draw As he
we
and whisper the magic word it
to the exact center of the
he pushes out the knot and pretends to draw it to the center of the rope. "There— that's about it." "And now, taking both ends"—he grips them with the right hand— "so the knot can't rope."
get away,
84
we
speaks,
give the center a single slap, like
A Tricks
with Ordinary Objects
this"—the magician releases the center of the rope with his left hand, 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.
The hands
and the rope is shown between them, with no trace of a knot
are spread apart
CUT AND RESTORED ROPE This
is
a simplified version of perhaps the
most popular
trick in
soft rope
thin,
is
magic today.
A
fairly
best for this real baffler,
which has the added feature that it can be repeated immediately with the same surprising result.
the effect: The magician shows a six-foot length of rope.
his left
He
five-
or
holds the ends in
hand, brings up the center loop be-
tween the ends and uses a pair of cut the rope in half.
He
scissors to
then presses the cut
ends together, spreads his hands wide apart
and the rope be given
is
restored.
Not only
can
for examination.
the method: Hold the rope hand, gripping right
that, it
it
near one end.
hand down along the
full length.
in the left
Draw
the
rope, stretching
it
Do this a few times, then: Gut and Restored Rope
A 85
Bring the right hand up to the
left.
the rope between right
thumb and
Then double
a small loop
(fig. 18a).
with the right hand, gripping
it
the
The
left fingers
(fig.
18b).
in
Grip
fingers
upward the bend of
thumb
left
aids in retaining the loop there.
Immediately, the right hand
is
drawn
along the rope to the other end. This
clear is
an
exact copy of the original stretching process,
no one suspects that the left hand conceals a loop near the upper end of the rope. Bring the right end up and place it in the left hand so that both ends protrude. Both ends are gripped by the left thumb and fingers with the hidden loop between (fig. 18c). Now, the right hand dips down into the censo
ter loop, fingers
going through to the front,
thumb
(fig.
brings plants
stead
The
hand the big loop up into the left hand and it there, taking the little end loop in(fig. i8e). This is done in one conin
back
tinuous move.
The
up above the
left
i8d).
little
loop
is
right
then brought
hand, between the ends
(fig. i8f).
This appears to be the center loop.
It is
cut
and the magician announces that he now has two ropes with four ends (fig. i8h). Actually, he has a short bit of rope with two ends (A and B) and a with the
86
scissors (fig. i8g),
A Tricks
with Ordinary Objects
FIG.
l8
rope almost as long as the original with two
ends (C and D).
The
right
hand
lays the scissors aside
Gut and Restored Rope
and
Jf%
87
takes a long
D) and thumb in catching
end
them together
presses
halfway
it
(fiq.
The down
The rope
now shown
left
hand
along
it,
it
to be "fully" re-
the short extra piece as though
The
i8i),
(fig. i8j).
but actually the right hand
rope end.
left
and
stretching
almost at the end
it
is
down and
A
(as
back, fingers in front.
holding
stored,
a short
the rope and runs
releases
level,
end and
were the
it
hand's position
holding
is
is
identical
and the fact that it is holding a real end— which was openly shown— draws any suspicion from the right.
To
dispose of the tiny extra end:
hand approaches the
The
right
and folds the extra bit of rope there. In the same action, the rope is gathered up and wadded in the left hand, which lays it aside, the odd end going with it. Or:
The
right
left
hand
leaves the long ends in
up the center and then the rope away and leaving
the left hand, gathers
the ends, carrying
the extra bit in the
left
hand.
hand
To
dispose of
up the scissors and pockets them or lays them somewhere out of sight, dropping the odd end with
the extra piece, the
left
picks
them.
88
A Tricks
with Ordinary Objects
FOOLED-AND FOOLED AGAIN! the effect: Three cards are shown, each of a different color: red, green, and blue. They are dropped in a hat or simply covered with a handkerchief. In the latter case, the magician still
them
retains
Two and
in
one hand.
cards, the red
laid aside.
and
blue, are brought out
When people are asked to name
the remaining color, they say "Green," but
when the magician shows white one, with the word
on
the card,
FOOLED
is
a
printed
it.
By
then, smart spectators are figuring that
the card
is
green on the other side, so they
demand, "Turn
it
around!"
does, showing the card
words
still
FOOLED AGAIN
red,
The magician white, with the
in big bold letters!
the method: Three cards is
it
are used:
another blue, while the third
is
One
white,
FOOLED printed on one side and FOOLED AGAIN on the other. Also, there
with
is
a special fake, consisting of a green card cut
to about half the width of the others.
This "half card"
is
pasted to one side of
the red card, being set at a slight angle toward
one edge. that
its
It
should be shortened a
corners
trifle,
so
do not project past any edge of
the red card.
By
arranging the colored cards in a fan,
Fooled
—and
Fooled Again!
A 89
they appear to be three cards— red, green, and blue,
thanks
FOOLED
the
to
special
The
fake.
behind the others, thus hidden from view. fig. 19 shows how the "fake" card is made and how the card
is
set lengthwise
cards are held.
In bringing the cards from the hat or cloth, the blue
may be shown on both
the back of the red card
green
fake
FOOLED
hidden.
is
card
all set
is
sides,
but only
shown, so the
That
the
leaves
for the double-barreled
finish.
presentation:
With
the hat, small cards
should be used, about the size of playing
Simply show the "three" color cards and drop them in the hat. Bring out the blue first,
cards.
carelessly turning
the other hand. ing only
its
Put both
it
over as you transfer
Then
back, and place the blue with
it.
you can pick up
the hat with one hand and reach into
when you
to
bring out the red, show-
in your pocket, so
the other
it
it
with
ask the color of the re-
maining card. If you intend to use the handkerchief instead of the hat, you can make up the cards in a larger size. This is good for platform presentation since they can be seen at a distance. After covering the "three" color cards with the cloth, turn
ward the 90
them around and extend them
spectators.
A Tricks
with Ordinary Objects
to-
RED
GREEN
BLUE FINAL CARD
BLUE
RED
RED 1/ GREEN If BLUE
MOW CARDS ARE HELD
BACK VIEW
FIG. 19
This automatically brings the back of the blue card to the front, so it can be drawn
down from the cloth, shown, and laid on the table. Good comedy can be intro-
straight flat
duced by pretending to show the cloth empty after removing the red and blue cards.
You
say that the green card has vanished
and you
let
the cloth drape downward, but
the audience can see the outline of a card
behind
it.
With
your other hand, you bring
the lower half of the cloth up in front and shift the card
behind
it;
then you
let
the rear
Fooled—and Fooled Again!
Jf$
91
portion of the cloth drop. is
done the
to
know
better, as
The
clumsier this
you want the audience
that you are trying to hide the "van-
ished" card.
When
you
show the
away the cloth and front and then back, the FOOLED and FOOLED
finally take
card, first
double impact of
its
AGAIN message will be all the stronger. 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
a
is
good idea
to have
an
ordinary red card that can be switched for the fake card, either in the pocket or behind object
on the
shown
as ordinary, later.
table. All the cards
some
can then be
FARMER AND SHEEP Here
is
an intriguing
with a magical climax.
trick involving a story
The
only requirements
are a pack of ordinary playing cards hats.
A
and two
pair of paper bags, or boxes, or similar
may be used instead of the effect: The wizard places
receptacles
the hats. the hats
on the table, openings upward. Between them, he deals five spot cards, which he turns face down, saying they represent five sheep, out grazing in a pasture between two barns, represented by the hats. 92
A Tricks
with Ordinary Objects
He
two Jacks from the pack, saying that they are a pair of tramps who want a deals
He
place to sleep, so each goes into a barn.
and
places a Jack in each hat
one
lays the
pack to
side.
The tramps they
call
right,
them
decide to steal the sheep, so into the barns: First
then one on the
right— until performer
all
left,
then
one on the right, left,
The
the sheep are in the barns.
illustrates
this
by dropping the
"sheep" cards into the hats in alternating fashion.
from
Just then, the farmer's daughter looks
the house and sees that the sheep are gone. Here, the magician turns up the top card of the pack and shows
it
to be a Queen, rep-
resenting the farmer's daughter. So she goes
to
tell
her father.
down on
The Queen
is
replaced face
the pack.
Immediately, the tramps become worried
and they
let
the sheep out again— one from
one barn, one from the other, and so on.
To
indicate this, the wizard brings a face-down
card from the hat on the
the right, then
left,
left, right, left,
then one from
making
five in
all.
By
then,
daughter.
the
farmer
The magician
cards of the pack: one
is
arrives
with
his
up the two top the Queen, the other
turns
a King, representing the farmer.
The sheep
Farmer and Sheep
Jf%
93
are back, but the farmer
is
suspicious.
He
to get the sheriff, while his daughter stays
goes
and
keeps watch.
slyly
Here, the magician turns the King face
down on
Queen
the pack and places the
up under the pack, but extending ward, as though keeping watch. Right away,
face
partly out-
the tramps steal the sheep
before— right, left, right, left, The magician puts the sheep cards into
again, just as right.
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 daughter (Queen)
states tells
that
the
the farmer
farmer's
(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. right, five
From
the hat on the
the wizard brings out the King and the
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 enables you to proceed as follows: First, in
placing a Jack in each hat, turn
the Jacks so their faces are toward you and
tilt
When
you come to the sheep cards— the spot cards—put them in the hats,
them
forward.
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 face down.
on the
Then
right
and
overlapping the
it
take the Jack from the hat lay
first
it
face
down,
slightly
Jack.
Next, take a spot card from the hat on the
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
left
cards.
People think that you have replaced the inal
sheep cards, or
five
orig-
spot cards, on the
Farmer and Sheep
Jf$
95
and that
table
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
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
barns,
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 spectators, no one will know that two of the supposed "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
and the presentation becomes almost 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. as described
Rehearse the routine along with the story
no fumbling or hesitation. Then no one is apt to notice that you pick up the "sheep" beginning with the right, and lay line so that there
is
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
holds
spectator
a
wand
while the magician wraps a
silk
handkerchief
twice around the center and
ties
the ends in a
He
sudden tug and pulls it through the wand. Both ends of the wand may be held during this surprising demfirm knot.
gives the cloth a
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
particularly good.
ruler
The
is
better
and a cane
is
larger the handkerchief,
the better.
the method: Use a rather large handkerchief and twist it rope fashion. Hang the silk over the
Now der the
wand
so that the ends dangle.
wand and
over
it,
completely girded by the gling
them up unthat the wand is
grasp the ends and bring
from the same
side
so
silk,
each end dan-
where
it
hung
be-
fore (fig. 20a).
Have the
spectator place his finger
crossing above the wand, so that
Silk
on the
you can pull
Through Wand
A 97
He
the ends tighter.
holds the
hand while he does Take the ends of the
other
wand with
his
this.
and bring them back over the finger, down under the wand, and up over the top, where you tie them in a tight
knot
(fig.
Have the
silk
20b).
spectator
folds of the silk
and
draw
his finger
from the
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 By
(fig. 20c).
reversing the direction of the ends
the finger
is
when
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 convincing, 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
WIND ENDS BACK AROUNDTIE KNOT-DRAW OUT FINGER
SPECTATOR'S FINGER
HELD LIKE THIS
HANDKERCHIEF PULLED
THROUGH WAND
\J FIG.
Once
20
make
"show" of having persons hold the ends of the wand and play up the "pull through" at the climax. This is one trick in which a strong presentation is the knot
is
tied,
a
essential.
Silk
Through Wand
A 99
5.
Magic with Cards
Card
whole field of magic in themselves, ranging from simple puzzles to tricks represent a
difficult sleights. It
is
important to learn the
proper handling of a pack at the very outset,
may
since an easy trick, well presented,
pear to be a display of great
skill.
On
hand, any bungling with the cards
ap-
the other
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. Sometimes the lifted group is replaced, which puts the pack back in its original condition. But if the lower group is placed on the upper group, the cut is said to be "completed." Actually,
the completion of a single cut
does not mix the cards, though a
new
it
does bring
card to the top of the pack. But
if
cer-
tain cards are clustered together— for example, all
four
Aces— they
will still retain that for-
mation despite any number of single long as the deck is not cut where the
cuts, as
clusters
occur.
the multiple cut: Here the pack 100 Jk
Magic with Cards
is
di-
vided into three or more heaps which are then
assembled in a completely different order. Or, a batch of cards
may be
pulled from the cen-
pack and placed on the top or bottom, which has the same effect as a Multiple ter of the
Cut.
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.
The
usual
way
in the left hand,
is
down
to hold the pack face
thumb
at left side, forefinger
at far end, other fingers at right side. right
thumb and second
sides
near the inner end
finger then grip the (fig.
21a), draw
out the bottom portion and place (fig. 21b).
Another way the right scribed,
is
to pick
With
it
on top
up the pack between
thumb and second
finger as just de-
then use the right forefinger to
the top half of the pack, tilting side can
The
it
raise
so the other
be pressed against the thumb. the halves thus separated, the right
Guts
A
101
hand
drawn back quickly, carrying the lower portion between the thumb and second finger, while the forefinger releases its pressure on the upper portion, which drops to the table. The lower half is promptly placed on the upper and the pack is squared, completing a is
neat one-hand cut that looks quite
which it really to do it well.
is,
as
some
practice
is
skillful,
needed
SHUFFLES
A
shuffle
though
it
mixes the cards quite thoroughly,
may be
limited to a degree to suit
the purposes of a particular
trick.
THE DOVETAIL OR RIFFLE SHUFFLE: The pack is cut into two heaps, which are brought together end to end, the thumbs at the inner ends and the fingers at the outer ends of their respective heaps.
The thumbs bend
the ends of the packets
upward, then release them simultaneously in
downward riffle, at the same time pushing them together so that they interlace in "dove-
a
FIG.
102
Jf$
Magic with Cards
22
tail" fashion, as fig.
The
22 shows.
packets
are then squared into one.
Sometimes the packets may be
riffled at
the
inner corners instead of the ends, the fingers
being at the far
may
Also, the forefingers
sides.
down on top
aid by pressing
of the pack-
ets.
the overhand shuffle: The is
entire
pack
held in the right hand, fingers at one end,
thumb
The pack is tilted to an and the left thumb is pressed
at the other.
upright position
against the upper edge, where cards
downward,
bend of the
letting
left fingers (fig.
fig.
This
is
peels a
fall
few
into the
23a).
23
repeated, so that another small batch
of cards drops
The
them
it
upon the
first
group, and so on.
shuffle thus consists of a series of small
which each new group or packet goes on the one before (fig. 23b). There is a variation, however, known as the front and back shuffle:
cuts in
Shuffles
A
103
THE FRONT AND BACK SHUFFLE: This like
Overhand,
the
batch
of
cards
the left hand
is
tilts
but
Now,
on the
deposited
forward, throwing
against the base of the left
its
first,
cards
thumb.
down thumb
the right hand brings the pack
in back of those cards, so
when
peels off the next batch,
it falls
already shuffled
The
second
the
after
Starts
the left
behind those
off.
next batch goes in front, the next in
back, and so on, in alternating fashion, until
the shuffle
is
completed.
DEALING CARDS Dealing
another
is
common
procedure
which has
several variations. Since these var-
iations are
important in card
be described in
tricks,
they will
detail.
In most deals, the pack
is
held in the
left
hand, with the thumb slanting across to the
The
outer right corner.
left
thumb pushes
top card outward and to the right, where taken between the right
thumb and
the it is
forefinger,
which complete the deal by drawing the card farther from the pack. the group deal: This consists of pushing two, three, or right
hand
more
cards from the pack to the
(fig. 24a),
which
a group, exactly as they are.
104
A Magic
with Cards
them in The right thumb receives
24
FIG. is
above and the right fingers are beneath the
cards thus dealt, so they can be taken in threes, fours, fives, or
any number desired
This type of deal
is
(fig.
24b).
sometimes termed a
count 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, exactly as they were counted off,
and then replace them upon the pack
their original order.
This
is
in
essential in cer-
tain tricks.
In dealing two or
more heaps of hands, the
Group Deal may be used
to complete
one
heap, then the next, and so on; or cards
may
be dealt
singly, either
completing each heap,
or going from heap to heap. This
may
volve either the Reverse Deal or the
Turnup
Deal. If important to the trick,
it is
in-
generally
specified in the instructions.
the reverse deal: The Reverse Deal involves dealing off the cards one by one, each Dealing Cards
A
105
going on the card that was dealt before that their order
is
reversed. This
important in certain card
is
tricks,
it,
so
also highly
but
is
so
escapes general notice, which
simple that
it
makes
the more valuable in some cases.
it all
With
the Reverse Deal, you can have a
group of cards running in value from Ace up to 10. After dealing
them and
replacing
them
on the pack, they will run from 10 down to Ace, yet no one will realize it— except you, the magician.
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. Thus, each new card goes on the one before, but since they fall face up, they will be in their original order when you pick them up together and replace the entire group face down on the pack.
Here, a special point should be stressed: In 106
A Magic
with Cards
hand must flip them forward (fig. 25a), then upward (fig. 25b), if it takes them in the usual manner, with fingers below and thumb above. This method is good if it is done neatly. A
dealing cards face up, the right
better system, however,
still
right
thumb below
fingers above.
is
to bring the
the card and the right
In this case, the card
is
first
upward with the thumb (fig. 26a), then forward (fig. 26b), which is neat in itflipped,
self,
giving the deal a deft touch.
FALSE CUTS
AND SHUFFLES
After acquiring a natural ting
and
shuffling a pack,
duce "false" cuts and
manner
it is
of cut-
easy to intro-
which appear to mix the pack, yet enable you to keep certain cards just where you want them. One of the simplest yet most deceptive is shuffles
the following:
false single cut:
Lay the pack on the
False Guts and Shuffles
A
107
table
and
lift off
the top half with the right
hand, placing that portion closer to you. Immediately pick up the far heap with the right
hand and place it in the left hand; then pick up the near heap with the right hand and drop it on top. This apparently completes an ordinary single cut, but actually leaves the pack exactly as it was originally.
The pack
false three-heap cut:
is
on
the table. Lift off about two-thirds of the pack
and
lay this group six inches to the left. In
the same action,
group and drop
now
it
lift
off
about half of that
in the center.
The
packets
will be:
LEFT
CENTER
Top
Middle
With
RIGHT
Bottom
the right hand, pick up the heap at
and drop it on the heap at the right. Then pick up both heaps and drop them in the left hand. Pick up the remaining heap (the center one) and drop it on the rest. The pack will be as it originally was. the
left
variation: After laying out the heaps, use
hand to pick up the left heap and on the right heap; then drop both on
the right
drop
it
the center heap. This looks like a multiple cut but
108
is
actually only a single cut.
A Magic
with Cards
false triple cut:
down and thumbs front.
face
lengthwise between the hands, the
pressing the back edge, the fingers the
Thumbs and
ward and inward,
With
Hold the pack
right
fingers are pointed
down-
as fig. 27a shows.
thumb and
forefinger
draw
off
the bottom third of the pack (fig. 27b). Carry
above the pack and with the right thumb and second finger draw off the top third this
(fig. 27c).
The
left
hand
retains the
middle
third.
fig.
The
right
thumb and
27
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. The left hand immediately plants its heap on the False Guts and Shuffles
A 109
first
one.
The
right
hand then drops the
re-
maining heap on top. Despite this seemingly intricate cut, the
pack
is
in
original condition.
its
false dovetail shuffle: effective
way
This
is
a very
of keeping certain cards where
you want them, because the
shuffle
is
actually
a standard Dovetail or Riffle Shuffle, but
is
handled in a special way. Simply cut the pack and bring the ends together. Then, to keep
on the bottom of the pack, start the riffle with a few cards from the lower half, so that the bottom card drops first. To keep a card on the top of the pack, retard the
a card
riffle
of the upper half, so that the top card
falls last.
By combining
the two processes, cards can
be kept on both the top and bottom of the pack, though that is seldom necessary. 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 Dovetail.
In such cases,
it is
wise to cut off a larger
upper packet when keeping a group on top, or a larger lower packet when keeping a group on the bottom. This will allow for a more convincing riffle. false overhand shuffles: These are used 110
A Magic
with Cards
to retain the top or entire
groups—in
bottom cards—as well
as
position. In every case, the
false shuffle simulates the
genuine to a degree
that defies detection.
For top or bottom control of a single card, the following is one of the neatest methods: the pull away: To keep the top card in place, stand with your right side toward the audience and hold the pack lengthwise between the thumb and fingers of your right hand, which are at opposite ends. The top of the pack is toward your right palm. Now, the left hand approaches from in back and draws down a batch of cards from the bot-
tom of the pack, as with the simple Overhand Shuffle. But at the same time, the left fingers come up between the pack and the where they press the top card and draw it down along with the bottom batch. The left hand continues to draw off clumps right palm,
of cards until the shuffle
the top card
still
is
completed, with
in place. This
may be
re-
peated as often as desired.
To
keep the bottom card in position, turn
toward the audience. Pack is in right hand, but with top upward, or away from the palm, as with the usual Overhand Shuffle. The left thumb draws down a batch of
your
left side
•
cards from the top of the pack, while the left
False Guts and Shuffles
A
111
go up beneath and bring along the
fingers
same action. Shuffle off of the cards on top of the first batch.
bottom card the rest
in the
top to bottom: Using the Overhand Shuffle, you can shuffle the top card to the bottom of the pack by simply drawing off the top card alone, with the left thumb, then shuffling
the rest of the pack onto
bottom to
it.
done with a straight Overhand Shuffle until you come to the last few cards. Then, the left thumb simply draws them away one by one, so that the last card can be dropped on top of the pack. top:
This
is
stacked pack shuffle: When working with a pack in which the cards are "stacked," or arranged in shuffle is
is
some
special rotation, a false
needed to keep the setup
intact.
Here
one type:
overhand cut shuffle: Hold the pack for the Overhand Shuffle, but draw off about thumb. Bring the bottom half over with the right hand and drop the entire group on top. Continue this in a fairly rapid but irregular fashion, varying the size of the batches drawn off by the left thumb. The result is simply a series of single cuts which look like a shuffle half the cards with the left
112
A Magic
with Cards
but do not mix the pack at
all.
Even
better
the next one:
is
front and back cut shuffle: This retains the order of the entire pack and even keeps the top and bottom cards in their original positions.
with the
left
Draw off a small batch of cards thumb and bring the pack down
over the front with the right hand, but do not
draw
off
any
cards.
Instead, the right
hand
carries the
pack over
and leaves some cards there, as in the Front and Back Shuffle. Continue thus, never leaving any cards at the front, but dropping some at the back. This looks exactly like the regular Front and Back with the cards diminishing in number as you go on. Drop the final batch in back and the pack to the back
undisturbed.
is
on
top,
With
the final batch
you give the pack the equivalent of a
single cut.
end the
By throwing
This
is
a very convincing
to
false shuffle.
a small group of cards that
kept in rotation for some special is
way
must be
trick,
here
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, receiving them in the right hand, False Guts and Shuffles
^ 113
THUMB PUSHES TOP CARDS INTO RIGHT HAND-
LEFT FINGERS.PUSH BOTTOM
LEFT
CARDS ON TOP OF RIGHT-HAND PACKET
LEFT THUMB PUSHES TOP CARDS UNDER CARDS OF RIGHT-HAND PACKET
which
is
FIG.
28
the same position as the left
in
(fig. 28a).
Now left
and
the
left
bring the right packet beneath the slide
some
cards from the
bottom of
packet onto the top of the right one.
done with the
This
is
right
thumb
left
fingers
(fig. 28b).
Bring the right packet above the slide
some
and the left
and
cards from the top of the left
packet to the bottom of the right one, push-
them with the left thumb and drawing them into place with the right fingers ing
(fig. 28c).
Continue in this manner and the cards will seemingly be shuffled, but actually the group being cut at different places, with the cards still in rotation. You can vary this by pushing
is
114
jf$
Magic with Cards
cards
from
right to left as well as left to right,
but as long as you follow the regular process of "top to bottom" and "bottom to top" it
makes no This
difference.
perhaps the most deceptive of
is
false shuffles,
all
but looks unnatural and awkward
when done with
the entire pack, so
it
be used only with smaller batches of
should cards.
SIMPLE CARD SLEIGHTS Any
secret
termed a
move with
a pack of cards
and some of these
"sleight,"
is
are
"slight" as well, being almost impossible to
They
detect. tricks
and
it is
many card how they are
are very useful in
important to learn
performed.
THE GLIDE This simple
move
enables you to "change"
one card into another, neatly and The pack is held face up in the
thumb
effectively. left
hand,
at the left, fingers at the right, curled
across
slightly
the
front
card of the pack
(fig. 29a).
The
left
hand turns the pack
face
down
end of the pack, where they draw out the bottom card and lay it face down on the table, the
and the
right fingers
go beneath the
Simple Card Sleights
far
A
115
FIG.
29
thumb
right
aiding in this simple maneuver
(fig. 29c).
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, the tip of the third finger "glides" the bottom card back toward the inner end of the pack (fig. 29b). This enables the right fingers to draw out the card just above the bottom card and lay that on the table instead.
The
projecting
hidden by the
left
end of the bottom card hand. Later, the
finger "glides" the actual
to
its
116
left third
bottom card forward
original position.
A Magic
is
with Cards
variation:
difficulty
If
is
experienced in
gliding the card with the left third finger, the
move can be accomplished
in a slightly dif-
ferent way:
The
hand
left
turns the pack face
down
and the right fingers, coming beneath, press the bottom card lightly and push or glide it back toward the heel of the left hand (fig. 30a). This leaves the front end of the next card available so that the right fingers can
out in the manner described earlier
draw
it
(fig.
30b).
The
right fingers
bottom card back
Q
11
*'
to
its
can bring the
original position later.
>
**7"T r>»
•«*• 1
FIG.
30
> > + j.h4-
to*
When
performing various card tricks, it is a good plan to show certain cards on the face of the pack, then turn the pack down and
draw
off
laying
it
the required card in normal fashion, face
down
or face up.
Simple Card Sleights—Glide
A
117
when
Later,
ment
will
the Glide
is
used,
its
employ-
be natural and the "change" of one
card to another will seem amazing indeed, as
no one
will link it
with the dealing process
that took place earlier.
THE This
is
SLIP
another effective way of "changing"
a card. It also enables the magician to bring a
card from the top of pack to the middle, with-
out having anyone guess what happened.
The pack as
is
held in the
though about to
deal.
the ends of the pack,
left
hand, face down,
The right hand takes thumb at inner end,
and tilts the top half slightly though hinged at the back edge
fingers at outer,
upward, as (fig. 31a).
The
right
hand then removes the upper
por-
tion of the pack, but in that simple, natural action, the top card of the
fig.
118
A Magic
31
with Cards
upper packet
is
secretly transferred to the lower picket,
becom-
ing the top card of that portion.
the method: As the right hand tilts the top portion upward (fig. 31b), the left fingers press lightly against the top card and retain it, so that,
when
the upper half of the pack
drawn away, the card drops on the lower
To
hide
upward
this,
at the
is
half.
the lower half should be tilted
same time and the performer
toward the audience. With both halves of the pack face front at the finish, no one is the wiser. should turn his
By
left side
gesturing the left
hand toward the
right,
or pointing the left forefinger in that direction,
the whole
movement
of the Slip looks like
a simple cutting process and no sleight will be suspected.
THE SLIDE This move
is
used to bring a card from the
top of the pack to the bottom, turning
up
in the process.
Hold the pack
it
face
in dealing
position in the left hand, then lower the left
thumb beneath
the pack and
tilt
it
forward
to a face-up position against the left fingers.
The grips
it
and the
right
hand approaches the pack and
between the thumb at the near end fingers at the far end.
The
right
hand
draws the pack slightly forward and upward,
Simple Card Sleights— Slide
^ 119
FIG.
turning 3
2
it
face
down on
this
action,
the
32
left
hand
(fig.
)-
During
the left fingers press
lightly against the top card of the pack,
remains face up as the pack
is
laid
which
upon
it.
In fig. 32 the 4 of Spades is the top card which, after execution of The Slide, will now
be at the bottom of the deck, face up.
THE TURNOVER This
is
a simple
way
of reversing the
half of the pack, bringing
it
bottom
face to face with
the top half. Hold the pack in the left hand, face
down. Grip the top half with your right
fingers at the far end,
thumb
b
a
120
A Magic
at the near end.
with Cards
As the
right
hand
the upper half a few
lifts
inches (fig. 33a), the left
thumb comes
neath the lower half and
flips
forward direction.
The
over in a
hand promptly down on the face-up
right
replaces the top half face
cards
it
be-
and squares the pack
(fig. 33b).
This Turnover can be used with a single card or small packet at the
botom
of the pack.
TURNING THE PACK an easy and useful move when two portions of the pack are "faced" so that either can appear to be the top of the pack. Hold the pack in dealing position in the left hand, but bring the left thumb beneath it. Bring the right hand above the pack and at the same time "kick over" the entire pack with the left thumb, in the fashion of the This
is
Turnover, with the right hand concealing the action.
The
right
hand
either grips the pack
by the
ends or goes directly into a deal, while the left
hand
retains the pack.
of the hands, brings
them
A
slanting
downward and
motion
to the right,
into a natural dealing position.
THE GLIMPSE Glimpsing a card at the top or bottom of the pack is necessary in certain tricks, and
Simple Card Sleights
— Glimpse A
121
fig.
should be practiced so
it
34
can be done casually,
without attracting notice.
the top glimpse: Push the top card with the left thumb so the card comes over the right edge of the pack, just as though you were starting to deal it. There, pause and press the fingers inward and upward, squaring the card with the pack, but raising
its
edge
slightly (fig. 34a).
Now,
look right
top card. will
the pack end upward and you can
tilt
down
at the index corner of the
A little extra pressure from the fingers
bend the card
slightly,
giving a better
sometimes termed. Once the index has been noted, relax the
"peek," as this glimpse pressure of the fingers
is
and square the card on
the pack.
the bottom glimpse: The bottom card of the pack can often be noted while handling the pack in a casual way, such as transferring
from hand to hand, or while pulling up one sleeve and then the other. Such mannerisms should be cultivated for that very purpose. it
122
A Magic
with Cards
.
The best Bottom Glimpse can be made when least expected; that is, when the pack is held in the
thumb
left
hand, ready for the deal, with
at the left side, forefinger at the far
end, and other fingers at the right side. Tilt the left
and you
will note that it
to "spot" the
glimpse
hand
hand forward and downward
bottom
almost impossible
is
which
card,
why
is
this
so effective. Just squeeze the left
is
slightly
and the
fingers will slide the
pack
inward, past the base of the left thumb, bringing the lower index into sight (fig. 34b)
The hand
is
immediately
the
tilted to
left,
so that only the backs of the cards can be seen, as in the usual dealing position.
THE DOUBLE LIFT the effect: The magician takes the top card from the pack and shows it to be the
He
6 of Spades, for example.
down on table.
replaces
turned up,
it
face
on the has changed to an
the pack and later deals
When
it
it
entirely different card, such as the Jack of Dia-
monds. the method: The pack position in the left hand.
is
held in dealing
The
right
hand
ap-
proaches as though to square the pack at the ends. This
Palming
move
is
similar to the
one used
in
(see below).
Simple Card Sleights—Double
Lift
A
123
Meanwhile, the left thumb pushes the top card and the second card very slightly to the right, where the right hand covers the two cards and squares them as one (fig. 35a). The left thumb, pressing the left side of the cards, and the left forefinger, pressing the right side, assist in this operation,
holding the cards
thumb comes beneath the end and the right fingers press down
while the right inner
from above
(fig. 35b).
This enables the right hand to turn over the
two cards
as one, so the spectators see the
face of the lower card fig. 35c).
The
the card face 124
A Magic
right
(the 6 of Spades in
hand immediately
down on
turns
the pack. Later, the
with Cards
drawn off and proves to be the Jack of Diamonds. Of course, any cards can be top card
is
used in this
trick.
variation:
Some
performers prefer to
lift
the two cards between the tips of the right
thumb and slightly to fig.
forefinger,
bending
the
cards
hold them neatly together, as in
35&
PALMING A CARD the effect: By palming a card, the magician can secretly remove it from the pack, later producing it from his pocket, or leaving it
there
if
he wants to dispose of
it,
as in the
case of an extra or duplicate card.
the method: The move
itself is
quite sim-
VIEW FROM BELOW (AUDIENCE, OF COURSE. DOES NOT SEE THl$)
FIG.
36
BACK OF HAND WITH CARD PALMED
Simple Card Sleights
—Palming
a Card
A
125
Hold the pack in the left hand as if to deal. The right hand comes above the pack
pie.
from the
right, as
if
by end
to square the cards
them with the fingers at the far and the thumb at the near end (fig. 36a). The left thumb pushes the top card to the right so that it comes beneath the right hand, and the second finger of the left hand presses the card up into the right palm and the bend pressing
the
of
right
fingers,
which
curve
inward
slightly to retain it (fig. 36b).
Two
palmed in this manner, the left hand pushing them slightly to the right, one by one, with the right hand squaring them as it covers them. When the or three cards can be
cards are in position, the left second finger presses
them up
into the right
palm
in a group.
SINGLE-CUT FORCE the effect: A person cuts a pack of cards and notes the bottom card of the upper packet. Later, the magician reveals the
name
of the
card.
the method:
Glimpse the bottom card
of the pack or shuffle a card to that position.
Tell the spectator to cut off any
number of upon them.
and place the rest crosswise While you turn your back, he is to glance cards
the card above the break. 126
A Magic
with Cards
at
That, of course,
is
the original bottom card,
which you already know. presentation: Done boldly, this is very effective, as you emphasize that the pack can be cut "anywhere/' and the business of laying one
packet crosswise, plus the slight delay
when
you turn your back, makes people think that the card came from the middle. As a "prediction," you can write the name of the bottom card on a slip of paper, then tell someone to cut the pack so you can put the prediction in between its halves.
When name
the paper
is
opened,
it
bears the
which you can show by turning up the heap, making a very of the card just above
convincing
it,
effect.
THE FAN FORCE This
is
the best way of forcing a card from
an ordinary or borrowed pack, since it cannot fail, yet is done in a most nonchalant and natural fashion. Furthermore, the "force" can be accomplished even if the subject changes his mind as to the card he wants, something quite impossible with the
more standardized
force.
the effect: The card to be forced is on the bottom of the pack. The magician begins by spreading the pack between his hands to form a wide fan. The pack actually rests on Simple Card Sleights
—Fan
Force
A
127
the fingers of the
left
hand, so that the
can push the cards to the in the spreading
right,
thumb
which helps
process— thumb above, fingers
below.
A
spectator
asked to touch any card dur-
is
ing this fanning process, so that the pack
may
be cut at that spot. This is done, and the performer lifts the upper portion, showing the card so designated, which is naturally at the
bottom or face of the upper packet. That card, however, is actually the bottom card of the pack, the one to be forced! Here is the reason why: the method: During the spreading process, the fingers of the left hand secretly slide the bottom card of the pack a small distance to the right. There, the fingers of the right
hand draw
it
a
farther
little
beneath the
spreading fan.
When the left
a spectator touches a card in the fan,
thumb pushes
so that the right
it
slightly to the right,
hand can
away that card above it. But in doing lift
with
all
this,
the right fingers secretly bring along the
the rest that are
bottom card of the pack, hidden beneath the part that represents the upper portion.
The
left
hand
tilts
its
packet slightly
in-
ward, so that the performer can "square" the
upper packet by tapping 128
A Magic
its left
with Cards
edge against
He
the lower half.
then
raises
the upper packet
to give the spectator a full front view of
its
bot-
tom, or facing card, without the performer seeing
it.
Actually, the magician doesn't have to see
He knows
it.
he
is
who
it
already, for this
upon
forcing
is
the card that
his unsuspecting victim,
be the card at the exact spot where the cut was made. The spectator can change his mind, even going back along the fan if he wants to, because in cutting the pack, the bottom card is always drawn to the desired spot. takes
it
to
THE DRAW SHUFFLE Known Shuffle,
as
the Running Cut, the
and by various other names,
Hindu
this
is
a
very useful device for magical purposes. Like
the simple Overhand Shuffle, cutting off
little
before.
ever, the
made
With
pack
consists of
groups of cards from the top
of the pack and dropping
went
it
is
the
held
them on those
Draw
flat
Shuffle,
and the
that
how-
cuts are
endwise.
Rest the pack face
thumb
down
in the left hand,
against the left side, fingers at the right
side,
with the forefinger at the
right
thumb and
far end.
The
fingers take a pincer grip at
the sides of the pack near the inner end; the
Simple Card Sleights—-Draw Shuffle
A
129
fig.
a
right
37
hand then draws the bulk of the pack
inward
group of cards to drop from the top of the pack into the left hand.
The
(fig. 37a), allowing a small
right
hand comes forward, drops
its
packet on top of the cards remaining in the left
hand, and repeats the action, the
hand which
left
again retaining a group of top cards,
on those below. This is continued until the entire pack has been shuffled off, the right hand dropping the last small group on top fall
(fig. 37b).
Though the
by the right hand, the slight opening and closing motion of the left thumb and fingers makes it look as though they, rather than the right hand, were drawing
action
off
is
chiefly
the cards. This creates the
illusion that the right
hand
is
pulling
its
cards
from the center of the pack, whereas they really
come from the bottom,
so the
bottom
card remains the same until after the final cut. 130
A Magic
with Cards
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 letting a
first
stage of the
few clumps
the magician
tilts
fall
Draw Shuffle.
After
into the left hand,
the bulk of the pack up-
ward and inward, so
tamp the inner end and square them into
as to
of the left-hand cards a neat packet (fig. 38).
fig.
38
This simple, natural action gives the magician a glimpse of the
bottom card
as
he
ex-
tends his hands straight toward the specta-
Knowing the bottom card, the wizard can then employ the Flash Force, which follows: the flash force: While making the tors.
Draw
Shuffle, the
magician says to a specta-
Simple Card Sleights
—Draw
Shuffle
^Si
131
me when you want me
tor,
"Tell
The
spectator gives the
to stop."
word and the magician raises the right-hand heap so the person can see its bottom card.
The magician
states,
"Remember
the card
you see there." He turns his head away at the same time and drops the right-hand cards on the pack, which he gives to the spectator to shuffle his
own
way.
The magician already knows the noted card, since it came from the bottom. The spectator, however, thinking it came from somewhere in the middle of the pack, supposes that he had a free choice of a random card, which, of course, he did not.
draw-shuffle location: The magician spreads the pack so a person can take a card. Or he riffles the outer end, allowing the spectator to insert a finger among the cards and remove one. The magician then squares the pack and goes into the Draw Shuffle, using the Glimpse to learn the bottom card, if he does not already know it. Shuffling slowly, he invites the chooser to drop his card anywhere in the pack. As the person does this, the magician simply drops the remainder of the pack on top with the right hand (fig. 39). This puts the bottom card directly above the chosen one, so 132
Jf%
Magic with Cards
SPECTATOR LOOKS AT TOP CARD OF THIS HEAP
AND REPLACES
IT
MAGICIAN KNOWS
BOTTOM CARD OF THIS HEAP (ORIGINAL BOTTOM CARD OF PACKJ
fig.
the magician can find the
known
later
it
39
by looking
for
card.
you can follow with another Draw Shuffle, but in this case let the center portion of the pack fall in one After the card
is
replaced,
big clump, rather than run the risk of separating the chosen card from
its
locator.
draw-shuffle control: This
way
effective
a neat
and
of bringing a chosen card to the
top during the course of the is
is
Draw
Shuffle. It
not necessary to note the bottom card in this
and pause wherever a person wants you to, so he can look at a card by lifting it from the lower packet and re-
case.
Simply
placing
it.
From but in
start the shuffle
Draw fashion: The
there, the
this
Shuffle right
is
continued,
hand
places
its
packet on top but keeps a "break" at the inner end, the
thumb and second
few cards
The
just
right
fingers gripping a
below that space
hand then
is
(fig. 40a).
drawn back,
se-
A
133
Simple Card Sleights—Draw Shuffle
RIGHT HAND KEEPS "BREAK" BETWEEN UPPER & LOWER PACKETS..
AND DRAWS OFF SMALL PACKET! FROM TOP OF LOWER PACKET (CHOSEN CARD IS ON TOP
8
-_„
FIG.
..
.
_
4O
cretly bringing
.
OF THIS SMALL PACKET)
away a
chosen card on top
(fig.
little
packet with the
40b) The right hand .
Draw Shuffle until it reaches Then it drops the little group on
continues the
the break.
top, putting the chosen card
on top of the
pack.
note: In using
this shuffle prior to a trick,
good plan to tilt the pack edge upward and actually draw clumps of cards from the middle, and put them on top, letting people see this as you do it slowly. They will then think that your later and more rapid horizontal shuffle is done in the same haphazard way, eliminating any suspicion regarding the bottom card. it is
a
134
A Magic
with Cards
Finding
6.
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. Those three ways
are:
(1)
By glimpsing
the course of pack,
so
its
removal from or return to the
that you can
through the pack (2)
or spotting the card in
By
find
it
later.
locating the card through
tion in the pack, or
by
its
its
posi-
nearness to other
cards or groups of cards that identify
by looking
may
help to
it.
(3) By controlling the card through some skill or subtle device so that it may be pro-
duced when required, even though identity may still be unknown.
its
exact
All of these simply lead to the great climax,
which is the "discovery" of the chosen card, wherein the performer, by some apparently magical means, reveals or discloses the card itself.
One
of the simplest, yet
learning a chosen card
is
most
by the
ways of Glimpse:
clever
Riffle
Finding a Chosen Card
Jf$
135
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, facing the spectator. right fingers press the lower
the right releasing
end of the pack;
thumb bends back it
The
the upper end,
card by card as the left
hand
tilts
the pack forward (fig. 41a).
During this "riffle/' the person is asked to note and remember a card that he sees. That is done, and later a card is named or produced by the magician. It proves to be the very card that was mentally selected by the spectator! the method: During the riffle, hesitate slightly on one card. That will be the card that the spectator remembers and, since you are watching the cards, you can note it too. That is the card that you produce later. The riffle should be neither too fast nor too
FIG. SIDE VIEW OF a
SHOWING HOW RIGHT HAND RIFFLES THE PACK
136
A Finding
a Chosen Card
41
slow.
A sudden
be seen,
stop, allowing only
too obvious. Conversely,
is
show too many reasonable amount of take to
one card to
cards too long. practice,
a mis-
it is
you
With
a
will find
the right in-between speed.
Gradually slowing the
good policy, as the later impressions are more apt to be remembered. Also, the card that you particularly note is the one that the spectator is most apt to pick. riffle is
THE WRIST GLIMPSE the effect: magician
riffles
A
card
selected
is
and the
the pack slowly, allowing
it
be replaced anywhere that the chooser wants. Slowly, deliberately, the magician to
someone to By then, the wizard knows the chosen
squares the pack and gives shuffle.
it
to
card!
the method: Hold the top portion of the pack in the right hand, the end, the
hand
thumb
fingers at the outer
at the inner end.
slightly as the card
is
Advance the
replaced, so in
lowering the upper packet, the tip of the right
thumb (fig.
To
presses
down on
the
chosen
card
42a). square the pack, the upper portion
is
brought inward, causing the chosen card to
Wrist Glimpse
A
137
a CHOSEN CARD REPLACED
ON LOWER HALF
THUMB PUSHES CARD BACK
RIGHT HAND PRESSES
CARD
project in that
hand
right
The
aiP PACK FORWARD AND OVER WITH FOREFINGER
IN
42
FIG.
LEFT HAND TURNS OVER GLIMPSE CARD AT WRIST
same
EXTEND PACK FACE DOWN FOR SHUFFLE
direction (fig. 42b).
The
serves to hide this.
hand
immediately turned back upward. This enables the magician to glimpse left
is
the chosen card and note the base of the
left
its
thumb
index, just
below
(fig. 42c). This,
hidden from the spectators. The right hand promptly comes up from below, thumb projecting upward behind the pack, fingers extended in front of the pack. The right thumb presses the chosen card fortoo,
is
138
Jf%
Finding a Chosen Card
ward into the pack, which is gripped between the right thumb at the back and the right fingers at the front (fig. 42d).
The
left
now
right
doubled beneath the pack, which shown face up and is extended toward
forefinger is
hand moves away and the
is
a spectator (fig. 42c). Slowly, the right fore-
whole pack forward, almost into the spectator's hands (fig.
finger levers the
flipping
it
42f). In this easy, natural procedure, you have
learned the chosen card while asking someone to shuffle
it
into the pack.
Coming now to card locations, we have a basic method with various applications known as the Divided Pack.
THE DIVIDED PACK the effect: The pack heaps, each of which
is
is
divided into two
separately shuffled.
A
drawn from one heap, placed in the other and shuffled there. Looking through
card
is
that heap, the magician finds the chosen card.
the method: Beforehand, secretly divide the pack into two distinctive groups. The Joker can be placed as a "divider" between these, so that by looking through the pack and removing the Joker, you can automatically separate the cards at the right place.
Divided Pack
A
139
When
a card
taken from one half and
is
you find it by simply looking through the group and picking out the "odd" card that does not belong there.
shuffled into the other,
The
simplest of such setups
is
Reds and
Blacks.
reds and blacks: Put the red cards in one half,
the black cards in the other.
this quickly, often
with a borrowed pack, some-
times while looking through cards that you
You can do
want
Finding a card
it
certain
for
for another trick.
is
quick, too, since a red
shows up conspicuously among the blacks, and
But that
vice versa.
You
is
this trick's weakness.
can't risk letting a spectator handle a
packet or even see the faces of the cards, or he will
note the arrangement. Therefore
ter to use a
bet-
Two-Suit Setup.
two-suit setup: This takes a to arrange
it is
and you
little
longer
can't find the chosen card,
or cards, quite as quickly, but
it is
much
safer
than Reds and Blacks. Use a red and black suit in
each division, for example, Spades and
Diamonds
in
one half of the pack, Clubs and
Hearts in the other. Each pair of suits shuffled together beforehand, so there
is
is little
chance of the ruse being detected. However, if the cards are shown face up too often, the absence of certain suits in one group 140
A Finding
a Chosen Card
may be noted by an
observant spectator. This
can be counteracted by dividing the pack into odds and evens.
odds and evens: (1),
3, 5, 7, 9,
The "odd"
The and Queen
Jack (11), and King (13).
Deuce (2), 4, 6, 8, 10, This makes an unequal division, but
"evens'* are
(12).
Ace
cards are
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. This also equalizes the face cards
and the setup
stand the closest
will
scrutiny.
handling the pack: This presents another problem, because the constant insertion of a card from one group into the other
unnatural and suspicious.
One way
is
both
of over-
coming this is to keep the pack intact, but with one group— say the "odds"— on top, and the other group— the "evens"— on the bottom.
The pack
is
spread for the selection of a
card. If the spectator takes half, the
for
its
it
from the upper
magician simply fans the lower half
return, or vice versa.
Thus the card goes
into the other group, where
it
can be located.
In this case, a false shuffle will have to be used.
Divided Pack
A
141
A
more
subtle location technique
Pack and
as the Pointer
is
is
known
described below.
THE POINTER PACK the effect: The pack is divided and a card is taken from one shuffled group and put into the other, or replaced in
group which can again be
shuffled.
its
own
The magi-
cian finds the chosen card.
the method: One group
is
composed of
"pointer" cards consisting of:
A* A*
2* 5A
c* c A
6* 6*
A
3
5
6
7o
7* 7* 1*
8* 8*
9* 9^
8
9
Joker
These are termed "pointers" because each card has a majority of its spots pointing in one direction, as a study of the cards will show.
They
are arranged so they all point upward,
the 7 having its odd point at the top and the Joker being upright.
With some packs, be classed the
K*
top; the
certain face cards can also
as pointers, the
commonest being
with a central ornament shaded at the
Q*
with a belt of tiny Spades point-
ing to the right, which can be regarded as up-
ward; the
J
A
with
its
belt of Spades pointing
upward. 142
A Finding
a Chosen Card
Also, the tral
K*
sometimes has a shaded cen-
ornament; the
the right; the top.
K^
KO
has one high and to
has a wider belt band at the
These can be used
when
pointers
as
available.
The performer spreads
the pointer packet so
a card can be selected, then squares the packet, turns
it
around, and spreads
card's return.
The
it
packet can then be shuffled.
In looking through
it,
the magician promptly
finds the chosen card because
the opposite way. its
again for the
it
By turning the
original position the packet
is
is
pointing
card back to
made
ready
for a repeat. If
too
many
pointers get
turned— this may
happen from a "wrong" shuffle— the other portion of the pack can be brought into action: A card taken from the pointer group and placed
among
the "ordinaries" can be easily
located.
With
the pointer packet as the top half of
the pack, a card taken from that portion
be replaced anywhere
after the
pack
is
may
turned
about. If the card goes into the top half,
it
be pointed the wrong way; if it goes into the lower half, it will be among cards of the nonpointer type. Thus, it can be easily located
will
in either case.
Pointer Pack
A
143
BOTTOM-CARD LOCATION the effect: The pack is shuffled and cut into two heaps. A spectator notes the card at the cut, places it on the other heap and completes the cut. The pack is given several more cuts.
The magician
looks through the pack
and finds the chosen card. the method: After the shuffle, glimpse the bottom card, say the 8^. When a person cuts the pack, takes a card from the center and places it on the top, the mere act of completing the cut puts the bottom card (8^) directly above the card he noted.
The pack can be cuts,
given any
number
of single
without separating the two cards. Simply
spread the faces of the cards toward you, find the original bottom card, and the card just before
it
will
be the chosen one.
variation: Note the bottom card, spread the pack and allow a card to be drawn. Square
the pack, undercut about half the cards and
extend the top half of the pack, telling the chooser to place his card there. Complete the cut by dropping the lower packet on the upper.
The chosen
card will be just below the bottom
card that you noted.
144
A Finding
a Chosen Card
COUNT-DOWN LOCATION A
pack is shuffled and a spectator draws a card from any place he wants,
the effect:
notes the card (say the
down on
10*) and
lays it face
the table, at the performer's instruc-
tion.
The
spectator
is
then told to deal additional
cards onto his, stopping after he has dealt the
number
exact
card
indicated by the value of the
(in this case,
itself
10).
while the magician's back finish,
he
is
is
He
does this
At the pack on the
turned.
to drop the entire
pile just dealt, square the pack, cut it
anywhere
and complete the cut. In fact, the pack can be given
few more
a
cuts to confuse the performer completely; yet
when he
looks through the pack, he finds the
chosen card!
the method: Note the bottom card the let
K^
)
after the shuffle.
(say
Spread the pack and
the person take a card from anywhere, or
hand him the pack and
tell
him
to
draw out
a card himself.
When
down, deals its own number on it and drops the pack on top, he puts just that many cards between your locator (K^ ) and his own card (10* ). Single cuts will not change this, so all you have to he
lays this card face
Count-down Location
A
145
do
find your
is
known
the card just below
and
it
card
(K^) and
call
"zero/' then start count-
on
you reach 13. When you reach his card, you will score a direct "hit" with your number; that is, in this case, your count of 10 will come exactly on the 10 of Clubs, which you can produce later as the chosen card. There is just one hitch. Sometimes other ing:
i,
cards
2,
so
accidentally
position.
might
3
fall
until
into exact numerical
For instance, on your count of
strike the
3
of
Diamonds and,
you
3
after
reaching 10 and finding the 10 of Clubs, you
might go on to 12 and
hit the
Queen
of
Spades.
be the 3O, 10*, or Q*, you would announce, "Your card is a black one." The reply being, "Yes," you would add, "and a Spade." Getting a "No," your comment would be, "That makes us even. Concentrate completely on your card and you won't go wrong again." Knowing now that the card must be the 10*, you proceed to
Knowing the chosen card
reveal
to
it.
In instructing the person at the sure to
tell
Jack, 11, a
146
him
Queen,
A Finding
to count an 12,
and
Ace
a King, 13.
a Chosen Card
start,
as
1,
be a
CARD CONTROLS Getting a chosen card to the top in a single
hidden action requires some form of ckrd control. The most direct way is by a sleight called the Pass, or Shift, whereby halves are transposed as in an ordinary cut, only secretly.
Actually, the Pass
is
unnecessary, as the
pack to transfer a single very cumbersome. Since the
shifting of half a
card to the top Pass
is
is
usually followed
by a
shuffle of the
pack, the whole operation can be simplified into the Shuffle Pass.
the
THE -SHUFFLE PASS effect: A card drawn
from the
is
pack, noted
and
replaced.
The
who
magician,
holds the pack spread for the card's return,
immediately closes the pack and gives
Overhand
Shuffle
which
an
it
secretly brings
the
card to the top of the pack.
the method: The pack is spread with the fingers of both hands below and thumbs above. In closing the pack, insert the left just
little
finger
above the chosen card, holding a "break"
there.
Only the
tip of the finger
is
required
(fig. 43a).
The
right
hand
squares the pack,
thumb
Card Controls
Jf%
at
147
HOLDS BREAK ABOVE CHOSEN CARD
LTTTLE FINGER
AUDIENCE FACES
BACK OF CARDS
fig.
43
inner end, fingers at outer end, where they can
Turn your right side toward the audience; in the same move the right hand begins a shuffle, lifting the front or top portion of the pack and carrying it
give the pack a quick
riffle.
over and behind the back or bottom section,
which
is
promptly
tilted
forward on the
left
fingers (fig. 43b).
That
is,
the right hand
above the break, and the
left
lifts
all
the cards
thumb then
peels
cards from the
tinuing this
bottom of that packet, conbona fide Overhand Shuffle until
the right-hand cards are exhausted (fig. 43c).
The hands can be extended toward
the audi-
no longer being used, the chosen card now being on top of the ence, as the "break"
148
A Finding
is
a Chosen Card
pack. It can be kept there by a series of false shuffles
and
cuts, as desired.
THE TURNED-UP JOKER the effect: A card is selected, replaced in the pack, and the magician spreads the cards face down, to find the Joker turned face up in the pack. He removes the Joker and promptly discovers the chosen card.
the method:
The
Joker
ruse
secretly
aids in bringing the chosen card to the top of
the pack. Beforehand, find the Joker and slide it
to the
bottom of the pack, placing
it
there
face up.
Spread the pack, have a card selected and square the pack.
Draw out
the bottom half
with an Undercut and extend the upper half to
Bottom-Card Location. Drop the upper half on the lower, so the Joker comes on top of the chosen card. Give the pack a few cuts, spread it again, and when you come to the face-up Joker, remark, "Somebody must have put the Joker in the pack— anyway, we don't need it." With that, lift away the lower half of the pack with the left hand and thumb the Joker so it falls on the table. Openly place the lower half on the upper half and the chosen card will be on
receive the card, as in the
top.
Turned-Up Joker
A
149
THE PUSH-AWAY PASS A
the effect:
selected
card
is
replaced
on the lower half of the pack. The magician happens to show the bottom card of the upper half, so he puts that half beneath, rather than have
next to the chosen card.
it
He
then
buries the chosen card in the middle of the
pack and proceeds to find
the method: (say the
4*)
is
When
when needed.
it
chosen
the
card
replaced on the lower half,
the upper half upward, edgeways, flashing
tilt
bottom card, for example, the 10 0. Noticing this, you comment: "I wouldn't want to put this 10 of Diamonds right on your card, because then we'd know where it was." With that, you draw away the upper heap, at the same time executing the Slip, which its
secretly brings the top card of the
the chosen card (4*), which
bottom
is
pack onto
on top of the
half.
You then
add: "We'll put this whole heap
underneath." Here, you put the top packet
under the bottom packet. "And we'll push your card into the very center of the pack."
the off
While
hand holds the pack, the right draws the top card and pushes it face down in the left
center.
The Clubs 150
spectator thinks that his chosen 4 of is
being buried in this convincing fash-
A Finding
a Chosen Card
but actually it is the unknown card that you "slipped" from the original top of the pack. The chosen card is now actually on top, ion,
where you can control
the
it
until needed.
THE DELAYED CUT effect: A card is selected
turned to the pack.
and
re-
A second card is then taken
by another person, who retains it so that it can be used in a later trick. By then, the magician has obtained the first card and can produce it as needed. the method: This is a neat way of delaying a special cut that controls the
chosen.
and two
The
first
card
is
first
card
10*, you draw the
selected, say the
removes it sections of the pack apart, sliding the upper or right-hand portion beneath the lower as the spectator
packet in the
This
is
left
hand.
simply an excuse for a later action.
Spread the pack and have the card (10*) returned. Close and square the pack, keeping the tip of the left finger
Now
above the chosen card.
turn to a second person, spread the pack
again and ask
him
As he draws
to take a card.
separate the pack as rally slide
JO), you again you did before and natu-
his card (say the
the upper portion under the lower.
But instead of separating the halves Delayed Cut
at the
jf%
151
spot where the second card was, you draw the
pack apart at the break that you are holding with your little finger. In placing the lower packet on the upper, you automatically put the
first
chosen card (10*
)
on top of the pack.
AUTOMATIC REVERSE This card
is
a combination of card control
complete
a
discovery,
trick
in
and
itself,
wherein the act of locating a chosen card
re-
sults in its revealing itself.
A
the effect:
card
is
selected
and pushed
into the very center of the squared pack. Be-
hind
his back, the
and turns
it
performer finds the card
face up,
where
when
at the spectator
it is
seen staring
the magician spreads
the pack along the table.
the method: Beforehand, slide a card from the top of the pack to the bottom, turning it face up beneath (fig. 44a). Spread the pack, allowing the free selection of a card
44b). Turn slightly to your*
(fig.
the chooser
is
left
while
looking at his card, square the
pack, and give
it
a complete turnover (fig.
44c).
Hold the pack squared where
it
appears to be face down, but
ally face up,
the top.
152
in the left hand,
with a single card face
Have the
A Finding
is
actu-
down on
spectator push his card
a Chosen Card
PACK SPREADBOTTOM CARD
PACK FACE DOWNBOTTOM CARD FACE UP
fig.
face
down
44
into the center of the pack (fig.
he has trouble, take the card from him and push it into the pack yourself. Square the pack, showing that it is impossible to tell just where the chosen card went, but add that you can find it magically— and
44(d). If
behind your back! Put the pack behind you,
Automatic Reverse
A
153
.
turn the top card face up, and then turn the entire pack face
down
(fig. 44c).
Bring out the pack, spread
it
along the
and the chosen card will appear triumphantly face up in the center (fig. 44f).
table,
DOUBLE REVERSE the effect: Two cards are selected by different members of the audience. Each is returned to the pack, which is given a magic causing both the chosen cards to turn
riffle,
up in different parts of the pack! the method: Here, the Delayed Cut and the Automatic Reverse are worked together to produce a double-barreled climax. Have two face
cards selected, 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, telling the second person not to let you see his card. 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.
But
in this case, that card
happens to be
the card already selected by the
first
spectator.
So when you push the second person's card 154
A Finding
a Chosen Card
into the pack,
up
you have two chosen cards face
instead of only one.
It is
not necessary here to put the pack be-
hind your back. As the right hand covers the pack, the left gives
it
and the
a full turnover
about a dozen cards from the actual top of the pack and puts them underneath, right lifts
with a simple, sideward cut.
The
left
hand can
then make an undercut near the middle of the pack, which
The
is
handled openly and
right fingers
riffle
casually.
the pack and
it
is
spread along the table, showing both chosen
Sometimes it takes a little while them, which makes the trick all the
cards face up. to find better!
Double Reverse
A
155
Revealing
7.
a Chosen Card In most card revelations, the card
is
first
brought to the top of the pack, then revealed
you already know the card, or can locate it, all you have to do is look through the faces of the pack and cut just above the chosen card, thus bringing it to in
some
surprising way. If
the top. If
you have controlled the card
after its re-
turn to the pack, that very process
may have
you can proceed directly to the discovery. There are cases, however, where the chosen card does not have to be brought to the top of the pack. These will be discussed individually. brought
One
it
to the top, so
of the simplest of card revelations
is
the following:
ANY NUMBER
DOWN
the effect: The performer asks a spectator at what number he would like his card to appear.
The
spectator says, "Five."
The magi-
cian counts to the fifth card in the pack, but it is
156
not the chosen card.
A Revealing
a Chosen Card
That's
when
the magician remembers that
he forgot to snap the pack five times. He does it now and counts down to the fifth card, once again. This time it is the right card. the method: First bring the chosen card to the top of the pack.
number—in
required
Then count down
the
this case five—by revers-
them
ing the order of the cards as you draw
from the pack. Show the fifth card. It is the chosen card. But when you replace cards on the pack, you automatically put original top card— the chosen one— at fifth sition. Repeat the count and hit it.
not the the po-
QUICK-COUNT TRICK the effect: Any number 1
to 15.
The
is
named, from
performer counts to
it
quickly
and turns up the chosen card. the method: This is similar to Any Number Down, but is done in a bolder, faster style that makes the repeat count unnecessary. Start with the chosen card on top of the pack, then count
off
their order as
At the
the cards quickly, reversing
you take them in the right hand.
person's
number— say, 8—simply
over the whole batch and slap
the
pack,
announcing:
"And
it
turn
up on
face
there's
your
card!"
Since the chosen card
is
showing face up,
Quick-Count Trick
Jf$
157
everyone takes
for granted that
it
it
is
the
do not realize that the count was reversed. But you settle that by immediately turning the whole batch face down. eighth, as they
Then
the card
is
at the eighth position,
if
any one wants to know. In fact, you can hand the pack to the chooser and let him verify your count.
THE CARD TURNS UP the effect: Here is a card discovery that literally lives up to its title. The magician squares the pack and drops it on the tafcle. A chosen card instantly appears face up on top of the pack.
the method: The chosen card is first located and brought to the top of the pack. In squaring the pack,
the left
thumb
secretly
pushes the top card over to the right as dealing
it.
This
is
if
covered by the right hand
which moves along with the card, the thumb pressing the inner end of the pack, the fingers
end (see fig. 45). The right hand drops the pack flat on the table and the air catches the projecting card and flips it face up. The exact amount of projection and proper distance for the drop can be
at the outer
determined by practice. 158
A Revealing
a Chosen Card
fig.
45
the card jumps clear of the pack, the
If
effect
is
just as good. Its
appearance comes as
a surprise, too quick for the eye to follow.
THE KNOCKOUT the effect: Here
effective discovery of a
case extend the pack it
so
downward
chosen card. In
and ask someone to
to the table.
and knocks
er's
another quick and
is
all
The
this
strike
spectator does
the cards from the perform-
hand, with the exception of one, which
proves to be the chosen card.
the method:
The chosen
card
is
first
brought to the bottom of the pack. If the pack is gripped firmly between the thumb and fingers,
thumb
stroke will
above, fingers below, a sharp
knock out
all
but the bottom card.
Knockout
ifr
159
The
grip
is
the pack and,
away
all
confined to an inner corner of if
the spectator
the cards, he
is
fails
knock
to
told to "hit the rest"
same fashion. Or the magician himself can knock the cards away. With a chosen card on top of the pack, the Knockout can be delivered while the in the
pack
is
held face up.
The
card
then at the
is
bottom of the reversed pack and is revealed stantly when the others are knocked away.
in-
DOUBLE CHOICE In certain
tricks,
a chosen card
may be
learned through a process of elimination, un-
may be
casionally, the performer
to
Or
only one of two choices remains.
til
which one of two cards was
oc-
uncertain as
When
selected.
confronted with such a situation, a "two-way" discovery
is
the answer.
The magician
places
one card on top of the pack, the other on the bottom.
He
then says to the chooser:
"Name
your card." If
the spectator names the top card, the ma-
gician gives the pack a snap, turns
card and says: "There
it
is!"
named, the wizard
If
up the top
the bottom
pack as though driving the card to the bottom, then turns the pack face up and shows the card. Another procedure is to use the Knock-
card
160
is
A Revealing
slaps the
a Chosen Card
out, described previously, leaving either the
top or bottom card, according to is
how
the pack
held.
The Turnup
discovery can be used
if
the
names the top card as the chosen one, while the Knockout is reserved in case the bottom card is named. spectator
SPELL IT
OUT
the effect: After a chosen card has been shuffled into the pack, the performer asks the
chooser to
name
it.
Suppose the person
says,
"9 of Spades." Rapidly, the magician counts cards from the
top of the pack, spelling
S-P-A-D-E-S" turns
up
"N-I-N-E O-F
(a card for each letter),
and
that very card!
the method: Have the chosen card on top. Simply deal off cards reverse fashion, as with Any Number Down, but in this case you spell the
ber.
name
When
instead of counting to a
num-
the wrong card turns up, replace
the packet, snap the pack and spell again, this
time arriving on the card. Or, do a quick spell as with the Quick-Count Trick, showing the 9 of Spades
the dealt packet
when you
turn
on the face of it
over
all to-
gether.
variation: Spell the person's
name
Spell It
Out
instead
A
161
of the
name
of the card. It works out the same,
but apparently you don't know what the card is
until
it
finally turns up.
YOU CANT GET
IT
the effect: The magician places a pack of cards against his forehead and tries to concentrate on a chosen card. He finally says, "I just can't seem to get it. What was it?" As the spectator says, "3 of Diamonds," the magician
draws
'Tunny,
And
it
I
pack
the
away,
repeating:
just can't get it." is
funny, because the chosen 3 of sticking to the performer's fore-
Diamonds is head. Somehow, he did manage to "get" it! the method: This comedy climax is easily maneuvered. Bring the chosen card to the top, then turn the pack face toward the audience
and
press the pack against your forehead with
your right hand.
At the
finish, tilt
the head back and draw
the pack slowly downward, so the top card will
adhere to the forehead. Pause long enough to push the top edge of the pack against the card,
which
162
will help
make
A Revealing
it stick.
a Chosen Card
THE MAGNETIZED CARD the effect: The magician holds the pack upright in his left hand, the bottom card facing the audience.
He
rests his right forefinger
on the upper edge of the pack, then raises the right hand slowly. The chosen card rises from the pack as though magnetized. the method: The chosen card is on top of the pack.
The
right forefinger
is
pointed
toward the spectators when it is placed on the upper edge of the pack. This enables the performer to extend his right little finger straight
and
unseen against the top or rear card of the pack, namely, the chosen one. Raise the right hand slowly and the card press
it
will rise automatically as
though drawn by
the forefinger, thanks to the constant pressure of the will
little finger.
From
a
little
distance,
it
appear to be rising from the center of
the pack rather than the back, which makes it.
more
deceptive.
For a
finish, either
lower the right hand
go back in place, or extend the right thumb and second finger, one on each side of the chosen card, so they can slowly, letting the card
grip the card quickly
and hand
it
to the spec-
tator.
Magnetized Card
Jjk
163
FIG.
46
AUDIENCE'S VIEW
MAGICIAN'S VIEW
A HAIR RAISER the effect: The magician holds the pack pack toward the audipretends to take a hair from his head
in his left hand, front of
ence.
He
and attach
He
to a card
it
somewhere
in the pack.
pulls the imaginary hair with his right
hand and pack
a chosen card swings
up out of the
(fig. 46).
the method: Hold the pack with
its
long
side toward the floor, with fingers in front,
thumb
in
through
its
back.
As the
right
pretense, the left
presses the top card (which
and
pivots
fect
is
164
A Revealing
it
upward.
is
From
hand goes
thumb simply
the chosen one) in front, the ef-
very surprising.
a Chosen Card
TURN the effect:
A
placed in the pack.
OVER
IT card
is
and
chosen
The magician
re-
starts deal-
ing cards from the top of the pack, turning
on the 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!"
each card face up and dropping
When
it
the spectator smiles or shakes his
head, the magician reaches
among
the cards
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 already dealt
a locator.
No
need to look for
it,
just let it
turn up in the deal. Keep on past gradually slacken the dealing speed
it,
then
and study
the backs of the cards before you turn them up, as though that it.
Then
had something
to
do with
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' whenever 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: 166
Jjk
If a
quick spectator
says,
"Stop!" as
Revealing a Chosen Card
you that card back and
you are about to deal out the fourth are
still all
right. Just glide
card,
pull out the chosen card instead!
THREE HEAPS-THREE CARDS the effect: A selected card— say the Ace 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 of
—and deals them in a face-down row. The spectator then designates one cardsay 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
final
"No." The magician gestures to the card and says, "Then that must be it-
turn
it
replies,
up."
Again, the person
is
saying
"No" when he
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
turns
card (Ace of Hearts) second from the bottom.
we
assume that the bottom card is the King of Diamonds. Lay the pack face down and cut off a small
In this case,
will
Three Heaps
—Three
Cards
A
167
group—about one-third—to the
and a 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 Diamonds) 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 right
chosen card.
he takes an end card, tell him to away and take another. If it's the other
note: slide it
If
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
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 say,
"Is that yours?"
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
The
spectator the choice of any such row. five
cards are dealt so the spectator has a
choice of three, and the three cards. It
he takes one of proves to be the chosen 9 finally,
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 to
proceed to deal the cards face
down
form the following layout: 2
1
7
4
5
6
8
9
10
12
13
14
16
15
You then across,
3
11
17
"Take a row of 5 cards— up and down, or diagonally." Actually, say,
Seventeen Cards
A
169
there are only 4 such rows, consisting of the following arrangements: 1, 4, 9, 14,
17; 2, 5, 9, 13, 16; 3, 6, 9, 12, 15;
7,8,9, 10, 11.
Whichever row
is
taken, the ninth card
(the chosen 9 of Clubs)
is
sure to be in the
But by rushing the choice, you can gather up the chosen row before the average center.
person realizes that
fact.
5 cards:
Then
lay out your
^ * 9
*
*
Again, the cards are face
down and when
you say, 'Take either row of 3 cards," the 9 of Clubs will again be the middle card. Deal
them
in a row: *
g
*
Then, proceed to "force" the center card, exactly as described with Three HeapsThree Cards. When the person turns up the final card, it will be his chosen 9 of Clubs. note: You can use this as a regular discovery of a card taken from the entire pack by simply counting off 17 cards and making sure that the chosen card is among them. Or you can work it as a prediction by writing the name of a card on a slip of paper and letting someone hold it, while you lay out 17 170
A Revealing
a Chosen Card
cards
as
described.
The
predicted
card
is
placed in the center and, after the rest have
been eliminated, the paper is opened and found to contain the name of the card that was finally turned up.
CARD FROM A HAT effect: A card chosen, the
the is pack is dropped into a hat, the magician snaps his finger from beneath, and the chosen card sails out (fig. 47a).
the method: Bring the chosen card
to
the top. In placing the pack in the hat, drop the pack in one section and slide off the top card so
A
it
goes in the other section (fig. 47b).
well-delivered
flip
beneath the side con-
taining the single card will send
through the
it
scaling
air.
fig.
47
CHOSEN CARD
FUP HERE
Card from a Hat
jfa
171
CARD ON THE WALL the effect: The magician throws a pack of cards against the wall. All the cards
the
floor,
card,
to
fall
with the exception of the chosen
which
on the
stays
wall.
This
is
a very
startling climax.
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, as you turn away, press the gum or other sticky substance on the back of the chosen card.
Throw the pack the wall, back
squarely and cleanly against
first; its
weight will cause the
chosen card to stick there, while the
rest fall.
THE CARD THAT FINDS ITSELF A
the effect:
dozen red cards and a
dozen black cards are shuffled in alternating fashion,
the reds face up, the blacks face
down. The performer cuts the packet and turns over the two top cards together. He repeats this a few times, showing how it mixes the cards still further. He hands the packet to a spectator and
lets
him continue
the process. turns his back and
The performer
tells
the
spectator to cut the pack again, adding: "If
the top card
remember 172
it;
down, turn it up and then cut the pack once more. If is
face
A Revealing
a Chosen Card
happens to be face up, simply remember it and turn it face down; anyway, cut the pack." That done, the spectator can resume his former procedure, turning over two cards together, cutting the pack and turning over a new top pair. Finally, he hands it to the performer, who runs through the cards behind it
his
own
back.
Bringing spreads
it
out the packet, face
up on the
the
performer
Reds and are face up
table.
blacks are well mixed, but
all
with the exception of one card.
The
face-
down card is removed from the packet and, when turned up, it proves to be the- chosen card!
the method:
Arrange
nately face up-face
down
the
cards
alter-
at the start. Colors
do not matter, but you put them in red, black, red, black rotation to draw attention from the real secret. Whenever you turn over two cards as one, you change the color sequence, but the face up-face except
when
down
setup
is
not disturbed,
the spectator turns over his single
card.
Receive the pack behind your back with the
left
hand and proceed
thus:
With
the left
thumb, push the top card into the right hand. Turn over the packet with the left hand and push the next card into the right. Go back to
Card That Finds
Itself
A
173
hand and
the original position with the left
another card. Turn the packet over and push off another card. Continue thus
push
off
throughout.
This will bring the cards face
up— with
all
face
down—or
the exception of the single card
that the spectator noted
and turned over him-
self.
presentation: At the
start,
the red packet
can be turned face up and actually shuffled into the black packet, dovetail fashion. If you
miss on one or two cards, simply go through
the double packet and arrange nately face
up and
face
them
down, but
alter-
referring to
"reds" and "blacks;'
Or you can simply
set
them
that
way
to be-
gin with, as long as you stress the reds and
you intend to mix them. In turning over pairs, you can show how sometimes a red and black card are turned over together, or two reds, or two blacks. Make sure that you impress upon the spectator exactly what he is to do* when he continues your procedure, and later stress the blacks
and the
fact that
turning of the single card.
Then
the trick
sure to work.
174
A
Revealing a Chosen Card
is
DOUBLED THOUGHTS the effect: The magician shuffles a pack of cards and spreads it face down, clear across the table, so that two persons, seated or standing opposite, can each take a card.
done while the magician's back is turned and he tells each person to hand his card to the other, so that each will know both This
is
The cards The magician
cards.
are then replaced in the pack.
up the pack and glances through it while the two persons concentrate on their cards. Thanks to their
turns to the table, gathers
"doubled thoughts" the wizard finds
both cards and brings them from the pack. the method: This involves a very clever use of the Divided-Pack principle. At the outset, the magician has the pack separated into
two groups (say reds and blacks) and he keeps them that way with a special shuffle. When he spreads the pack across the table, all the red cards are at one end and all the black cards at the other. So each person naturally
draws a card of an opposite color.
they exchange cards and put red card automatically goes
them back, the
among
and the black goes among the performer easily finds both
When
reds.
the blacks
Thus the
when he
runs
through the faces of the pack. presentation: In spreading the pack, make
Doubled Thoughts
^St
175
sure that the cards near the middle lap,
still
over-
although those near the ends can be
widely spaced.
You
simply state:
"111 spread the pack across the table so
can take a card from your
end"— this
you
to the
person on the left— "and you can take one
from your end"— this is to the person on the right. "But I want you both to wait until my back is turned." Once you have turned away, you say: "You each have a card? All right, look at your card,
remember the table.
it,
it
to your friend across
You each have
Good. Look in
and hand
the other's card?
remember your own end of the pack and at the card,
it,
place
it
straighten
where you put the ones you chose. Then let me know." When the word is given, you turn around, the cards so
I
can't tell
gather the cards together and look through
the pack as though concentrating deeply,
fi-
nally drawing out the chosen cards.
note: Instead of reds and blacks, the two groups may consist of odds and evens,
and non-pointers, or whatever combinations you prefer. pointers
FOUR-ACE DEAL Although
one
tricks, this is really
worth including 176
in
A Revealing
of
the
simplest
of
card
a surprising effect and well
any routine. a Chosen Card
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, he has the spectator move cards from one heap to another until they are equalized.
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. They are kept there during a simple
though
riffle shuffle,
false shuffles
and cuts may be added. After the pack
is
cut
in four heaps, the magician follows a set routine in telling the spectator to transfer cards
from heap to heap. As a result, the magician keeps track of the Aces so that at the finish, there is one on top of each heap.
presentation: Here
is
a suitable routine
which may be varied as required. Get the four Aces to the top of the pack and use the Riffle Shuffle, letting the top cards fall last. False
and cuts may then Aces on top. Then:
shuffles
follow, keeping the
Have
a person cut the pack in half, then
into quarters.
wants, but
we
He may will
in a square, with
set the
heaps as he
assume that he forms them
"A" the Ace heap:
A B C D Four- Ace Deal £k 177
Have him move
C
to
from
C
of
a few cards from the top
D, and then from D to B; then one to A; and a few from D to B or D to
C, whichever seems to balance best. Next, you decide that
D
needs a few more
you have him move three from A to D, one at a time. This puts two Aces on top of D. The other two are still on A. Now move cards one by one from B to C, cards, so
or vice versa, until they just about balance.
You then decide that C needs one more card, so have him move a card from A to C. Now, B looks a bit short, so you tell him to move a card from All
is
D to B.
ready for the climax. Tell
him
to turn
up the top cards of the various heaps and he will be surprised to find that he has dealt himself
four Aces!
What makes is
this
simple trick so effective
the fact that no one expects what
to happen.
They
are thinking in
is
going
terms of
heaps, not Aces. For that reason, never
show
the trick after another Ace Trick. It
trick
makes a good preliminary, however, to a such as The Assembled Aces, which
follows.
178
A Revealing
a Chosen Card
THE ASSEMBLED ACES the effect: The magician deals the 4 Aces in a row, face down. On each Ace he deals 3 more face-down cards. The heaps are gathered and replaced on the pack, which is genuinely shuffled and cut. The magician then deals cards face up until he comes to the Joker, which isn't needed,. so he discards it and proceeds to deal 4 heaps of 4 cards each.
A
person
is
given a choice of a
heap.
That heap
is
turned up and
is
found to con-
tain the 4 Aces!
the method: Simplicity is again the keynote. Have the Joker on the bottom of the pack. Deal 4 Aces with 3 odd cards on each, put the heaps on the pack and cut the pack. This brings the Joker just above that group. You can now shuffle the pack, overhand
about halfway down and simply throw the balance, or bottom half, onto the top. Dealing cards face up soon brings you to the Joker. There you deal 4 heaps of cards, one by one, with 4 cards in each, so that they form a square: style,
B
C
A D Assembled Aces
Jf$
179
Assuming that you dealt them B-C-D-A, the Aces will be in heap A. Now, ask some one to call any number, 1, 2, 3 or 4, so you can count to that heap. If his
"One." saying
from
number If
1,
he takes
C
to
D
you count Always,
tap
2,
"One— two."
If his
4, start at
A
choice
is
and
say,
B
to A,
3,
count
"One— two— three."
B, going to C, D, A,
"One— two—three— four."
off,
Heap
Heap
count from
to A, saying
In the case of as
is
A
is
there are the Aces,
the one turned up and
all
magically assembledl
presentation: At the outset,
you are dealing four separate piles with an Ace in each. After the gathering, the shuffling, and so on, announce that you will again deal four cards, just as you did the Aces, and then deal three more on each— one by one around the square— as you did before. The Aces arriving in a heap together will then be a surprise, although the action is automatic. In undercutting the pack just before the shuffle, draw more than half the cards and put them on the top. The original heaps, with their Aces, only run
so the
down
more you put on
have for your
stress that
to the twelfth card, top, the
more you
shuffle.
After the brief but genuine shuffle, you can follow with a false shuffle and a couple of
180
A Revealing
a Chosen Card
genuine cuts— each about half the pack in
depth—which it
will
keep the pack almost
as
was.
Instead of the Joker, you can use any bot-
tom
card as your "key" and simply stop deal-
ing face-up cards
Joker
is
usually
good reason
when you come more
effective
to
it.
and
But the gives
a
for the halt.
Assembled Aces
A
181
Magic with Coins
8.
Tricks with coins run from close-up effects to
made
in
which coins are
and appear
at the finger tips in
manipulations
showier
to vanish
very surprising style.
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.
become acquainted on which some of the
In this section, you will
with the basic sleights
simpler yet very baffling tricks depend. Here, skill is
needed, as you will see
when the
tricks
themselves are studied. At the same time, the
methods and routines have been kept as simple as possible, so that you can devote yourself chiefly to effect and presentation.
What makes as
much
a
good coin
as dexterity.
You
trick
is
facility,
can't just try a coin
few times and expect to impress audiences with it, because it is apt to seem slow trick a
and laborious when done that way. Just picking up a coin can be a clumsy action, as you may have found out when trying to make change in a hurry. So the first step in coin magic is to learn to handle coins with a light, easy touch: spin them, flip them, jingle them, toss them from 182
Jft
Magic with Coins
hand
to hand, until
you have a thorough feel of them. That gained, you will find that the simplest coin tricks can be made impressive.
HOW TO
PALM A COIN
Here are three basic ways of "palming" or concealing a coin in the hand,
and manipulations. The
various coin tricks easiest
useful in
all
and most quickly acquired
the
is
fol-
lowing:
the finger bend: As the name the coin into the
is
implies,
either placed or allowed to slide
bend of the
which are closed there (figs. 49a and
fingers,
sufficiently to retain it
b).
The
position of the
hand
holding the coins in the forefinger
is
is
natural
and by
last three fingers
free to point at the other
the
hand or
otherwise direct attention elsewhere.
The several
Finger Bend coins
is
particularly useful as
may be palmed
b FIG.
How
to
one time
at
c
49
Palm
a Coin
A
183
FIG.
through this method.
50 It
has the added advan-
tage that the inside of the
hand can be
shown in casual fashion the thumb palm: In
tially
method, the coin
is
in the fork of the
(fig. 49c).
this
excellent
concealed by gripping
thumb
enables the magician to
hand with
(fig.
it
50a), which
show the back
of his
fingers partly open, in a natural
that seems to
par-
make concealment
way
impossible
(fig. 50b).
There are two ways of attaining this position. One is to place the coin on the tips of the first two fingers (fig. 50c) and bend them 184
A Magic
with Coins
inward, pressing the coin into the root of the
thumb over
The thumb then
5od).
(fig.
and clamps the coin
into the
swings
palm
posi-
tion (fig. 50a).
The
other
way
is
between the
first
two
that
manner
to clip the coin edgeways fingers, exhibiting it in
5oe).
(fig.
The
fingers
then
bend inward, running the edge of the coin along the thumb (fig. 5of), which is then brought upward and inward to clamp the coin in the
thumb fork
Note that
(fig. 50a).
in this final action, the
gives the coin a turnover. is
"heads up"
gers, it will
in the
be
thumb
That
is, if
thumb
the coin
when
clipped between the
"tails
up" when
finally
This half turn
fork.
is
fin-
palmed
essential
to the palming action.
the
standard
the coin
is
palm:
So-called
because
actually gripped in the
palm of
fig. 51
How
to
Palm
o
a Coin
A
185
the hand
one of the oldest and at the same time one of the best of palming methods, well worth the practice necessary to acquire
itself, this is
it.
To make is
the
Standard Palm,
coin
the
placed on the tips of the two middle fingers
The hand
51a).
(fig.
upward
is
then turned back
51b) and the fingers are simul-
(fig.
taneously bent inward so that they bring the
balanced coin up into the palm of the hand (fig. 51c)
The
and
coin
press
it
there.
retained in that position
is
by
palm so that the coin is pressed between the base of the thumb and the opposite portion of the hand (fig. 5 id). The back of the hand may then be shown with thumb and fingers extended in a natural
contracting
fashion
(fig.
stretched
which
is
in
5ie), but they should not be
an awkward
spread,
"starfish"
apt to be a giveaway.
Though
may
the
easy to follow, the Standard
prove very
difficult for
some people
master and long, assiduous practice sary before the
hand
finally gains
muscular knack. Others find
Palm
it
is
to
neces-
the proper
quite natural,
but in either case, it is surprising how much the process can be improved by constant repetition.
As the 186
A
ultimate, the coin can be
Magic with Coins
all
but
thrown into the palm by one smooth, easy, action of the fingers. is
While the
required
still
being attained, the beginner can rely on
the palming methods previously described.
COIN VANISHES Vanishes are frequently used in coin routines and require proper timing and good misdirection as
simplest are
much as digital skill. Some among the best.
of the
SIMPLE VANISH the effect: A coin is shown in the right hand and is apparently placed in the left. When the left hand is opened, the coin has vanished.
The method: Stand facing the audience, but turn the body toward the left as the right
fig.
52
Coin Vanishes
Jf%
187
hand approaches the left. On the way, the right hand palms the coin and the left hand though receiving it. With the Finger Bend, the coin
closes as
the right fingers at the outset, so
lying
is
it is
on
simply
downward toward the left palm (fig. 52a) and drawing the right hand away as the left hand a matter of turning the right fingers
closes.
With is
Thumb
Palm, more of a sweep necessary, the right hand palming the coin the
while on
way
its
to the
fingers of the right
left.
The
first
hand should be pointing
almost directly away from the audience they are laid on the
two
left
hand, which
is
when held
palm upward.
The
left fingers close
hand
over the right fingers
from a horizontal to a vertical position, apparently drawing the coin upward from the right finger tips
and the
left
is
raised
(fig. 52b).
With
the Standard Palm, the coin
in the right is
hand
as
it
moves
palmed
to the left, but
naturally hidden in the action. So the right
hand
pauses, or
moves inward toward the body
as its finger tips graze the left left
as
is
hand
closes
its
fingers
palm, while the
and moves away
though receiving the coin (fig. 52c). note: All these moves should first be
188
A Magic
with Coins
tested
by actually placing the coin
hand, so that
when
the vanish
is
in the left
performed,
the process can be imitated exactly. sionally, a coin
may be put
in the left
and shown there, then taken by the which proceeds with the "vanish."
Occa-
hand right,
THE THROW VANISH
fig. 53
the effect: forth from the finally retains
A
coin
right
it.
hand
With
and which
tossed back
is
to the left,
a rubbing motion, the
hand causes the coin to vanish. the method: Face the audience and toss the coin from the fingers of the right hand to those of the left (fig. 53a) and back again. Continue this a few times and finally turn the body toward the left, retaining the coin in the finger bend of the right hand while the left fist
left
closes as
In this
The
though receiving it (fig. 53b). case, the hands never come together.
repeated tossing of the coin creates the
illusion that
it
was given a
Coin Vanishes
final
—Throw
throw from
Vanish
Jf%
189
the right hand to the
The
neat part of
can be done either way. body can be turned to the right, with the
this vanish
The
left.
is
that
it
hand making the pretense of a final toss and the right hand closing as though it has left
received the coin.
THE FRENCH DROP
the effect: Here, a coin is held in one hand and apparently taken away in the other, from which it immediately vanishes. Known also as
the Tourniquet, this
is
oldest of vanishing sleights, but
one of the still
very ef-
fective.
the method: Hold the coin at the tips of the left thumb and first two fingers, which are pointed upward, the coin being in a flat
or horizontal position (fig. 54a).
The 190
Jf$
right
hand approaches the
Magic with Coins
left,
back
.
upward, and the right thumb
is
inserted in
the space beneath the coin, the right fingers closing over the coin in a forward motion, as
away (fig. 54b) At that moment, the left thumb slightly and the left hand is given though taking
it
lifted
is
down-
a
ward, inward turn toward the body, with the result that the coin actually falls into the
bend
of the left fingers (fig. 54c) while the right
hand apparently
takes
it
finger points to the right
coin
is
along.
The
left fore-
hand from which the
vanished.
note:
It is
not necessary to keep the backs
of the left fingers toward the audience
when
beginning the French Drop, although this a
is
common
mistake.
thumb should be pointed
the
Instead, directly
right
toward the
spectators, so that the right fingers cover the fall
of the coin into the
bend of the
left
hand.
THE FALSE DROP This
is
a very effective vanish that starts
out like the French Drop and ends with a real surprise.
This involves a brief sequence of
simple but effective moves.
the effect: The right hand takes a coin from the left and immediately opens, showing that the coin has vanished. The left hand is then shown empty and both hands are disGoin Vanishes
—False
Drop
A
191
and back, with no
played, front
sign of the
vanished coin.
the method: This starts like the French Drop, but the left hand is held with the backs of its fingers toward the audience. As a result, the right thumb moves beneath the coin from right to left (fig. 55a).
At
this point, the left
do not
release the coin,
so that
it is
perfectly concealed close as the coin
The
right
but
tilt it
fingers
backward,
clipped at the back of the fork
thumb
of the right
thumb and
(fig. 55b).
by the
right fingers,
is
which
secretly taken away.
is
hand
This move
is
now swung upward and
over to the right, while the left side of the
body
turned toward the audience
is
the left
hand pointing
closed in a loose
the right
fist.
(fig. 55c),
to the right,
In following
which its
is
curve,
hand constantly keeps the coin from
sight.
The
right
hand
is
now opened and shown
empty, the coin being concealed behind the
thumb
The
hand is then turned toward the audience and is spread wide to show that the coin is not fork of the
(fig. 55c!).
left
there.
As a final touch, 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
•>
d (AUDIENCE'S VIEW OF c)
fig.
rests idly against
gers extending
back of
The
below the
it (fig.
right
the right palm, the right
55
left fin-
hand and up
in
55e).
thumb
is
then
lifted slightly, re-
from the back grip. The coin drops down into the bend of the left fingers
leasing the coin
Coin Vanishes
—False
Drop
A
193
and is retained there. The back of the right hand is promptly turned toward the audience and the left forefinger points to the right hand (fig. 55g). (fig. 55f)
During the dropping of the coin (fig. 55f) a slight upward motion of the hands, accompanied by a backward tilt of the note:
right, will
right
help cover the secret action.
thumb should be
lifted, in
relaxed, rather
The than
order to release the hidden coin.
MULTIPLE COIN VANISH the effect: Several coins are transferred from the left hand to the right, or vice versa. The hand which takes the coins is opened and the coins have vanished. the method: This is merely an adaptation of a single coin vanish applied to several
coins at once. Either of the following
two
methods may be used: with the French drop: Instead of a single coin, use a stack, but hold them loosely spaced between the left thumb and finger tips (fig. 56), and not as a solid stack.
When the right hand apparently takes away the coins in French-Drop fashion, they
fall
with a pronounced jingle into the bend of the left fingers,
as
the sound being exactly the same
they were clinked together in the right
if
hand. 194
A Magic
with Coins
fig.
57
WITH THE SIMPLE FINGER-PALM VANISH: The left hand lays the coins in overlapping fashion on the right palm, toward the heel of
the right hand, or the right hand
itself shifts
the coins into that position (fig. 57a).
The
hand then apparently dumps or
right
pours the coins into the
left.
Actually, they
bend of the right fingers, the back of the right hand being turned toward the spectators, while the left hand is cupped as though receiving them (fig. 57b). At this point, the right fingers are slanted downward, with the left fingers curled up in fall
into the
Coin Vanishes
—Multiple
Coin Vanish
A 195
front of them. Again, the jingle creates the
impression that the coins have been trans-
from one hand to the other. The left fist closes and moves away (fig. 57c), as though containing the coins, while the right retains them palmed in the bend of ferred
the fingers.
THE SLEEVE VANISH the effect: A coin is laid flat on the left hand, which may be held palm up or back up as preferred.
The
right fingers take the coin
with a plucking sweep and the coin later vanishes
from the right hand.
the method:
Actually,
the
two middle
hand provide a short but quick snap that skims the coin up the right
fingers of the right
sleeve (fig. 58).
This
may be
difficult to
but once the knack
becomes not only
is
perform at
first,
acquired, the sleight
natural,
but almost auto-
matic.
Snap the coin cleanly, rather than too hard, and keep the wrist about level. If the shirt sleeve impedes the coin, roll it up inside the coat sleeve.
Since skeptical spectators usually claim that a vanished object
went "up your
sleeve,"
it is
not good policy to indulge in "sleeve work" 196
Jf$
Magic with Coins
regularly. ever, in its
The
Sleeve Vanish
is
connection with certain tricks
occasional use
THE
howwhere
valuable,
is justified.
SPIN VANISH
the effect: Start a coin spinning on the table by snapping it upright between the thumb and second finger. While the coin spins, the hand swoops down and grabs it, taking it away in the fist. The coin then vanishes from the clutched hand. the method: This is another form of the Sleeve Vanish, but the fingers sweep the coin
fig.
Coin Vanishes
59
—Spin
Vanish
Jf%
197
while sleeve.
coin
it is
spinning, thus
Oddly, this
flat,
is
skimming
easier
it
up the
than sweeping the
as the clutching action supplies the
necessary impetus
and the spin helps the coin
to skim (fig. 59).
However,
it
can only be performed
when
and the hand must be given a slight lift as it makes the clutch to allow sufficient space between the wrist and the sleeve. Again, the knack must be acquired
seated at the table
with practice.
SIMPLE COIN PRODUCTIONS The
production of a coin at the finger tips
an excellent effect and is easily accomplished from any of the "palm" positions. from the finger bend: Simply push the coin up with the thumb until it comes above the second knuckle of the forefinger, which should be almost directly toward the audience.
is
By moving process
the hand upward during the
and bringing
it
to a sudden standstill
be
at the finish, the coin's appearance will
was plucked from the air. Several palmed coins can be produced in succession by this method, but sudden, giving the effect that
it
in that case, the start of the push-up should
be slow, to avoid any clicking of the
from the thumb palm: 198
A Magic
with Coins
Bend
coins.
in
the
second finger and lever the coin up against the thumb, which moves the coin slightly inward. This enables the forefinger to press
down
and the fingers are extended with the coin clipped between
on the upper
side of the coin,
them.
By moving
the hand forward and describing
a small spiral during this action of the fingers, their
motion
seem
will
pression that the coin
the im-
slight, giving
is
caught at the finger
tips.
from the standard palm:
hand forward and let the coin drop from the palm to the tips of the second and third fingers, where the thumb presses the coin and momentarily steadies All in the
Tilt the
it.
same
action, the
hand
is
raised
so that the fingers point slightly upward, while
the
thumb pushes
tips of
the
first
two
the coin to the extreme fingers.
other effective productions: Starting from any palm position, a coin may be produced in a variety of ways. Assuming that it is palmed in the right hand, it may be found at the left elbow and drawn into sight from there.
To
accomplish
this,
the right fingers should
be dipped below the left elbow and brought up behind it, while the coin is being worked Simple Coin Productions
Jjk
199
to the right finger tips. are brought slowly
Then
the right fingers
downward, drawing the
coin into sight.
Another effective production is the apparent drawing of a coin through the left sleeve. The coin is originally palmed in the right hand, which moves up behind the left fore-
arm and works the coin behind the
The
to the finger tips
sleeve.
right
thumb then
presses the sleeve
from in front, so the cloth can be drawn taut between the thumb and fingers, which also retain
the
coin
firmly, the right
downward,
in
position.
thumb and
apparently
Still
pressing
fingers are
drawn
the
coin
tugging
through the cloth.
A
be made at the knee, the right hand dipping behind the right knee and letting the coin drop from palm position to the finger tips, where the thumb presses through the double thickness of the trousers cloth from in front, while the fingers slide the coin into sight from in back. Again, the coin seems to emerge from the cloth. similar production can
FROM HAND TO HAND one of the best of close-up coin tricks, easily learned and quite baffling if presented briskly. It may be performed with This
200
is
A Magic
with Coins
any coins, provided they are
all
alike,
but
quarters or half dollars are preferable.
the effect: The magician shows six coins and takes three in each hand. A coin passes from one hand to the other, making two and Again, a coin travels in that magical
four.
fashion, leaving
then joins the
one and
rest,
so
The
final coin
are in
one hand.
five.
all six
the method: The trick starts with the coins in two stacks of three coins each. The right hand apparently puts three coins in the left, but secretly retains one coin and promptly picks up the other stack of three. Thus a coin can be "passed" from the left hand to the right. The left hand is opened, dropping its two coins, while the right hand opens and drops four. This operation is twice repeated, until the right hand holds all the coins.
presentation: Begin with the statement: "Here are six coins, three for the left hand:
one— two— three— ." With each
count, pick up
a coin with the right hand and drop left.
Let the
apart,
ward
first
two
fall
in the
about a half inch
then give the third coin a fling so it strikes
it
downmaking
slight
both the others,
a sharp clink.
Then
on the table, hand pick up the other
slap the left-hand coins
and with the
right
From Hand
to
Hand
A 201
stack of three, saying:
"And
three for the right
hand." After that, slap the right-hand coins
on the
table.
Now,
the right hand again picks up a coin
and drops it in the left hand, as the magician says, "One." But on the count of "Two," the right hand palms a coin instead of dropping it. At the same time, the left hand is cupped slightly, as if receiving the coin. At the count of "Three," the right hand slaps the third coin into the there.
left,
striking the coin already
This causes a repetition of the clink
that was heard before.
The
hand then scoops up the other stack of three coins, adding them to the one it has already palmed. The left hand makes right
a magic pass toward the right.
The magician
comments: "There goes one coin," and the hands are opened, the left hand dropping its two coins. The magician continues, "leaving two here," the right hand dropping its coins, "and four over here." The right hand moves to the left, picks up a coin and drops it on the left hand, the magician counting, "One." It picks up the second coin and palms it, on the count of "Two," and the left hand closes as before. The right hand then gathers its four coins along with the one it holds palmed. Again a coin 202
A Magic
with Coins
is
passed invisibly from the
right,
left
hand
and they are slapped on the
to the
table as be-
fore.
The
right
and palms
hand then
it
up the
picks
last
while pretending to place
coin it
in
the left hand, which closes over the imaginary
The
hand picks up the remaining five and the left hand passes a final coin to the right hand, which spills the coins on the coin.
right
table as the performer states:
have
all six
"And
here
we
coins!"
The Finger Bend this trick, the
is
the easiest "palm" for
placement of the coins in the
hand being similar to the move in the Multiple Coin Vanish. However, with the left
final coin, a
neat switch can be introduced, as
follows: Start tossing the last coin
back and forth
between the hands, with the comment: "It doesn't matter which hand takes the coin. Suppose we leave it in the right"—here the Throw Vanish is executed and the coin apparently goes into the right hand, but is retained in the left— "and take the five coins in the left hand." The left hand picks up the five coins and shakes them with the one it holds palmed, while
the
right,
with
a
throwing motion,
causes the last coin to pass into the
From Hand
to
left.
Hand
Jf$
203
MARCH OF DIMES This
is
impromptu coin production proves the saying, "The closer
a neat,
which literally you watch, the
less
you
the proper conditions,
the effect:
Two
held at the tip of
see/' Presented
it is
under
a real barrier.
dimes are shown, each
thumb and
forefinger,
one
palms toward the spectators, proving that the hands contain nothing else. The hands are brought together, one dime is rubbed against the other, and from between them the magician produces a half dollar! in each hand,
the method: The half dollar is originally concealed in the bend of the right fingers, with the back of the hand toward the audience. The left hand places one dime upright between the tips of the right thumb and forefinger,
while the right
thumb
secretly raises
the half dollar to an edgewise position behind
the dime.
The left hand adjusts the two coins so that when the dime is shown "full front" to the audience, the half dollar projects straight be-
and cannot be seen in the curve of the right thumb and forefinger. Meanwhile, the left hand takes the second dime and holds it in a similar position, this free handling diverting any suspicion from the right hand's dime. Both hands are shown hind
204
it
A Magic
with Coins
briefly,
come
and the
left is
turned so
in front of the right.
The
its
fingers
half dollar
is
then turned broadside toward the audience and "produced" by spreading the hands slowly apart.
When
worked with a spectator directly in front, the closer the right-hand dime is shown, the better, as its concealment of the half dollar is perfect. With persons seated at an angle, a longer range is needed. A slight rotary motion of the hand will make it difficult for anyone to glimpse the hidden coin. As a final safeguard, the second and third fingers may be lowered beside the half dollar and the hand turned slightly leftward as it comes to a pause, thus completely concealing the coin from any angle. With the action, the tip of the right forefinger also turns the
of the dime, keeping
it full
edge
front as the hands
are brought together for the climax.
COIN FROM
WAND
the effect: Here is the real magic touch! You show your left hand empty, touch it front and back with a wand that you hold in your right hand. The left hand is closed, then opened. From it, you drop a half dollar, magically produced!
Coin
From Wand
A 205
the method: from the wand.
The First,
coin
make
comes
actually
a
wand
of tightly
rolled paper, preferably a glossy type,
can be ornamented with
wand should be
silver
at least half
paper
which
tips.
an inch
The
thick.
A
narrow slot is cut near one end, just wide enough to receive a half dollar, edgeways. Pick up the wand from the table, where it is lying with the half dollar away from the audience. With a little practice you will find that you can keep the coin completely hidden,
while holding the
wand
in the right
hand
at
the lower end.
Show
hand empty and tap your open palm with the upper end of the wand, the
left
which contains the coin. Close the left fingers over the wand, which should be turned slightly so the left
hand
takes the coin away. All in
wand from the left hand over, so you can
the same move, draw the fist
and turn the
left
back with the wand. Now, open the left hand and show the half dollar, mysteriously arrived from nowhere— tap
its
certainly
not
from the innocent-appearing
wand!
206
A Magic
with Coins
DOUBLE COIN PRODUCTION the effect: A tap of the wand on your empty left hand and a coin appears from nowhere. Another tap with the same wand and a second coin puts in a mysterious appearance!
the method: This is similar from Wand, but the wand has two at each
end.
one
Two
Coin slots, one to
coins are placed in the
upper end, another at the lower. The right hand holds the lower end of slots,
at the
the wand.
The upper
produced in the left hand, as in Coin from Wand. It is dropped on the table and again the left palm is tapped with the upper end of the wand. But this time, you coin
is
open left palm straight down the wand, and in back of it, closing the left casually slide the
hand
as
it
reaches the lower end.
hand takes the wand coin and all. The left hand is
Tightening, the
from the
right,
left
turned over, frontward, with the
wand
project-
The right hand takes the extended end and draws the wand clear, leaving the coin ing from
it.
in the left hand.
In the same natural manner, the right hand
end of the opened and the half
taps the back of the left with the
wand. The dollar
is
left
hand
is
displayed.
Double Coin Production
A 207
9.
Thimble Tricks
Thimble Tricks form an
excellent branch of
magic, suited as well to the beginner as to the
advanced performer. The appliances— consisting chiefly of the thimbles themselves— are in-
showy when displayed upon the finger tips. The tricks can be worked either at close-up range or on a platform or stage. In the latter case, larger thimbles may be expensive, yet
used, either brightly painted or studded with
imitation gems, giving
The methods
fect.
same,
them
a sparkling ef-
used are essentially the
whether performing before a
small
group or a large audience.
From
the standpoint of "effect," this type
good because the thimbles are made to appear upon the tips of the fingers, where they would ordinarily be worn. When drawn away in the other hand, they vanish, only to reappear back where they belong. of manipulation
is
Multiplication of thimbles adds to the surprise,
sible
and by using colored thimbles it is posto change from one color to another.
Yet the method field
of
sleight
is
the simplest in the entire
of hand,
as
thimbles lend
themselves to manipulation more readily per-
haps than any other objects.
208
A Thimble
Tricks
magic who practices and rehearses a simple but effective thimble routine will find that it is still one of his best numbers, after he has become an advanced and highly experienced performer.
The beginner
in
THE THUMB PALM The most effective way of palming a thimble is
to grip
it
thumb, with the
in the fork of the
opening of the thimble inward. To attain this position, start with the thimble on the tip of the forefinger, as in fig. 6oa.
Then double
the finger inward, guiding the
thimble along the inner edge of the extended
thumb (fig. 6ob). thumb by bringing
Finally, it
straighten
the
to a normal position
alongside the hand, clamping the thimble in
the fork (fig. 6oc).
When
the back of the hand
the audience, the thimble
fig.
is
is
held toward
perfectly con-
60
Thumb Palm
A 209
hand may be shown
cealed and the extended
6od). This should be practiced until the
(fig.
position
acquired easily and almost automat-
without stiffening the thumb or bend-
ically,
ing
is
toe far inward.
it
The thimble can be "thumb palmed" as effectively
by
quite
starting with the thimble
on
the tip of the second Snger instead of the forefinger. It
can also be palmed from the tip
of the third finger, but this
and
is
more
difficult
used only in a few special manipula-
is
tions.
TO PRODUCE A THIMBLE The production tip
of a thimble
on the
finger
accomplished by reversing the palming
is
show clearly that the finger has no thimble on its tip (fig. 6ia). Then bend
process. First,
the finger inward, insert
it
in the thimble
hidden at the base of the thumb) and extend the finger to display the thimble (which
6ib).
(fig. If
is
the thimble
is
slightly larger, or slippery,
the finger can be extended by running the thumb, so that the
thumb can
thimble tightly on the finger tip as
it
along
press the it
passes
(fig. 6ic).
To 210
hide the action of the finger, the hand
A Thimble
Tricks
FIG. 6l
should
start
with a slight rotary motion, back
in toward the body, during
which the
fingers
Then, with a "reach," or outward thrust, the fingers are extended and the thimble makes its sudden appearance (fig. are bent inward.
6id).
PRODUCTION AT KNEE OR ELBOW Here,
sary—in
little
fact,
motion of the hand the
less
the better.
is
neces-
With
thimble palmed and the back of the hand
the to-
ward the spectators, the hand is brought slightly behind the elbow, just enough to hide the thumb and forefinger.
The thimble ger tip
is
quickly brought to the
and the hand
is
fin-
drawn downward,
Production at Knee or Elbow
A 211
with the finger extended as though bringing the thimble from the point of the elbow. similar process is used to produce a thimble
A
from behind the knee.
SIMPLE THIMBLE VANISH the effect:
A
thimble
tip of a right finger. It
the
is
shown on the
apparently placed in
hand, from which
left
is
appears on the right finger
it
vanishes. It re-
tip.
the method: The thimble is thumb palmed in the right hand as it approaches the left, which closes around the tip of the right forefinger and pretends to draw away the thimble (which
The the
is
really
no longer there).
right forefinger stays in sight, pointing to left
hand, which helps the
illusion.
presentation: There are two ways of covering the palming action. One is to stand with the right side toward the audience and bring the right hand toward the
with their backs in view
left,
both hands
(fig. 62a).
hand covers the right, the thimble is thumb palmed in the right hand (fig. 62b). Only a partial coverage is necessary to hide this action, with both hands moving upward in the process. The left hand continues upward when the right pauses, as though As the
left
drawing the thimble from the right 212
A Thimble
Tricks
finger.
FIG.
62 (REAR VIEW) LEFT HAND HIDES
RIGHTS PALMING ACTION
The
way
other
is
to start facing the audi-
ence, then pivot to the
with the right
left,
hand pointing directly toward the open left palm as it pretends to place the thimble there. The right hand palms the thimble during this sweeping action, so that the forefinger closes
is
out of sight
around
it
and
tip of the right
when
acts as
the left
hand
though taking the
thimble.
SWALLOW VANISH the effect: In
this bit of byplay, the per-
former apparently places a thimble in his mouth and swallows it, only to have it reappear on the tip of his finger.
the method: This is a variation of the Simple Thimble Vanish, where the performer faces the audience, showing a thimble on the top of his right forefinger.
Bring the hand upward with a rapid sweep,
Swallow Vanish
A 213
thumb palming same time
the thimble on the way, at the
the hand slightly inward, so
tilting
that the tip of the forefinger
den
as
practically hid-
reaches the mouth.
it
The
is
lips close
over the tip of the forefinger,
and the hand is lowered slightly so that the finger can be withdrawn slowly and visibly from the mouth, as though leaving the thimble there.
A
sudden gulp, a blink of the eyes, and a shake of the head add a comedy touch to the pretended swallowing of the imaginary thimble.
Reach
behind your elbow, and bring the thimble back on the tip of the forein the air, or
finger.
THE FINGER SWITCH This
is
a neat, deceptive
move
that can be
used with either the Simple Thimble Vanish or the Swallow Vanish, adding to the effect
and eliminating the need of an immediate
thumb palm. the effect:
A
thimble
tip of the right forefinger. It
is
is
shown on the removed by the
hand and displayed to the spectators, then replaced on the right finger tip. From there, the thimble is placed in the left hand or the
left
mouth, from which 214
A Thimble
it
disappears.
Tricks
the method: Stand facing the audience and hold the right hand loosely fisted, except for the forefinger which is pointing straight up. The thumb side of the hand should be toward the body.
While the left hand ble, bend in the right
is
forefinger
the second finger instead. of the hand,
no one
Thus the thimble
is
Due
and extend
to the position
note the difference.
will
actually replaced
second
tip of the right
displaying the thim-
finger,
on the
not the fore-
finger (fig. 63a).
Immediately swing the right hand, placing the tip of the forefinger in the
mouth, finger
at the
inward
left
hand or the
same time bending the second (fig.
covers the action
move forefinger may
63b). This sweeping
and the
right
be drawn into full sight, apparently having the thimble elsewhere.
fig.
63
BEND SECOND FINGER IN
THIMBLE STILL ON
EXTEND FOREFINGER
SECOND FINGER
Finger Switch
left
jf$
215
The
vanish follows;
the time the thimble
all
on the tip of the right second finger, safe and unsuspected (fig. 63c). It can be thumb palmed while the left hand is being shown empty, and then reproduced on the is
actually
right
forefinger.
The
of
forefinger,
course,
should be emphasized throughout.
THE TAKE-AWAY VANISH one of the cleanest and most deceptive vanishes in the entire realm of manipulative magic, yet it is so easy that it must be This
is
be appreciated. the effect: A thimble
tried to
tip of the right forefinger,
the
shown on the
which
is
placed in
hand (fig. 64a). The left finclosed and the thimble is removed in
the open gers are
is
left
left fist,
from which
it
immediately van-
ishes.
the method: Stand with right side toward your audience. Close the left fist loosely around the thimble and draw the right hand straight
downward
(fig.
64b),
six
inches or
more, doubling the right forefinger inward,
thimble and
all,
as
it
leaves the left
hand
(fig. 64c).
The
left
hand
is
raised slightly
and turned
back toward the audience, while the right hand thumb palms the thimble and then 216
Jf$
Thimble Tricks
FIG.
comes upward, the
left
empty
its
PALMED
forefinger pointing toward
hand, which
(fig.
note:
THIMBLE
64
is
64d).
The thimble
is
the right finger moves left
hand
opened and shown
(fig. 64c),
actually in view
when
downward from the
but so momentarily that
the spectators do not have time to glimpse
Normally,
it
it.
can be taken away quite deliber-
but at close range or with bad angles a downward snap of the finger will speed the
ately,
take-away and render
it
unnoticed.
Take- A way Vanish
A 217
The
hand draws attention in its direction by its well-timed lift and turnover. By opening the left fingers with a rubbing moleft
tion, the effect
is
conveyed that the thimble
was rubbed away to nothingness. The Take-Away can be worked by having the thimble on the second finger at the
The thimble down swing in
instead of the forefinger.
start,
thumb palmed on the manner already described. However,
can be the
this case it
ble at
is
in
not necessary to palm the thim-
all.
Instead, the right second finger
is
simply
doubled inward and retained that way, while the forefinger points to the left hand. Later, the thimble
may be thumb palmed
or repro-
duced on the tip of the second finger, ably from behind the knee or elbow.
prefer-
TWIST-AWAY VANISH Here
is
and convincing vanish with it on the tip of the
a very neat
of a thimble, starting
right second finger. This tive
is
during a routine where
particularly effecit
is
the middle
thimble of three already produced and on the finger tips.
the effect: Standing with
his right side
toward the audience, the magician spreads his left hand palm front. He shows a thimble on 218
A Thimble
Tricks
RIGHT HAND TWISTED 'PALM AWAY*
-LEFT HAND TWISTED UPWARD
FIG.
65
the tip of his right second finger and brings the right hand, palm front, up in back of the left,
so that the second finger can dip
into the left palm,
down
displaying the thimble
there (fig. 65a).
The
left fingers close
around the thimble
and both hands are rotated in deliberate fashion, the left hand twisting upward, while the inward toward the body. The left hand literally seems to "twist away" the thimright turns
The
ble from the right finger (fig. 65b).
left
hand makes a squeezing motion, then opens, and the thimble is gone! the method: The thimble never leaves the right second finger.
The
"twist" leaves
it
left
thumb
Twist-Away Vanish
A 219
doubled into the right hand, the
being kept loose enough for the tip of the right second finger to pass by. While the left
hand
vanishing the thimble, the right hand either points with its forefinger, or thumb is
palms the thimble so that all the right can be extended (fig. 65c).
fingers
EIGHT THIMBLE PRODUCTION This
is
the most spectacular of thimble
routines, a complete act in
itself. It
panded
introducing
as
desired
by
can be ex-
changes, penetrations, or other effects.
color
It is de-
tailed here in its basic form.
the effect: The magician reaches into the air and produces a thimble on the tip of his right forefinger. left
The thimble
hand, from which
appear at the
left
it
is
placed in the
vanishes, only to re-
elbow. After a few more
vanishes and reappearances, the thimble
is re-
placed on the right forefinger and another
thimble suddenly appears on the second
fin-
ger.
In the course of more manipulations, additional thimbles appear fingers,
on the
third
giving the magician a
and fourth
"full
hand."
Then, in rapid succession, thimbles appear one by one on the tips of the left fingers, so that the magician is showing eight in all. 220
A Thimble
Tricks
the method:
Beforehand,
are placed as follows:
One
four
change
in the right
pocket of your jacket, or wherever
else
it
may
for
immediate production; one at
left side of
the shirt collar, tucked out of
be obtained the
thimbles
sight beside the neck, the opening of the thim-
ble upward; one, similarly placed, at the right
one hidden in the left trousers cuff, which can be "tucked" from the inside with a small safety pin, to form a compact pocket from which the thimble can be easily drawn by inserting the finger. Four other thimbles are tucked up beneath the performer's belt on the left side of the body. These thimbles are arranged in a row, with their openings down. Instead of this, a special thimble holder may be used and placed in a convenient position under the coat. side of the shirt collar;
In making the "one-to-eight" production,
the magician secretly obtains the
first
thimble
from the change pocket and catches it on his right forefinger. During a series of vanishes and reproductions, he brings out the next three thimbles as though each was the original making
its
reappearance.
Finally,
when
the right hand
is
flashing four
thimbles, the left fingers obtain the second set of four from the belt or holder.
sequence for
all
these
moves
is
A
suggested
given in the
presentation that follows.
Eight Thimble Production
A 221
presentation: In pocketing some object, secretly obtain the first thimble and thumb
palm
it
With your
in the right hand.
right
side toward the audience, reach in the air
produce the thimble on the
and
tip of the right
forefinger.
Vanish the thimble by apparently placing it in your left hand, but palming it in the right, the Take-Away Vanish being the most effective method. Reproduce the thimble on your right forefinger under cover of your left elbow. Vanish it again and produce it from beneath the right knee. Face the audience and vanish the thimble by pretending to swallow it, actually palming it
in your right hand.
body your
slightly
Turn the
left side of
the
toward your audience, and dip
left forefinger into its side of
the shirt
and bring out the thimble hidden there, as though it were the original thimble. Turn your left side more toward the audience and extend the right hand, keeping its back toward the spectators. Pretend to "push" collar
the left-hand thimble into the right elbow, actually palming
it.
Show
the left forefinger
bare and simultaneously produce the right-
hand thimble on the tip of your right forefinger, as if it had traveled invisibly along the right arm.
222
A Thimble
Tricks
Pivot your body so that the right side
is
toward the audience, swinging both arms clear across in
pendulum
fashion.
You
are
now
set
to repeat the "along-the-arm" deception, only this
time the right forefinger "pushes"
its
elbow and the left hand reproduces its thimble on the tip of the left forefinger. The backs of the hands are always toward the audience. The left thumb and second finger remove the thimble from the left forefinger. They place it openly on the right forefinger. The right hand then reaches into the air and catches a "new" thimble (actually the original) on the tip of the second finger, so that the right hand now has two thimbles. The thimble from the right forefinger is now placed in the left hand, from which it thimble into the
left
disappears, actually being retained in the right
hand by the Take-Away. The
right forefinger
goes to the right side of the shirt collar and brings out the thimble.
Now
the right hand displays two thimbles,
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, making three in all. (If you prefer, 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 palmed thimble on the tip of the right forefinger.)
Again, the right hand apparently places a
thimble in the
The thimble and the sers
is
left,
actually palming
vanished from the
it itself.
left
hand,
right dips a finger into the left trou-
cuff,
bringing out the thimble that
is
waiting there.
The
left
hand now moves
the right forefinger to the right
This
from
a thimble
little finger.
frees the right forefinger for the produc-
tion of the fourth thimble. In catching this
thimble, the right
final
hand should
either
reach high, or dip toward the left ankle, while
the right side
is
turned directly toward the
audience.
In either case, this somewhat exaggerated
move
attracts
while the
attention to the right hand,
left brings its fingers
up beneath the
and obtains the four thimbles that are waiting there, one on each finger tip. With that, the body is pivoted so the left side is toward the audience. The right hand is turned palm front, its fingers extended wide apart, each with a thimble on its tip. The left hand then swings upward, its back toward the belt
audience, fingers doubled inward, out of sight in the hand.
Then, one by one, the
left fin-
gers are extended in front of the right hand,
showing a thimble on each 224
A Thimble
Tricks
left finger tip.
This
should be done rather rapidly, adding an
ele-
ment of surprise to the production. As each finger is extended, the left thumb can move to the tip of the next finger, pressing its
thimble firmly in place as the finger
is
ex-
tended.
thimble holders: The placement of the various thimbles is purely arbitrary, some performers preferring to place
them
in the out-
watch pocket of the or even better, beneath the coat la-
side breast pocket, the trousers, pels.
A
simple holder for a single thimble can
be arranged with a small safety pin and a large paper clip, the thimble being placed on the short end of the clip, where it will slide free when the finger is inserted. This may be fastened beneath the coat lapel.
»J ==S=** PAPER CUP SHIRT
FRONT
INSERT FINGER AND PUSH INWARD
FIG.
V
66
Eight Thimble Production
A 225
Another neat production
is
from behind a
necktie, a paper clip being attached to the shirt front, finger,
thimble and
the thimble
is
By
all.
easily
ing the clip in place. This
is
inserting the
pushed
free, leav-
shown
in fig. 66.
For the production of the four additional thimbles in the left hand, many magicians prefer a special holder because it is safer and easier to handle than drawing thimbles from beneath the
A strip
belt.
good holder can be made by covering a of cardboard with cloth on both sides,
then sewing four upright paper
clips to
it,
so
that they form a row, sufficiently spaced to
on each clip. The thimbles are set mouth downward, so that when the fingers are inserted a slight upward slide will free them from the clips, fig. 67 shows a place a thimble
thimble holder of this type.
The
holder
is
attached inside the coat with
safety pins at the corners
quired.
One
left edge,
and
suitable position
which enables the
as otherwise reis
left
at the lower
hand
to drop
away from the audience, while the right hand is catching its fourth thimble. The left hand obtains its thimbles at naturally at the side
that time.
Another plan
is
to set the holder edgeways,
so that the thimbles are in a vertical row, just
226
A Thimble
Tricks
V-
PM SEW SLIDE THIMBLE DOWN OVER SMALLER LOOP Of CUP
PUSHUP
FIG.
67
below the inside pocket. While the right hand is
catching the fourth thimble, the left
hand
and makes the
steal.
slides
inside the coat
Whether
the thimbles are tucked beneath
the belt or kept in a holder,
row of
to have a
Then
there will be
it is
a
five instead of
no fumbling
if
good plan only four. the fingers
meet the rims of the thimbles instead of the openings. either
A
shift
way and you
your finger
of a fraction of an inch will
have four thimbles at
tips.
COLOR-CHANGING THIMBLE the effect: the
left
fist,
A
red thimble
where
it
thimble. Again, the left
is
placed in
changes into a blue fist is
closed
Color-Changing Thimble
and the
A 227
.
blue thimble
is
pushed into
it.
When
the left
hand is opened, the thimble is red again. the method: Show a red thimble on the right second finger. A blue thimble is on the right forefinger, which is doubled into the hand so that it is hidden as you stand with your right side toward the audience
With places
(fig.
a sweeping motion, the right
its
forefinger in the left
second finger being doubled. this switch
is
fist,
68a)
hand
the right
Done
rapidly,
never noticed (fig. 68b and c).
By pointing the fingers toward the right hand itself helps hide Both hands are
the left hand, the maneuver.
raised to the vertical; the
drawn downward and the left fist is opened, the left hand displaying the blue thimble between thumb and fingers
right forefinger
(fig.
is
68d).
a
t>
FIG.
228
A Thimble
68
Tricks
Now ble
the left hand replaces the blue thim-
on the
right forefinger.
The
left
Color-Changing Thimble
hand
is
A 229
turned forward and downward to show
back
and during the
(fig. 68e),
right second finger
its
action, the
extended into the left hand, which secretly draws away the red thimble (fig. 68f). into a
fist,
The
is
left
hand promptly
closes
containing the red thimble.
The opening
of the left
fist
is
turned
di-
toward the audience and the right hand shows the blue thimble (fig. 68g), then thumb palms it in approaching the left (fig. rectly
68h). In the same move, the right forefinger is
poked into the
left fist,
apparently pushing
the blue thimble there (fig. 68i).
This time, when the
left fist is
opened, the
red thimble has replaced the blue (fig. 68j). At this final stage, all fingers of the right hand
can be shown. The right hand takes the red thimble and pockets it, dropping the blue thimble along with
230
A Thimble
it.
Tricks
Mental Mysteries
10. This
perhaps the most "modern" type of
is
magic, although feats of mental wizardry have art.
This
should be quite apparent to you, because
many
long been part of the magician's
of the tricks described in earlier sections, particularly
some with
cards,
have been mental in
effect.
The
effects to follow are
more
strictly
of
the mental type, the chief difference being that mental mysteries are presented liberately
and with
greater stress
more deon detail
than other branches of magic.
The whole tempo
changes. Quickness, dex-
comedy, and even the ordinary element of surprise are generally eliminated. Rather than a "trick/' you are presenting a "problem" which should astound the mind, not just terity,
deceive the eye. Naturally, there
is
no reason to take
this
too seriously, although some performers do.
It
depends chiefly on whether you are using mental mysteries as part of a magical program, or as a presentation of their own. If you are
doing them as magic, work them
fairly rapidly,
you would another trick. If you prefer to do a mental act, adopt a more serious style. as
Mental Mysteries
A 231
TAP THE NUMBERS the effect: Seven square cards are shown, each bearing a different number between 1 and 20. A person notes a number and the cards are laid face down in a circle. The magician taps the cards in random fashion, while the chooser spells his
by
number
mentally, letter
letter.
Thus, for instance, he
V-E," and on the
The cardboard
final letter,
square
amazing coincidence
is
"T-W-E-L-
spells
he
says,
"Stop!"
turned up and by an the one that bears
it is
the mentally chosen number, in this case, 12!
Each number is spelled with a different number of letters, so that the count works automatically. The numbers are as follows: 2 (T-W-O); 5 (F-I-V-E); 7 the method:
(S-E-V-E-N); 11 (E-L-E-V-E-N); 16 (S-I-X-T-E-E-N); 13 (T-H-I-R-T-E-EN); 17 (S-E-V-E-N-T-E-E-N). In forming the
circle,
the cards are
ar-
ranged as follows: 2
Make on the 232
the
first
7
*3
16
11
*7
5
two taps on any
third hit the 2, so
A Mental
Mysteries
if
cards,
but
the chooser
is
spelling
"T-W-O"
completes his card.
he will say "Stop" as he spelling and you will turn up his
clockwise fashion,
more
jump two cards in hitting 5. Then jump two
For the next
tap,
on around the circle, so you automatically turn up the right number on the word "Stop." to 7
and
so
showing the cards, speak of numbers only, with no mention of spelling. Just say, "Here are some cards with numbers from 1 to 20"—here you run through them, numbers up— "and I want you to take presentation:
In
remember it and mix it with the rest, numbers down." You hand him the cards, numbers down, so he can do this, while you turn away, then one, look at
it,
reach for the cards, saying: "Let cards so
I
number and no your thought.
.
other. .
.
.
.
.
.
.
.
just that
Fll try to catch
Now, I have it!"
don't have
circle in
have the
can go through them while you
keep thinking of your number
You
me
it,
but you have
the correct order.
You
set
your
continue: "As
want you to spell your number mentally, like 'O-N-E' for l-or T-E-N' for '10'—and on the last letter, say "Stop/" Tap slowly, as though concentrating deeply. I
tap the cards,
I
This allows time for the
jumping two
cards,
spelling. Instead of
you can move diagonally
Tap
the
Numbers
Jf%
233
though describing a sevenThis amounts to the same as
across the circle, as
pointed
star.
jumping but appears more
like a
random
proc-
ess.
PAIRED THOUGHTS This
is
an excellent follow-up to Tap the
Numbers because
it
utilizes
the same cards,
but with an entirely different result. Again, its climax is a surprising mental "coincidence."
the effect: Six cards, each bearing a number between 1 and 20, are mixed and dealt in a circle, with the numbered sides downward. A spectator is given the choice of any card, which he takes without showing its number. Behind his back, the magician draws two cards from the remaining group, then another pair. He hands the odd card to the spectator. When the two pairs are turned up, their numbers both add to the same total, exactly 18. The spectator looks at his two cards and they, too, add up to 18, completing the trio of paired thoughts.
the method: The cards used bear the numbers 2, 5, 7, 11, 13, 16. (This means eliminating the 17-card used in the
Tap
the
Numbers routine.) They are gathered face down in the following order, from the top down: 234
2, 7, 13, 11, 5, 16.
A Mental
Mysteries
They are then
dealt in
two heaps,
left-right-
each card going on the
left-right-left-right,
one dealt before, all with the numbered side down. The left heap is then placed upon the right heap.
Now
deal the cards in three pairs.
The
second pair of cards should be more widely separated than the pair should
and appear
be
first pair,
closer together
than the second,
same distance apart
at about the
as the cards in the
while the third
first
pair.
The diagram
below indicates the proper position for each pair of cards.
A A
5
B
B
13 16
2
C C
11
7
(A-A, B-B, C-C) actually add to 18 each. When someone takes a card, you pick up the other pairs together and drop the odd card on top. For example, someone takes a "B" card. You pick up A-A, putting one on the other, then C-C, finally drop the odd B on top. Put them behind your back, bring out the two bottom cards (A-A) and lay them face up, showing that they total 18. Bring out the next pair (C-C) and turn them up; again they total 18. Hand the odd card face down to the spec-
The face-down
pairs
Paired Thoughts
A 235
tator
pair
and let him match (B-B) also totals
it
with his own. His
completing the
18,
"coincidence."
presentation:
Tap
sequel to
When
using this trick as a
the Numbers, gather the cards
Put number 2 down on 7 and place them both on 13, then put 11 down on 5 and put them both on 16. Remove 17 before you start, or push it aside, since it is not as follows:
needed.
The
cards are then set for the deal as
described.
When
working Paired Thoughts as an individual item, you can lay the cards in two rows, as follows:
2
13 16
7
11
5
sum
of
different:
2
Call attention to the fact that the
each pair (top and bottom)
and 11 equal equal 29.
equal 12; 13 and 16 gather them by placing 7 on
13; 7
Now
is
and
5
"Seven and two are nine/' Put 13 saying, "Thirteen and seven are twenty."
2, saying,
on
7,
Then put
on 5, saying, "Five and eleven are sixteen." 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 dif11
ferent total."
That
Now
is
the case, as you have just shown.
turn the cards face down, deal
two heaps and gather them 236
A Mental
Mysteries
them
in
as described, pro-
ceeding through to the
adds up to the same
finish,
where each pair
total.
FACE-CARD FANTASY This intriguing effect can be presented either as a test in psychology or as a mind-
The result, however, is same: You name a card which a person
reading experiment.
the
has mentally selected from a group of four;
what is more, you can do it without fail! the effect: The magician spreads a fan of four face cards and asks someone to concentrate upon one card alone. The magician puts the cards in his pocket, then brings out three of them, one by one, keeping their backs
toward the audience.
As he reaches into
his pocket for the fourth
card, the magician asks the spectator to
name
the card he chose. Whatever the card, say the Jack of Clubs,
magician
now
it
is
the very card that the
brings from his pocket;
and he
immediately shows the faces of the other three cards to prove that
all
are different, with
duplicate of the chosen card
no
among them.
the method: The four cards originally shown are, preferably, Jack of Spades, King of Hearts, Jack of Clubs and King of Diamonds, the similarity of the faces of Jacks and Kings being helpful.
Face-Card Fantasy
A 237
In his pocket, the magician has three other face cards, King of Clubs, Jack of Hearts
and
King of Spades, which he has placed there be-
He
forehand.
brings out these three "extras/'
and when the person names the mentally lected card, the magician simply counts to
and draws
it
from
presentation:
seit
his pocket.
Show
the original four cards
you comment: "Here are four face cards, taken at random from the pack. 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. Do you have a card?"
as
At
this point, start shifting the cards in a
shuffling
fashion,
turning the faces toward
yourself as though trying to guess the chosen card.
This enables you to put them in a fixed
Diamonds, Clubs, Hearts, Spades. Then, with a nod, you add: "I have it. But keep concentrating, while I put the cards in order; say,
my
pocket." Placing the cards in your pocket
you continue: "This .
.
.
nor this one.
.
isn't it .
."
.
.
.
nor this one
Bring out the extra
cards one at a time, but keep their faces to-
ward you
as
you transfer each card to the
other hand.
You then so
tell
238
"That leaves only one card, everybody what it is, so they can see
Jf$
say:
Mental Mysteries
for themselves
whether
As the person names in the pocket
it is
the card
his choice,
I
kept."
count down
(Diamonds—Clubs)
or
upward
(Spades— Hearts) to obtain the correct card, saying: "I hope this is it"— here you draw out the card slowly, but without hesitation— "in fact it should be your card"— here turn the three "extras" face toward the audience— "because your card isn't one of these; so this must be it!" Turn the card toward the spectators to prove
it.
alternate routine: Use a fifth card, the Jack of Diamonds, but place it in front of the others so it is the most conspicuous card of the
Have them
five.
in their final order, Jack
Diamonds, Jack of Spades, King of Hearts, Jack of Clubs, King of Diamonds. Instead of of
shuffling the cards, simply close the fan after
the person makes his choice.
Then
some other you comment: "Ex-
turn to your right, letting
persons see the cards, as
cards— and
one has been selected mentally." You can spread the fan slightly, but
actly five
just
in the opposite direction, so that the only card
which
with these people
"registers"
is
the
Jack of Diamonds.
Put the
five cards in
your pocket (above
the extras) but retain the Jack of
and bring
it
Diamonds
out immediately, saying to the
Face-Card Fantasy
A 239
.
"Don't tell me the name of your card— yet. Just answer one question: Did you
chooser:
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
take the Jack of
You then
the original chooser: "Forget
tell
the Jack of Diamonds. We'll eliminate it—
along with three more cards— until just
one card
name
left in
we have
the pocket—your card— so
it!"
While
speaking, you proceed with the usual
routine of removing the three extras and bring-
ing the is
named
called.
card from the pocket after
This version gives you a more logical
reason for asking the
name
of the selected
card; also, with five cards there
of
it
someone
is
less
realizing that the cards
chance
shown
the conclusion of the trick are actually
at
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 belong 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 example: a key and a cigar; a penny and a match pack; a watch and a pencil; a ring and a cigarette pack; and so on. Similar articles can be used, such as coins of different value, cigarettes of different brands, keys of different
shape, provided there
enough variance so
is
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
form
more or
four
less
cross-rows
at
random,
with
five
until they
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
person with the same query. be:
"Both
turns to another
The
reply
might
in the fourth row." Again, the per-
former picks out the chosen
pair.
He continues
he has identified each pair of objects. the method: The pairs, although they appear to be placed at random, are actually until
Ten Pairs
Jf$
241
Looking at the center you imagine that you see four
set in a special order.
of the table,
words spelled in big
letters:
T
A
R
O
E
N
D
E
I
O
N
I
T R C
S
C
A
D
S
Place the
first
on each imand A, R and R,
pair of objects
aginary T, then a pair
on
A
O
and O, and so on, right down the line. These words: tarot, ender, ionic, scads, contain ten pairs of letters, all forming different
combinations, as far as the four rows are concerned.
Thus, when you ask someone which rows
he
and 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 remaining pairs. contain his objects,
presentation: ter
It
says,
"First
does not particularly mat-
whether you work
memory
if
this as a
mind-reading
both puzzling 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 feat or a
they
is
are.
You then 242
stunt. It
Jfk
start placing
Mental Mysteries
the pairs yourself,
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
pairs differently.
always good to lay out the
One way
is
to change the
order of the words, which varies the procedure
somewhat. mulas in
It is still better to
for-
you can switch to them two such arrangements:
reserve, so
Here
instead.
have other
are
MOTOR H E E R N I N T H S
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
Originally, this trick
D
was done with playing
cards instead of different objects; effective
when performed
it
is
still
that way. Simply
pack and deal 10 pairs of cards, face down, letting a different person glance at each
shuffle a
pair
and remember
The
pairs are
it.
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 Here
is
objects seen
AND SAUCER
mental mystery with ordinary
a
on every
table,
lent dinner-party stunt.
and
making
The
it
an
excel-
items used are a
two dozen lumps of 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 cup, dish
we
convenience,
Andy,
the
Charles.
saucer, plus
will
second
You
call
person
the
Ben,
begin by giving
of sugar; you give
person
first
the
Andy
a
third
lump
Ben two lumps, and Charles
three.
Now room,
I
you state: "While I am in the next 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 Mental Mysteries
A
many lumps in the is
same
as
he already has and hide them
Whoever takes the saucer times as many lumps and hide
fashion.
to take four
them/'
you warn: "Don't touch any of the remaining lumps or you may give me a false mental impression. When you are ready, call Also,
me back." On your
you pass your hand back and forth over the cup, dish and saucer, telling each person to keep concentrating on the item which he chose. Then, in dramatic style, you point from the cup to one person, say Ben, as you announce: "You took the cup!" Next, you point from the dish to another person, say Charles, and declare: "You took the dish!" Turning to the final person-in this case Andy—you conclude: "That means you return,
took the saucer!"
You are right on
every count!
the method: Actually
it
is
a matter of
counting, not X-ray vision, that enables you to look through items of solid tableware.
What
you count are the left-over lumps of sugar, those that you told people not to touch. But first, you must memorize a list of words, or better still, write them out in the form of a column, with certain letters underlined. These words are: cadets, dickens, custody, DRASTIC, SCORED, SARDONIC.
Cup, Dish and Saucer
Jfk
245
When listed they appear thus:
CaDetS DiCkenS CuStoD y DraStiC SCoreD SarDoniC
1.
2 3 5-
6.
7
Note
that there
Here
is
no No. 4 on the list. Also note that the large letters, C, D, S, appear in each word but in different order. Those letters stand for Cup, Dish and Saucer, respectively. is
how you
use the
list
to
work the
trick:
Suppose Andy, the first person, should take the saucer. You have already given him 1 lump
Whoever chooses the saucer is to 4 times the number of lumps you gave
of sugar.
take
him.
So Andy takes 4 lumps and hides them. Suppose Ben, the second person, takes the cup. You have given him 2 lumps of sugar. Whoever takes the cup is to take the same number of lumps that you originally gave him. So Ben takes 2 lumps and hides them. Suppose Charles, the third person, takes the dish.
You
takes the dish as
is
to take twice as
you gave him.
246
Whoever many lumps
gave him three lumps.
A Mental
Mysteries
So Charles takes 6 lumps and hides them. You gave out 6 lumps to start with. The three persons have taken 12 more. That makes a total of 18. So there will be 6 lumps left, lying over to one side as though they didn't matter. But they matter a great deal! No. 6 on your list is the word scored. Its "key" letters appear in the order S, C, D. That means the first person, Andy, took the saucer; the second person, Ben, took the cup;
the third person, Charles, took the dish.
them
tell
that,
making
it
You
sound very mysteri-
and you are right! If they had picked the objects order, your key word would be
ous,
just as
lumps.
accurate,
Two
in
some other
different,
but
according to the left-over
lumps, for example, would spell
dickens, meaning that
Ben the
Andy had chosen
the
and Charles the saucer. You can use more than 24 lumps of sugar, but make sure you know how many more, so you can ignore them. That is, if you use 28 lumps, mentally substract 4 from the left-overs dish,
cup,
before counting through your
list.
Other objects can be used, say a coin, a dollar,
and
and a
saucer, since they also
initials
of
a spoon, instead of a cup, a dish,
C, D,
lumps of
S.
conform to the Matches can be used instead
sugar.
Gup, Dish and Saucer
Jfa
247
THE WORD-CARDS This intriguing mental mystery requires a
pack of cards bearing various letters of the alphabet; also, some cards on which specific words are printed. Alphabet cards can be obtained with certain card games, but if none are handy, it is easy enough to make up a set, using blank cards the size of calling cards. Similarly, the required word-cards can be
on
hand-lettered in colored pencil
cardboard cut to a convenient
whole
outfit
is
easily
pieces of
size,
so the
The word-
prepared.
cards can be the size of playing cards or larger,
with the words printed lengthwise.
the effect: The performer runs through a packet of twenty-five cards showing that each bears a different word. five
face-down heaps and
He
deals these into
lets five
people select
from each heap. The remaining cards are collected, still face down, and laid aside, so that only the choosers know the words they have taken. cards at random, one
Now, cards.
the performer picks out several letter
He
word he
asks the selected.
The performer
lays
first
person to
Suppose he
down
name
the
says, "Least."
his letter cards,
one
by one, and they spell least. This 248
Jf$
is
repeated with the other persons. In
Mental Mysteries
word
every case the magician spells out the correctly.
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
one column of cards upon another, you form a packet of 25 that you can run through, calling off "slate, spear, smite"— and so on. But when the cards are dealt in 5 heaps, one by one, each cross-row becomes an individual heap, each composed of words formed by the same letters. For the first person, you pick the letters a-e-l-t-s from the alphabet cards and keep them toward you. When he calls the word on his card, you simply spell it letter by letter,
By
setting
showing them as you do. This holds for words
in
the group:
all
5
slate— steal—least-
stale—tales.
With the second person, a-e-p-r-s will spell any chosen word. The third, fourth and fifth words can be handled in the same way by simply picking out the letters that spell any
word
in that group.
presentation: Start by running through the
Word-Cards
A 249
emphasizing that: "Here are twenty-
cards,
words—" calling them off rapidly as you show them. Turn the packet face down, deal the five heaps and hand each to a different person, saying: "Mix them all you want, then draw one card and lay the rest aside without looking at them. Just concentrate on that one card and the word that you find on it." That done, you pick out the proper letter cards, but act as though you were spelling the spectator's word mentally. Tell him: "Keep spelling the word to yourself—letter by letter— now I've got it. Call the word and see five different
how close I came."
When
word is "Least," show the letters one by one as you pick them in that order. Continue with the other persons, acting as though you were spelling out each word through sheer concentration. he
states that the
WITHIN THE CIRCLE the effect: The performer takes a square sheet of paper and folds it into quarters. He then unfolds it and draws a circle in the very center.
He
tells
a spectator to write anything
he wants within the magic
name
such as the
of a friend, a place, a telephone
or an address.
250
circle,
The
A Mental
spectator
Mysteries
is
number
then told to
SECRETLY RETAIN THIS PIECE
FIG.
69
TEAR
TEAR
AND PUT AWAY REST
fold the paper
and hand
it
OPEN CENTER, SUP AND LEARN NAME
back to the per-
former.
Upon
receiving the folded paper, the per-
former deliberately tears
it
in half, then places
the pieces one upon the other and tears into quarters.
He
them
either thrusts the torn frag-
ments into his pocket or lays them in an ash tray and sets fire to them. In either case, he keeps telling the spectator to concentrate on what he wrote. Finally, the performer gives the name, initials, date, or whatever was written, and the amazed spectator admits that
it is
absolutely correct.
the method: The information is written and the paper is folded and torn into quarters exactly as described. But trickery begins when the fragments are pocketed or burned.
Within the Circle
A 251
During the tearing
process,
you keep track
of the center portion of the paper (fig. 69).
When
the right hand takes the torn pieces
and pockets them, or places them the
tray,
and
left
retains that center piece
bend of the left fingers. when you secretly open the center
presses
Later,
thumb
in the ash
it
into the
piece,
you
circle
that holds the written message.
will find that
it
contains the entire
three-quarters that are pocketed or
The
burned are
unnecessary, but they serve a useful purpose:
when you show them
in your right hand, peo-
ple suppose that you are disposing of the entire
message.
presentation: This
is
extremely important,
you must find some subterfuge whereby you can open and read the center portion that you tore from the "destroyed" message. If you are seated at a table, you can let your left hand as
rest in
the
opens the center of giving you a chance to read the mes-
your lap while
slip,
it
sage there.
Another way, whether seated or standing, is to take a pad in the left hand and begin to write "thought impressions" with your right hand, crossing them out, tearing away a sheet from the pad, and beginning over again. This action enables you to open the torn center between the left thumb and forefinger, which are on your side of the pad. The right 252 Jf$ Mental Mysteries
hand can help
you read the message and writing the
which answer it by
in this operation, during
name
or
finally
number on the
pad.
You
can then tear the sheet from the pad and
hand
it
to the spectator, saying
it
is
your
thought impression. In pocketing the pad, you get rid of the center
slip.
you burn the torn portions in an ash tray, you can walk away and bring back a pad from a table in the corner of the room. On the way, you simply open the torn segment and If
read
it.
It is best
not to use too large a piece of
paper for this
trick, since
the center portion
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.
that you retain
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. The performer writes something on a small slip of paper, which he rolls into a ball. He turns a small glass upside down and places this prediction on the bottom of the upturned glass. Predicted Thoughts jfa 253
Now,
number
the spectator writes his
the center of a square of paper. This
is
in
folded
and given to the magician, who tears it into pieces, which he burns. The magician picks up the glass, drops the prediction into it and hands the glass to another spectainto quarters
tor.
The
first
person names the number he has
mind, say 281. The second person unrolls
in
the
little
ball
and reads the prediction.
He
finds that the magician has written that very
number— 281— on
the
little
that he in-
slip
scribed beforehand!
The
the method:
little
slip
exactly
is
one-quarter the size of the larger square of paper.
You merely
on
unless you
it,
want
to take a
may be
chance that you rolled
pretend to write a number
This
right.
the larger square and folds
paper and tear
You
set fire to the rest.
burning, you secretly
Call the
roll
is
number on
you take the
Within the CirWhile they are
the center portion
dummy
that
glass.
dummy "A"
A Mental
it,
exactly like the
little ball
on the inverted
254
slip
into quarters, secretly retain-
it
ing the center portion, as in
is
1000
"dummy."
After the spectator writes his
into a
in
up and placed on the bottom of the
inverted glass as a
cle.
1
Mysteries
and the duplicate
"B." Hold "B" pressed between the tips of
your
thumb and second
left
"A" with the
finger.
Pick up
thumb and
tips of the left
fore-
while the right hand turns the glass
finger,
mouth up. The left hand seemingly drops "A" into the glass, but actually presses it between the tips of thumb and forefinger, dropping "B" instead.
With
your right hand, pass the glass to a
and have him open the
spectator
read your "prediction/' It
because what he reads that the
the
sure to
be
right
number
the actual
spectator wrote in the center of
first
the larger square.
know
is
is
and
slip
number
You
don't even have to
for your "prediction" to
be
right!
presentation: trick
is
Worked
as
described, the
almost automatic. Emphasize that you
have written your "prediction" or "thought impression" before the spectator wrote his.
Be
deliberate but neat in "switching" the
tle pellets
and the
trick will
prove
itself
lit-
a real
barrier.
THE NINE the effect: nine a
slips, all
name on
a hat.
Now
a
A
SLIPS
sheet of paper
the same
size.
is
torn into
A spectator writes
and drops it into other names on the re-
slip, folds it,
he writes
Nine Slips
A 255
1 I
e 6
1
C
B
j
!
v
j
D
1
f
»AH
j
H
BQ
I
RND SUP WITH ALL ROUGH EDGES SUPS DROPPED
G
IN
HAT
FIG.
70
maining slips, folds them the same way and mixes them in the hat. While the spectator concentrates on the original name, 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; if necessary, 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. 70a).
Do
this neatly, so
the
slips
look
alike,
but
one, the original center of the sheet, will be
256
Jf%
Mental Mysteries
have four rough edges, whereas every other slip will have at least one smooth edge (fig. 70b). Hand the slip with the four rough edges to the person first, or put it on top of the others so that he uses it to write the name he has in mind. More names are written on the remainslightly different. It will
but you can always pick out the right one by its four rough edges.
ing
slips,
presentation: Stress the fact that you are trying to catch
the
that
slips
one thought out of nine and are
merely
through them one by one, then
start over
That makes
it
incidental.
Go
name by name;
and stop on the chosen one. look like real
mind
reading.
MYSTIC BOOK TEST the effect: The performer hands a book to a spectator and tells him to open it to any page. He is to note the number of that page, add its component figures and count to the word at that position. For example, with page 105, the figures 1, o, and 5 total 6, so the person would note the sixth word. While that is being done, the performer turns his back.
When
the spectator concen-
on his word, the performer writes something on a sheet of paper of his own. The two trates
Mystic Book Test
A 257
unfolded: the magician's word
slips are tical
is
iden-
with the word written by the spectator!
the method: This
requires
trick
erable preparation, but the result
is
consid-
worth
it.
Take a suitable book— a paperback novel will do—and go through it, page by page, listing
may be
the words that
chosen, as:
1.
give
121. grim
181. the
2.
letter
122. arrived
182. heard
3-
way
12 3
183. than
4- of 5-
one
.
a
124. in
184. got
125. out
185.
it
These are simply excerpts from a complete list. Thus "grim" was the fourth word on page 121
of a specific book;
"arrived"
the
fifth
word on page 122; "got" the thirteenth word on page 184. Such a list, while long, can be typed on a single page of a large pad, or on a page of a smaller pad, is
if
finely printed
with a pencil. It
placed beneath the top flap of the writing
pad and that
it
is
gummed
will turn over
The magician
along the upper edge, so
with the
uses the
pad
flap.
to obtain a sheet
of paper so the spectator can write his chosen
word. Thus the wizard
when he the
258
list
£fk
is still
holding the pad
turns away, enabling
and
find the correct
Mental Mysteries
him
to consult
word according
named. This is the word that the magician writes on another sheet of paper, as though he read the spectator's mind. presentation: Though simple and direct, this should be well rehearsed to be effective. You have the book lying on the pad and as you hand the book to the spectator, you run through it, mentioning that it has some 200 pages or more. Then you say: "I want you to think of any number within that range, then turn to that page. Then add the figures in the page number and count that many words, beginning with the first word on the page. You have a number in mind? All to the page the spectator
right,
name
it
.
.
.
167? All right, turn to
that page and add the figures; that
would be
fourteen, wouldn't it?"
Here, you open the pad, the
along with the
and hand
it
flap.
You
list
sheet going
tear off the next sheet
to the spectator.
Then
continue:
"When
you find the word, write it on this sheet of paper. Fold the paper and hold it. Incidentally, do you want to change the page number? If so, you can name another one. You're satisfied? Very well, turn to your page and count to the fourteenth word while my back is turned." You turn your back, closing the pad as you
Mystic Book Test
A 259
and bend you can spot the "key word"
do, but immediately raise the flap
back alone, so for page 167, which, we will assume, is "another." Fold the list sheet back with the flap, 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: it
"Keep concentrating on the word that you have written
.
.
your mind. ...
.
Say
it
think
I
over a few times in I
have
it."
Here you
word on the pad, tear off your sheet and fold it. "Here is the impression I received, so let someone open both slips and compare write the
them."
That is done, the words prove to be the same, and the book may be checked by members of the audience to
make
sure you selected
the right word. Meanwhile, you keep the pad,
which apparently had nothing to do with the test.
THE REPEAT BOOK TEST While the Mystic Book Test may be repeated, it has "one weakness: the somewhat arbitrary adding of the figures in the page
number
to count
down
natural enough the
first
to the word. This
time, but might
meet
with an objection or suspicion on a second
260
jf$
Mental Mysteries
is
try.
That's
when
alternate
this
comes
trick
in
handy.
the effect: A spectator is given a book and told to call the number of any page, say from 1 to 250, while another spectator calls the number of a word on that page, say from 1
to 50, to keep the counting simple.
The page and word
are looked
ten on a sheet of paper, which
up and
writ-
folded.
The
is
magician leaves the room or goes to an obscure corner while this
is
taking place.
When
he
re-
he writes a word on a slip of paper; it compared with the chosen word and both
turns, is
are the same.
the method: This is bold, but deceptive. In your pocket you have a duplicate copy of the book.
Upon
leaving the
room
or going to
an obscure corner, bring out the book, turn to the stated page and count down to the number given for the word.
In short, you simply duplicate the same operation as the spectators, finding the same
word while they are hunting for it. You then put the book away and return, going through the "concentration" process as though reading their minds.
presentation: This should follow the pattern of the Mystic Book Test quite closely, the one difference being that you must retire
Repeat Book Test
A 261
to sufficient seclusion to consult the duplicate
volume.
The
smaller the book, the better; a
pocket dictionary
is
very good.
With
a large
book, the duplicate should be in another room.
While a good effect in its own right, this test is recommended as a "repeat" because the Mystic Book Test does not require you to from sight and it is obvious that only one book is used. Also, there may be a slight suspicion that you were close enough to note
step
or overhear something.
All this builds to a perfect excuse to go out
of the room.
At the same
time,
it
diverts
suspicion from the simple secret of the extra
book.
A SENSE OF TASTE the effect: The magician hands around some rolls of candy drops: lemon, lime, orange, grape, cherry, or any other flavors. All are exactly alike in size
and general appear-
ance except for their distinctive
While the tors select
wizard's back
is
labels.
turned, specta-
one of the packages and drop
it
in
They hide the rest so the magician cannot see them when he turns to face his audience. Yet within brief moments the magician names the flavor in the package which his hand.
he holds. 262
A Mental
Mysteries
If desired
the trick
one of the other
may be
repeated with
rolls.
the method: The
look
but they are neatly prepared beforehand in an unsuspected way. Use a type of candy package which has a loose label that may be slipped
on and
off,
rolls
alike,
the candy drops being wrapped
within an inner lining of tin
foil.
and break some of the packages, 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 Slide off the labels
Thus
prepared, the packages are given to
When
you receive one behind your back, slide off the label and find the break, or breaks. Slide the label on again and you can name the flavor and hand the candy roll back to your mystified audience. presentation: This is helped by stating that experimenters have learned that there is a close association between telepathy or extrasensory perception, and the sense of taste. Having proven this to your own satisfaction, you are now prepared to demonstrate it publicly. So you say, and so you proceed to do. If you repeat the trick, do not hesitate with the spectators.
A
Sense of Taste
A 263
Work
it.
briskly,
it
and put the packages
your pocket, except for the
final one.
in
Open
that one
and pass the candy around, disposing of the package and the evidence it represents.
By having
duplicate (unprepared) packs in
your pocket, you can later lay them on the table as though they were the originals, just in case
anyone decides to examine them.
THE Cards,
TWO ROWS
coins,
matches,
checkers— almost
any small and handy items may be utilized in this impromptu mental mystery. For simplicity,
we
will
assume that the
trick
is
done
with playing cards.
the effect:
A
two rows of cards, each with the same number, so that he will have it firmly fixed in mind, this being essential with all mental tests. Any number may be used, from three or four to twenty; that is entirely up to the person. While he is arranging the rows, the maperson
is
told to deal
gician turns his back, or can even go into
another room, as long as he
When tells
him
the person
is
is
within earshot.
ready, the magician
away cards from how many cards he
to take
but to state from which row, top or bottom.
either row, takes,
and
That done, the person can take more cards 264
Jf$
Mental Mysteries
from either row; or he may add cards; or he is allowed to transfer them from one row to the other, as long as he tells how many cards were moved and states which row— or rowshappened to be involved. At one juncture, the magician suggests a number for the person to take away; but at no time does the spectator state how many cards either row contains. Then, suddenly, the magician says, "Stop!" With that, he names
number of cards that remain! the method: The number of cards in each
the exact
#
row does not matter, as long as they are equal at the start. For example, assume that the person puts seven cards in each row, thus: rn/\«
n*
BOTTOM
You do a
*r
in
*r
*c
*t*
+n
not see these cards, but you take
own— say 20—and
high number of your
imagine or visualize the rows as containing that
many
cards each.
You then
ask the per-
move
son to take away cards, add them, or
them
he chooses, but to tell you what he does. Thus: He moves 3 cards from the bottom row to the top, and says so. That leaves the rows as
like this: rTI/A'p
«
T*
*¥*
T*
^P
BOTTOM:
*
*
*
*
*«*
*f*
T*
T*
^F*
Two Rows
*•
jfi
265
Working from your "key" number of 20, you mentally move 3 from bottom to top, saying to yourself: "Twenty-three in the top
row; 17 in the bottom row."
Now, suppose
the person takes away two
from the bottom row,
stating that fact.
He
has: »
^p
nr
BOTTOM:
*
*
np/^TO
You
*r
^r
^r
nr
"Two from
say to yourself:
15 in the bottom row, with 23
The person then
v
nr
*n
^r
17 leaves
in the top."
still
decides to add one card
He
announces that fact and performs the action, so that the rows stand: to each row.
rr /™\TTj ,
^r
•
BOTTOM:
^r
^r
*r
^r
^h
^h
^r
^r
*f
*fi
* * *
Mentally, you add one to each of your rows, giving you 24 in the top,
bottom.
You
Now
tell
comes the important
number in his
part:
the person to count the
of cards in the
many from
16 in the
bottom row and
the top row.
He
number
to take that
takes
3
(the
bottom row) from the 11 cards top row, which gives him: in his
rp^yp .
BOTTOM: Meanwhile, you
* * *
are doing the
same with
your imaginary rows, subtracting 16 (bottom)
from 24 (top) so you have 8 cards 266
Jf$
Mental Mysteries
in your
top row.
You then
tell
the person to take
away his bottom row entirely. That leaves him with a single row:
********
You, too, eliminate your imaginary bottom row and that gives you a single row with just 8 cards, identical with the row
now on
the
table!
From then
on, you can let the person add
or subtract cards as he wants, providing he states the exact number in each case. You go
him, for you are both working with the same number. right along with
Assume
He
that
he simply takes away 4
cards.
then has: * * * *
You do total:
the same and announce your final
"Four!"
presentation: Your aim should be to keep
and
same time reasonably simple, in order to avoid any false steps. That is why it has been described in exact detail. In presenting it, remember these this test intriguing
at the
points: First, tell
the person to deal a row of cards;
then another with the same number, so he will have it fixed in mind. As he does so, you add,
be a small number or a large one, anything from two up to twenty, but be sure you "It can
Two Rows
A 267
same number twice—and don't change
deal the
it— at
least
not yet!"
Here, you convey the impression that you are already beginning to grasp his numerical
thought.
"Now
You then
say:
take away or add cards to either row,
me how many
move and what you do with them. You can simply move them from one row to the other if you want."
but
tell
cards you
Then, with that done, you continue. "Now move a few more and tell me again. From these partial thoughts, full
am
I
trying to gain a
impression."
After a few such moves scribed) Just to
you
make
say,
"Stop!
sure our
I
(as
already de-
think
I
have
minds are tuned,
I
it.
want
you to count the cards in the smaller row, without telling me. Take that row entirely away. You've done it? Good. Now, take the same number from the other row, so as to fix it firmly in mind. Add a few more, or take some away if you prefer, but this time, tell me how many. That's enough. I have it!"
NAME THE NUMBER Similar to the
Two
Rows,
this
makes a
good alternate or follow-up to that "test" because there is enough difference between them to throw observers off the trail. 268 Jfk Mental Mysteries
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, equal except for the extra card, which can go in either
row he
prefers.
turned while this
is
The rows might #
The
magician's back
is
being done.
prove to be:
#
# s{t
s£c
The
sk
#
#
# jie
jic
# jjc
name a small number, less than the number of cards in either row. Suppose he says, "Five." The magician tells him to take 5 cards from the long row and lay them aside. The rows will then stand: person
then asked to
is
#
#
Next, the person
#
# is
#
#
told to count the cards
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). That leaves: in
* * * * # *
Reverting to the
row the magician tells away entirely, then to
first
the person to take
it
concentrate upon the
number
of cards in the
one remaining row, namely: #
*
*
*
After due concentration and proper recepName the Number jf$ 269
tion of transmitted "brain waves," the
ma-
names the number: "Four." the method: Follow the routine as given and the trick will work itself, your "key" number for the climax being one less than the random number which the person named at
gician
your request!
and that meant there would be 4 at the finish. If he had taken 3, there would have been 2 left, and so on. In referring to the rows, you can term them In this case, he picked
5,
"long" or "short" as described; or simply
call
them "top" and "bottom," but in that case specify that the long row be at the top to start.
presentation
make
:
A
few
rehearsals
the trick quite clear. Such rehearsals
work
are necessary in order to
and
should
effectively.
every stage.
it
smoothly
Play up the "mental" angle at
When
the person adds the "odd"
card to one row, act as though you were divining the
number
of cards even then.
Have the person choose
number, then go through the next steps with the same prehis
tense of concentration. In telling
move
the
first
him
row, you can say: "Your
to re-
mind
seems to be going from one row to another. Let's take away the first row entirely. You've done that? I thought so. Now, count the .
270 Jk Mental Mysteries
.
.
cards in the one remaining row.
mentally, one by one.
and keep it
it
Count them Fix on the final number
firmly in mind.
am
I
counting to
myself, now. One, two, three, four!
That
is
the number!"
note:
If
a person should remove only one
item as his number, the rows would be equalized. So if he specifies "One," you simply say, "That's too small,
make
let's
larger." Or,
it
you can say, "Name any number above one, but less than the number of cards at the start,
in either row."
CARDS AND SYMBOLS the effect: The mental wizard shows four cards, calls
3X4
each about
inches in
size.
He
attention to the fact that each card bears
a different symbol: a circle, a square, a angle, an X-mark.
With
velope, just large
enough
the cards
is
tri-
an en-
to receive a card
comfortably.
While the magician
turns away,
someone
puts one of the cards into the envelope, seals it,
and hides the other
cards.
given to the magician,
who
The
envelope
holds
it
is
to his
head, concentrates, and names the symbol on
the card.
When
the envelope
is
opened, this
proves to be correct.
This mental
test
can be repeated with the
Cards and Symbols
Jf$
271
same
success. It
can be varied by having four
persons take an envelope from a
different
packet and place a card in
can
name
all
it.
Yet the magician
four cards as easily as one.
The
envelopes can be thoroughly inspected before
and
after the performance, proving that
it is
impossible to see through them.
the method: Although the cards appear be identical
in size, they vary slightly in di-
mensions. Therein
One
trick.
to
card,
lies
the subtle secret of the
which bears the
circle,
is
just the size of the envelope, slipping in easily
but snugly.
The
card with the square
an inch
is
cut i/i6th of
short, too slight a difference to
noticed even
when
be
the cards are handled as
a group.
The
card with the triangle
narrow, which also
is
is
cut slightly
unnoticed. Again, the
about i/i6th of an inch. The card with the "X" is cut both short and narrow; this, too, is normally indetectable
difference
is
After a card ever,
is
sealed in the envelope,
how-
the difference can be checked swiftly
and
secretly
272
Jf$
by holding the opposite edges of the envelope between the thumb and finger and pressing slightly. If there is no "give" in either direction, the
Mental Mysteries
"circle" card
in the envelope. If there
is
is
a
"give" from top to bottom, but not sideways, it is
the "square" card. If the envelope yields
to sideways pressure only,
angle" card.
If pressure
directions, the
"X"
presentation:
it
contains the
shows a slack
card
is
in
"tri-
both
inside.
Attention should be paid
to the handling of the envelopes in a smooth,
casual fashion. In showing the cards, stress the fact that they differ only in their symbols.
Put one, then another, in an envelope and hold it to the light to prove that it is impossible to see
through
Then have
it.
a person put a card in the en-
and concentrate upon its symbol. When you reach for the envelope, take it by the edges, say at top and bottom, pressing it as you do. Transfer the envelope to the other hand, which naturally takes it by the opposite sides, pressing them the same way. The envelope should then be lifted to your forehead, so that you can concentrate upon its contents and pick up a "mental impression." velope, seal
By
then,
it,
little
because you will
concentration
know what
card
is
necessary
is
in the en-
velope.
Cards and Symbols
A 273
COINS AND COLORS the effect: The magician opens an envelope and from it takes three smaller envelopes, each of a different color: one red, one yellow, one blue. He lays them on the table and places five coins beside them, each coin of a different value: penny, nickel, dime, quarter, half dollar.
Now
the magician indicates three persons,
A, B, and C.
He
turns his back
and
tells
each
person to take an envelope, without letting
him know who has taken which. That done, the magician concentrates with his back
still
turned and gives the following instructions:
He
A
he took the red envelope, he is to put the penny in it; if he took the yellow envelope, he is to put the nickel in it; if he took the blue envelope, he is to put the dime in it. Next he tells B that if he took the red envelope, he can put in either the dime or the half dollar. If he took the yellow envelope, he must put in the coin of lowest value that is still on the table. If he took the blue envelope, he can put in either the penny or dime. Finally he tells C that if he took the red envelope, he can put in the nickel or the half dollar. If he took the yellow envelope, he can put in the dime or quarter. If he took the blue 274
tells
that
A Mental
if
Mysteries
envelope, he can put in either the nickel or quarter.
done rather rapidly, as each person really has but one choice, because he has only one envelope and already knows its color. But the magician, being in ignorance of how the envelopes are distributed, must specify This
is all
each in turn.
As an afterthought, the magician tells B that if he took the dime, and if the half dollar is still on the table, he can put back the dime and place the half dollar in the envelope instead. The magician allows due time for that; then tells all three persons, A, B, and C, to put their envelopes in their pockets.
That done, the magician turns around, picks up the two coins still on the table— say the dime and quarter—and drops them in his own large envelope.
He
then proceeds to
tell
each
person what color envelope he has in his pocket; and also the coin that he has in that envelope.
envelopes are brought out; and the magician's statements are correct: In this
The
case, is
in
is
in
A has it;
B
it;
dollar
is
the yellow envelope and the nickel
has the blue envelope and the penny
C in
has the red envelope and the half it!
the method: Remarkable though the Coins and Colors
if$
ef-
275
feet
may
sound, this trick
is
self-working from
you need in order to perform it are the envelopes and the coins, plus the proper instructions to A, B, and C who can be our old friends, Andy, Ben, and
start to finish. All
Nor
Charles.
You have
is
this too difficult, because:
those instructions written on the
which you retain, so you can check them while your back is turned. They
large envelope
are listed thus:
y— 5^; b— io^f. B: r— 10^ or 50^; y— Lowest; b— 1^ or C: r— 5^ or 50^; y— 10^ or 25^; b— 5^
A: r— 1#;
10^.
or 25^.
But that is only half the story. The rest is also told on the envelope in a slightly more elaborate chart which you must prepare as follows:
1* #
St
* *
*
A-r B-y A-r B-bl
A-r B-y 276
£f$
10^
25<*
50^
B-y
C-r
#
A-bl
A-y A-y A-y
*
C-bl
B-r
B-bl
*
C-r
B-r
C-bl
*
*
*
C-y
B-bl
A-bl B-bl
#
C-r
C-y
#
A-y B-y
*
*
C-r
*
C-bl
*
C-r
A-bl
*
*
*
*
Mental Mysteries
In the chart, the capital represent the three persons. r,
y, bl, are
this
letters,
The
A, B, C,
small letters,
the colors: red, yellow, blue. But
can be simplified by marking the
with colored crayons, so that in the
A
will
B
appear in blue;
and the
later
in yellow;
letters
first
C
row,
in red;
rows will be treated in the same
fashion.
The
stars
(
*
)
signify the coins that
you pick
up from the table. So the moment you gather the dime and the quarter, you note from your (on the back of your big envelope)
chart
B
is
in blue;
A
is
in yellow;
and
C
is
in red.
This means, quite obviously, that Ben has
Andy the yellow one, and one. You see 1^ at the top
the blue envelope,
Charles the red
of B's column, telling you that Ben's blue en-
velope contains the penny; you see 5^ at the top of A's, so Andy has the nickel in his yellow envelope; and you see 50^ at the top of C's, so Charles has the half dollar in his red envelope.
presentation: this trick
is
Far from being complex,
simplicity
itself, if
you follow the
routine as given. Tests with actual envelopes
and coins iarity
will
with the
prove helpful by creating famileffect.
Once you turn your
back, you should give
the details carefully to your three assistants,
Coins and Colors
Jf%
111
avoiding any indication that you are reading
them from your envelope. Instead, act as though you were reading minds from the very start.
on the color of his envelope, then to pick a coin as you specify and concentrate on it, too. The little touch of reverting to Ben's choice and telling him he can put back the dime and take the half dollar, if it is still there, makes it seem almost as though you had visualized all that had happened up until that point. Tell each person to concentrate
The
climax of the trick can be dramatically
handled.
You
tell
each person the color of his
envelope and immediately add the the coin that
it
contains.
To
name
of
vary this, you
can say to Ben, "And you have the penny— in the blue envelope!" After the envelopes are opened coins removed), put
velope and place
one
278
it
sees the chart
A Mental
them
(and the
into the large en-
in your pocket so that
you used
Mysteries
in the trick.
no
11.
Planning
Show
a Magic
Now that you have a large stock of tricks, how do you go about selecting some for a performance? Listed below you will find some suggestions for different kinds of programs.
PROGRAM Instant
Ring
1
Cut and Restored
String (p. 19)
Off! (p. 43)
The Climbing Ring (p. 22) The Rising Pencil (p. 24) The Nine Slips (p. 255) Tap the Numbers (p. 232) Paired Thoughts (p. 234) Cup, Dish and Saucer (p. 244) or The Ten Pairs (p. 241)
In this program, Instant String leads into
Ring
Cut and Restored
Off! while the
Climb-
Ring and the Rising Pencil follow in natural sequence. Since you have the pencil available, you can do the Nine Slips next. This changes the pattern of Program 1 into a series of mental effects, but since all are of ing
Planning a Magic Show
Jfk
279
a close-up or
impromptu
variety, they are in
keeping with the occasion.
PROGRAM
2
The Matchless Match Pack (p- 33) The Hypnotized Match Box (p. 26) Vanishing Match Box (p. 31) The Restored Match (p. 36) The Rapid Knot (p. is) The Suction Cup (p. 79) Silk
Through
From Hand
Wand
to
Hand
(p.
97) (p. 200)
Here you appear to be dealing with seemingly impromptu tricks, no mental effects being involved. This program is especially suited for working at a table. It allows opportunities for repeats; for example, you can follow the Matchless Match Pack with Improved Matchless Match Pack (p. 34), if you desire. Also, you can start with the mechanical version of the Hypnotized Match Box and add the impromptu method after you vanish the box. the Restored Match can be followed by the "Repeat" Restoration (p. 39).
A
table knife can be used instead of the
wand
in Silk
Through Wand, and
a handker-
chief can be borrowed for the trick, strictly
280
Jf$
impromptu. Planning a Magic Show
making
it
Index aces, assembled, 179-181
controls 133-134, 135, 147,
alphabet cards, 248, 249 Alternating False Shuffle or Packet Shuffle, 113-115
152-155, 160, count-down 49-50, cuts 100, 100-102, 129-134, 151-152, cuts, false 107-110, deals 47-49,
Any Number Down,
156-157
Assembled Aces, 179-181 Automatic Reverse, 153-154 beginners, 13-16
Behind Your Back, 72-74 blacks and reds (cards), 140 book test, mystical, 257-260, repeat, 260-265 bottle, 25 Bottom Card Location, 144 Bottom Glimpse, 122, 131 Bottom to Top shuffle, 1 12 "breaks" (cards), 133, 147-148 candy, 262-264 card alphabet 248, 249, bottom 144, chosen 135-155, 156-181, coins 65-67, colored 57-60, 89-92,
104-105, 105-106, 106-107, 176-178, "discovery" 148, 152-154, 154-155, 156-157, 158-159, "divider" 139, hair 164, hat 171, locating 135, location 132-133, 144-145, magic 101-134,
magnetized 162-163, pack 47, 112, 121, 139, 140, 141, 142, 143,
palming
125-126, pointers 142-143, red 57-60, reds and blacks 140, revelations 156-181, self-finding 172-174, self-turning 158-159, seventeen 168-171, sleights 115-134, symbols 271-274,
46-74, word 248-250 Card Controls, 147 tricks
Index
A 281
Card from a Hat, 171 Card on the Wall, 172 Card That Finds Itself, 172-174
Cut and Restored Rope, 85-88 cut and restored string, 19-22 Cuts, 100-102
Card Turns Up, 158-159 Cards and Symbols, 271-274
cuts
Climbing Ring, 22-24
cuts, false,
Close-up Tricks, 17-45 coin card coincidence 65-67, colors 274-278, from hand to hand 200-203, magic 182-207, palming 183-187, productions 198-207, vanishes 187-198 coincidence, coin
and card,
65-67 Coin from Wand, 205-206 Coins and Cards, 65-67 Coins and Colors, 274-278 Coin Vanishes, 187-198 Color-Changing Thimble, 227-230 color-guessing (cards),
53-56 colors
and
coins,
274-278
Controlling the Card, 135 controls, card, 133-134, 135, 147, 152-155, 160
cord
elastic, 39,
41
Count-Down Cards, 49-50 Count-Down Location, 145-146
107-110
Dealing Cards, 104—107 deals, 47-49, 50-53, 104-107, 176-178 Delayed Cut, 151-152 dimes, 204-205 "discovery," card, 148, 152-159, 160
cup and saucer telepathy, 244-247
dish,
Divided Pack, 139-142, 175 "divider," card, 139
Double Choice, 160-161 Double Coin Production, 207 Double Deal, 47-49 Doubled Thought, 175-176 Double Lift, 123-125 Double Reverse, 154-155 Dovetail or Riffle Shuffle,
102-103,
Draw Draw Draw
false,
Shuffle,
110
129-134
Shuffle Control,
133-134
Shuffle Location,
132-133 drop,
false,
191-194, French,
190-191
Count Off deal, 104-105 Cup, Dish and Saucer, 244-247
Easy Card Tricks, 46-74 effect, 13
cup, paper, 76-78, 79-81 cup, suction, 79-81
282
and shuffles, 100-102, 129-134, 151-152
A Index
Eight
Thimble
220-227
Production,
,
elbow, thimble trick, 211-212 elimination process, 160-161 evens and odds, 141
Glide, 115-118
Glimpse, 121 glimpse, bottom,
136-137,
Face-Card Fantasy, 237-240, alternate routine, 239-240 Face Up-Face Down, 56-57 False Cuts and Shuffles, 107-
122,
top,
riffle,
122,
wrist,
137-139 glimpsing the card, 135 Group Deal, 104-105
110 False Dovetail Shuffle, 110
Overhand
False
Shuffle, 110-
handkerchief,
111
False Single Cut, 107-108 False
and card trick, 164 Hair Raiser, 164 hair
Three-Heap Cut, 108
False Triple Cut, 109-110 False Drop, 191-194
Fan Force, 127-129 fantasy, with face cards, 237-
240 Finding a Chosen Card, 135— 155 Finger Bend, 183-184 Finger Switch, 214-216 Flash Force, 131-132 Fooled-and Fooled Again,
89-92,
Handling the Pack, 141-142 to Hand, 200-203 hat, 89-92, 92-97, 171, 255256
Hand
Hindu hits,
Farmer and Sheep, 92-97
36-42,
with wand, 97-99
Shuffle,
129-134
146
hokum, 80
How How
to Mystify, 13-16 to
Palm a Coin, 183-
187
Hypnotized Match Box (Impromptu) ,26, (Mechanical) 27-31
89-92 force,
fan,
127-129,
flash,
131-132, single cut, 126127 Four- Ace Deal, 176-178 Four-Heap Deal, 50-53 French Drop, 190-191, in multiple coin vanish, 194 Front and Back Cut Shuffle, 113 Front and Back Shuffle, 104
identical choice trick, 60-63,
new, 63-65 illusion, optical,
45
Improved Matchless Match Pack 34-36 Instant Cut and Restored String, 19-22
Joker, turned-up, 149
Index
A 283
Say
Just
"Stop"
scenario,
knee, thimble trick, 211-212 knife,
79-81
Knockout, 159-160 knot,
18-19,
instant,
knots, vanishing, 42-44
Face
with
simple
finger-
It!,
vanish, 195-196 Multiple Cut, 100-101 Mystic Book Test, 257260, repeat, 260-265 mystify, how to, 13-16
slide-
along, 81-85
Let's
194,
palm
166-167
53-56
locating the card, 135
Name the Number, 268-271 New Do as I Do, 63-65 Nine Slips, 255-257 number, naming, 268-271, tapping, 232-234
location, 132-133, 144-145
Odds and Evens, 141 magic show, planning, 279- One out of Three, 76-78 280 optical illusion, 45 Magic with Cards, 101-134 Magic with Coins, 182-207
ordinary objects, tricks with,
75-97 magnet, 79-81 Overhand Cut Shuffle, 112 Magnetized Card, 162-163 Overhand Shuffle, 103, false, 110-112 March of Dimes, 204-205 marked paper cup, 76-78 match box, hypnotized (im- pack, 47, 112, 121, 139, 140, promptu), 26, mechanical 141, 142, 143 Packet Shuffle, 113-115 version, 27 match box, vanishing, 31-32 pack, match, 33-34, 34-36 match, broken then restored, pack, squaring, 47 36-39, repeat, 39-42 Paired Thoughts, 234-237 Matchless Match Pack, 33- Palming a Card, 125-126 34, improved version, 34- palming, card, 125-126, coin, 36 183-187, thimble thumb match pack, tumbling, 33-34, palm, 209-210 improved version, 34-36 palm, standard, 185-187, 199 Mental Mysteries, 231-278 palm, thumb, 184-185, 198method, 13 199,209-210 misdirection, concept of, 14 paper cups, 76-78, 79-81 194Multiple Coin Vanish, paper, sheet and slips, 255196, with French Drop, 257, 257-262
284
J/k
Index
pass,
push away, 147-148
150-151,
shuffle,
"patter," 16
Ring
pencil, 22-23, 24-26, 45
Planning a Magic Show, 279280 pointer cards, 142-143 Pointer Pack, 142-143 Predicted Thoughts, 253-255 presentation,
14
process of elimination,
43-44, jumping, 24, magnetized, 23, under a cup, 76-78 ing,
160—
43-44 Rising Pencil, 24-26 Off!,
rope, cut
and
knotted,
restored, 85-88,
42-43,
81-85,
ringed 43-44
rubber-cap eraser, 22-26 Rubbery Pencil, 45 Running Cut, 129-134
161
Production at Knee or Elbow (thimble), 211-212 productions, double coin, 207, simple coin, 198-206, thimble, 210-211,211-212,
220-227
Away, 111-112 Push- Away Pass, 150-151 Pull
Quick-Count Trick, 157-158
Rapid Knot, 18-19
Red Card, 57-60 Reds and Blacks, 140 Repeat Book Test, 260-262 "Repeat" Restoration, 39-42 repeats, 15
restored match, 36-39 Revealing a Chosen Card, 156-181 revelations, card, 156-181 Reverse Deal, 105-106 Riffle Glimpse, 136-137 riffle or dovetail shuffle, 102-
103 ring, climbing, 22-24, escap-
saucer,
cup and dish
tele-
pathy, 244-247 self-finding cards,
172-174
self-turning cards, 158-159
Sense of Taste, 262-264 setup, two-suit, 140-141 Seventeen Cards, 168-171
show, magic, 279-280 Shuffle Pass, 147-148 shuffles, 102-104, 129-134, false, 110-115 Silk Through Wand, 97-99 Simple Card Sleights, 115132
Productions, Coin Simple 198-206 Simple Thimble Vanish, 212213 Simple Vanish (coin), 187-
189 single cut, 100, false, 107-108
Single
Cut Force, 126-127
Sleeve Vanish, 196-197 sleights, card, 115-134 Slide,
119-120
Slide-Along Knot, 81-85
Index
A 285
118-119 Spell It Out, 161-162 Spin Vanish, 197-198
thoughts,
Slip,
paired,
thread, 22-26
spotting the card, 135
three-heap cut,
square knot, vanishing, 42-44 squaring the pack, 47 Stacked Pack Shuffle, 112 Standard Palm, 185-187 string, cut and restored, 19-
Three
doubled, 21, knotted, 42-43, ringed, 42-43 Suction Cup, 79-81 22,
surprise, 15
Swallow Vanish (thimble), 213-214 switch, finger, 214-216 symbols and cards, 271-274
Take- A way Vanish (thimble), 216-218 "talk," 16
Numbers, 232-234 264 telepathy, cup, dish and the
taste trick, 262,
saucer, 244-247, nine slips
of paper, 255-257, two rows of objects, 264—268,
word
Ten test,
248-250 241-244
108
167-168
Three Vanishing Knots, 4243
Throw Vanish, 189-190 thumb palm, coin, 184-185, 198-199, thimble, 209-210 Glimpse, 122 To Produce a Thimble, 2 10—
Top
211
Top
Bottom shuffle, 1 12 Tricks with Ordinary Objects, 75-99 to
109-110
Turned- Up Joker, 149 Turning the Pack, 121
Turn
Over, 165 Turnover, 120-121 Turnup Deal, 106-107 Twist- Away Vanish (thimit
218-220 Rows, 264-268 Two-Suit Setup, 140-141 "two-way" discovery, 160 ble),
Two
cards,
Pairs,
mystical,
peat,
false,
Heaps-Three Cards,
triple cut, false,
table knife, 79-81
Tap
234-237,
predicted, 253-255
257-260,
Undercut, 101-102 re-
260-265
"up the sleeve," 14, 196 Ups and Downs, 67-71
thimble, color change, 227— 230, production, 210-211, 211-212, 227-230, vanish,
212-220
Thimble
286
Tricks, 208-230
A Index
vanishing acts, coin, 187-198, knots, 42-44, match box, 31-33, thimble, 212-220
Vanishing Match Box, 31-33
wall, with card, 172
X-ray "vision," 245
wand, 97-99, 205-206 Within the Circle, 250-253 Word-Cards, 248-250
You Can't Get It, 162 You Do As I Do, 60-63
Wrist Glimpse, 137-139
Walter B.
ABOUT THE AUTHOR Gibson is a renowned magician and
the
author of many books on magic. A personal friend of the legendary Harry Houdini, he compiled The Original
Houdini Scrapbook>
and has published the
only authorized explanations for
many
of Houdini's
famous tricks and escapes. Under the pseudonym of Maxwell Grant, he created the celebrated radio character, The Shadow, for which he wrote all the radio scripts.
New
He now
lives
with
his wife in upstate
York.
Index
A 287
Cut a string in two and heal it into one piece right before your friends' eyes! Watch them gasp as you hypnotize a match or pluck a coin from thin air box predict their thoughts. You'll be amazed at what you can do once you find the key to magic's door. Where's that key? It's right
—
.
.
.
.
.
.
here in this book! "Junior Magic" shows you over 175 different tricks that require no special equipment. Most can be performed at the drop of a hat. The more spellbinding need only a few minutes' preparation with ordinary objects such as cups, cards and rings. Step-by-step instructions along with countless easy-tofollow 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. In addition, you'll learn how to "control" the minds of your spectators, and plan a magic show. Let Walter B. Gibson, an accomplished magician, take you to the dark realm of magic and show you how simple it •
really all
s
is!
STERLING PUBLISHING NEW YORK
<^ ^* CO., INC.
?Ze** C&.,
U4.
London
&
Sydney
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PUBLIC LIBRARY COUNTY, EORT WAYNE AND ALLEN r
»£X£& COUNTY. EXTENSION
INO.
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ALLEN COUNTY PUBLIC LIBRARY
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83^00602 6147
.
o
EASY-TO -LEARN TRICKS
OR MAGIC MADE SIMPLE
WaLTEK <». AMERICA'S DEAN OF MAGIC
^ .
STERLING PUBLISHING
(%&
CO., INC.
Tree 7Ze*$ C&-, L&C
new york London & Sydney
BY THE SAME AUTHOR Original Houdini Scrapbook
Junior Magic
©
1977 by Walter B. Gibson
adapted from "Magic Made Simple" Copyright 1963 by Doubleday & Company, Inc.
©
Published 1977 by Sterling Publishing Co., Inc.
419 Park Avenue South, New York, N.Y. 10016 Distributed in Australia and New Zealand by Oak Tree Press Co., Ltd., P.O. Box J34, Brickfield Hill, Sydney 2000, N.S.W. Distributed in the United Kingdom and elsewhere in the British Commonwealth by Ward Lock
Ltd.,
Manufactured
1
16 Baker Street,
in the
London
W
1
United States of America
All rights reserved
Library of Congress Catalog Card No.: 76-58624 Sterling
ISBN 0-8069-4546-X Trade 4547-8 Library
Oak Tree 7061-2549-5
CO.
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
Have you
cards?
ever seen a magician swallow
a billiard ball, only to
hind
his left knee?
make
This book
it
reappear be-
tells
you the
behind these and many other tricks. Moreover, you are given step-by-step instructions, combined with easy to follow illustrations, that will enable you to master even the most complicated tricks and magical effects. secrets
Many
of the tricks are
impromptu— they
can be performed on the spur of the with
materials
supplied
by the
moment
spectators.
Others take a few minutes' preparation, but
even the most advanced can be performed with ordinary objects— no special equipment
need be purchased. Here you will find clear explanations and directions for making your own "trick" card packs, bottomless cups, and special thimble holders.
The author
of this book, an accomplished
magician as well as an interesting and amusing writer, takes you on a tour of the entire realm
magic— from
of
ing.
You
sleight of
will learn
cards so that they
down— except
how
hand
to
mind
throw a pack of land on the floor face
all
to
the card a spectator has chosen,
which magically appears face up! You learn
how
him
to choose!
how to make a pencil rise and how to pull a wand which
will learn
from your fist is two feet long out of six
will
to force a spectator to choose just
the card you want
You
read-
a purse
which
is
only
inches deep.
You
will learn
how
to perform
and many, many more. For over 175 different tricks,
this
all
all
these—
book contains
designed to help
you become a successful and entertaining magician.
Magic can be an endless source of fun and amusement for everyone— for the performer as well as for his audience.
You
will
be
thrilled
by the expressions of amazement on your friends' faces when you perform these tricks, and you will derive great pleasure from displaying the wealth of magical knowledge you have learned from this book.
CONTENTS CHAPTER ONE
HOW TO MYSTIFY
.
.
.
.
13
.
.
.
.
17
CHAPTER TWO
CLOSE-UP TRICKS
18 Instant
Cut and Restored
String
The Climbing Ring The Rising Pencil The Hypnotized Match Box .
.
.
.
.
(Impromptu Version) The Hypnotized Match Box
.
19
22 24
26
.
(Mechanical Version) Vanishing Match Box
27 31
.
The Matchless Match Pack Improved Matchless Match Pack The Restored Match The "Repeat" Restoration .
.
.
.
Three Vanishing Knots Ring Off! The Rubbery Pencil
.
33 34 36 39 42 43 45
CHAPTER THREE
EASY CARD TRICKS The Double Deal
.
.
.
46 47
Count-Down Cards Four-Heap Deal Let's Face It! Face Up— Face Down The Red Card
Do New Do As I Do
You Do As
I
.
.
.
.
.
.
Coins and Cards
Ups and Downs Behind Your Back
49 50 53 56 57 60 63 65 67 72
CHAPTER FOUR
TRICKS WITH ORDINARY OBJECTS One The The
out of Three Suction
76 79
Cup
Knot Cut and Restored Rope Fooled— and Fooled Again! Farmer and Sheep Silk Through Wand Slide-Along
75
....
...
81
85 89 92 97
CHAPTER FIVE
MAGIC WITH CARDS Cuts
The Single Cut The Multiple Cut The Undercut
.
...
100 100 100 100 101
Shuffles
102
The Dovetail or Riffle Shuffle The Overhand Shuffle The Front and Back Shuffle .
.
}Q2
.
.
jq3
.
...
04 104 1 04 \
Dealing Cards The Group Deal
The Reverse Deal The Turnup Deal
105 106
False Cuts and Shuffles
False Single
107 107
Cut
Cut
108 109
False Dovetail Shuffle
110 110
False Three-Heap False Triple
Cut
False Overhand Shuffles
.
.
.
.
The Pull Away Top to Bottom Bottom to Top
Ill
Stacked Pack Shuffle
112
Overhand Cut Shuffle Front and Back Cut Shuffle
112
The
112 112
.
.
.
113
Alternating False Shuffle or Packet
Shuffle
113
Simple Card Sleights
115
The Glide The Slip The Slide The Turnover
115
Turning the Pack
121
The Glimpse
121
118 119 120
The Double
Lift.
Palming a Card
.
,
.
Single-Cut Force.
.
The Fan Force The Draw Shuffle The Bottom Glimpse The Flash Force
<
123
.
125
.
126 127
.
.
.
Draw-Shuffle Location.
Draw-Shuffle Control
CHAPTER
129
.
.
131
.
131
.
132
.
133
.
135
SIX
FINDING A CHOSEN CARD.
136
The Riffle Glimpse The Wrist Glimpse The Divided Pack
139
Reds and Blacks
140
Two-Suit Setup
140
137
Odds and Evens The Pointer Pack
141
Bottom-Card Location
144
Count-Down Location
145
Card Controls
147
The Shuffle Pass The Turned-Up Joker The Push-Away Pass The Delayed Cut
147
Automatic Reverse Double Reverse
142
149
150 151
152 1
54
CHAPTER SEVEN
REVEALING A CHOSEN CARD.
156
Any Number Down
156
Quick-Count Trick
157
The Card Turns Up The Knockout
158
Double Choice
160
Spell It
159
Out
161
You Can't Get It The Magnetized Card
162
A Hair Raiser
164 165 166 167 1 68
Turn
It
163
Over
Just Say "Stop"
Three Heaps—Three Cards The Seventeen Cards
.
.
.
.
Card from a Hat Card on the Wall
The Card That Finds
171
172 Itself.
...
172
Doubled Thoughts
1
Four-Ace Deal
176
The Assembled Aces
179
75
CHAPTER EIGHT
MAGIC WITH COINS How to Palm
a
Coin
The Finger Bend The Thumb Palm The Standard Palm Coin Vanishes
....
182
183 183
184 185 187
Simple Vanish The Throw Vanish
187
The French Drop The False Drop
190
189 191
Multiple Coin Vanish
The Sleeve Vanish The Spin Vanish
.
194 .
Simple Coin Productions
From From From
the
.
.
.
.... ....
Bend Thumb Palm Standard Palm
the Finger the
...
Other Effective
... Productions ...
jgg I97
98 \ 93 jgg 1
jgg
From Hand to Hand March of Dimes
gg 200 204
Coin from Wand Double Coin Production
205 207
j
CHAPTER NINE
THIMBLE TRICKS
208 209 210
The Thumb Palm To Produce a Thimble Production at Knee or Elbow
.
.
.
Simple Thimble Vanish Swallow Vanish
The Finger Switch The Take-Away Vanish Twist-Away Vanish Eight Thimble Production.
.
.
.
Color-Changing Thimble
.
.
.
.
211
212 213 214 216 218 220 227
CHAPTER TEN
MENTAL MYSTERIES Tap
the
....
Numbers
232 234 237 241 244 248 250 253 255 257 260 262 264 268 271 274
Paired Thoughts
Face-Card Fantasy
The Ten
231
Pairs
Cup, Dish and Saucer The Word-Cards Within the Circle Predicted Thoughts The Nine Slips Mystic Book Test
The Repeat Book Test
A Sense of Taste The Two Rows
Name the Number Cards and Symbols
Coins and Colors
CHAPTER ELEVEN
PLANNING A MAGIC SHOW Index
.
.
279
281
How
1.
The
way to This makes the best
joyable,
to Mystify by performing. process both simple and en-
learn magic
which may come
who suppose
is
as a surprise to those
that, since tricks often
must be
clever secrets, they
depend on
difficult to per-
form.
More around.
often than not,
A
spectator, not
is
it
the other
knowing the
looks for something difficult, whereas
way
secret,
many
accomplished that keen onlookers help baffle themselves by rejecting the tricks are so easily
obvious explanation.
To
the beginner, this means choosing the
which quiring little or no
right tricks,
in this case are those re-
but which have some neat or helpful feature that will pass unnoticed skill,
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
cussed separately,
first
be
dis-
from the standpoint of
"effect," or the impression that the
magician
creates,
then from that of "method" which
how he
goes about
is
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
many
unimportant. For example,
people have
heard that "the quickness of the hand de-
So the magician uses a quick move to make people look away while he is ceives the eye."
accomplishing his real mission in a more deliberate fashion.
Another example is "up his sleeve," which is supposed to be the magician's way of disposing 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, In short, misdirection rule that has
14
Jf$
How
is
misdirection.
is
magic. This
no exceptions. But there
to Mystify
is
a
are
which—with due exceptions— are
lesser rules,
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 the effect or
trick,
method—or both— is
from the first version. Such "repeats" are particularly
How
but either different
effective,
to Mystify
and
A
15
quite a few will be described in the pages that
Always take advantage of such a situation when you can. That, in itself, is a form of
follow.
misdirection.
do until you are 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 Practice every trick you
second nature. After that:
Rehearse the trick to gain the desired
"ef-
must impress upon your audience. They want to see magic, not tricks; so fect" that you
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,
Give
if
which
is
an
so.
to your "patter," or
special attention
"talk,"
you prefer to do
essential part of presenta-
tion.
From gram
individual tricks, you can form a pro-
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,
mended
recom-
that you follow along, step by step,
working out each
equipment—cards, 16
it is
A How
trick
with the necessary
coins, etc.
to Mystify
2.
Close-up Tricks
Close-up tricks form a good starting point in magic, because you can work
them
for a
persons at a time, thus limiting the
few
number
and giving you a chance to study their reactions. From this you will gain pointers that will be helpful with more elaborate or more difficult effects. of observers
Not
close-up tricks are easy, however.
all
This branch of magic sometimes
more
for
calls
than any other; but only for those
skill
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
do not
when you do
realize that
close-up tricks.
They
you are presenting a type
of wizardry especially suited to close-up condi-
do not enlighten them on that score. The more wrong theories that spectators form tions; so
regarding your work, the better your chances of baffling them.
Most objects
close-up tricks are
done with
common
and these must often be given Close-up Tricks
for ex-
Jf$
17
amination. So
when you do
use special ap-
pliances in close-up work, always be ready to
pocket such items or to switch them for innocent duplicates.
THE RAPID KNOT Though more
of a puzzle than a mystery,
makes a very intriguing trick, which can be done either in tantalizing slow-motion this
style,
or presented as a quick surprise.
the effect: The magician
lays a four-foot
length of string or rope across his hands, which
FIG.
18
A Close-up
Tricks
1
palms up, the rope ends dangling between thumbs and fingers. He brings his hands together and draws them apart, all in one continuous motion, without releasing the rope ends. A knot ap-
are held
pears instantly in the center of the cord.
the method: The cord is held exactly as described and shown in fig. i. Pressure of the thumbs keeps the dangling rope ends in position as the hands are turned inward, with the fingers pointing at a
The
downward
right fingers go in
where the
angle.
back of the
left
hand,
two fingers clip the rope end, scissors fashion. At the same time, the first two fingers of the left hand come in front of the right and grip its end the same way first
(fig. lb).
The hands the knot
is
are immediately
shown
drawn apart and
in the center of the rope
(fig. ic).
INSTANT CUT AND RESTORED STRING
A
quick, surprising trick, performed with
the simplest of objects, an ordinary piece of
one of the best among close-up effects, yet practically automatic in its working. the effect: The magician shows a twofoot length of string, which he doubles to form string, this
is
Instant Gut and Restored String
Jf$
19
a loop in the center.
He
takes a knife, cuts
the string in two, then gives the ends a sud-
den
pull. Instantly,
may be given
the string
is
restored
and
immediate examination. the method: Use a cheap but fairly thick for
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. 3a)
and form each into a
little
loop of
own.
its
Hook
these two loops together by pushing
one beneath the other (fig. 3b) and fix them in place with a dab of transparent glue or soft wax (fig. 3c). This now appears to be the
SEPARATE CENTER
FIG. 3
20
A Close-up
Tricks
normal center of the string (fig. 3d) formed into an ordinary loop. This is prepared beforehand, and when the string is shown, the actual join below the center "loop" is hidden between the left thumb and forefinger, as fig. 3c shows. The right
hand "cuts" the loop with a knife merely pulling
action apart
(fig.
3c).
string (fig. 3f)
A
the
blade, the
joined
portions
tug on the ends of the
and the two "pieces" are
"re-
stored" as a single length!
presentation:
From
can be handled quite
start,
freely, since
noticed, will appear to string,
the
below what looks
the string
the join,
if
be a crossing of the like a legitimate cen-
ter loop.
Take the two ends of the doubled string, separate them slightly and let the center dangle, saying, "Here we have a string with two even ends forming a loop at
just
about the
center."
Bring the ends together and take them with the right hand, drawing the doubled string
through the
left
hand, which forms a loose
palm upward. When you come to the join, grip it between left thumb and fingers and drop the ends, holding the loop upward. fist,
It is
then possible to separate the hanging
strings a little
more by spreading the
join be-
Instant Gut and Restored String
A 21
tween "All
thumb and
left it
needs
is
fingers.
Then
a sharp knife
continue:
and a quick
cut like this"— simulate cutting the "loop"
with an upward sweep of the knife blade—
make two strings out of one. 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!" "to
Run
the
left
hand
swiftly along the string
toward the other end, drawing the string taut with a sudden pull and show the string instantly restored.
THE CLIMBING RING the effect: The magician holds an nary pencil upright at the tips of
ordi-
thumb and
one hand. He drops a finger ring over the pencil. At command, the ring climbs the pencil and finally jumps from it. Pencil and ring may be examined. fingers of
the method: A thin black thread is used. One end is wound around a button of the coat, 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. 4).
Allow about a foot of thread between, so that
when
the pencil
is
held
fairly close to
the body, the thread will be so loose that
22
A Close-up
Tricks
FIG.
4
A ^
MOVE HAND FORWARD AND BACKWARD
the ring will drop to the bottom of the pencil.
By moving
the pencil slightly away from
the body, the ring will
comes
taut.
pencil,
a
As the
slight
causes the ring to
rise as
the thread be-
ring reaches the top of the
forward jerk of the hand fly off.
presentation: Fix the thread as described
and have the pencil handy
in the coat pocket,
the thread being unnoticed against the coat,
which should be a dark one. Bring out the pencil, hold
it
in the left
hand with the rubber cap upward. Show or borrow a ring, drop it over the pencil and
make magnetic passes with the The ring will climb or slide down
right hand. as
you move
hand imperceptibly forward or back. Meanwhile, you can comment: "Amazing, isn't it, the way the ring is magnetized. Up
the
left
Climbing Ring
Jf$
23
now a snap of the up fingers— and jump!" Here you snap your right fingers and the ring jumps from the pencil. Then, add: "That breaks the contact, so we don't need .
.
.
down
.
.
.
.
.
.
the rubber eraser to insulate the pencil."
Draw
the rubber cap off the pencil with the right
thumb and
fingers,
thus releasing the thread.
"Here, you can examine the pencil and eraser as well as the ring."
With
that, the items are given for
examina-
tion while the thread drops unnoticed against
the coat front.
As an
alternate or follow-up trick you
may
perform:
THE RISING PENCIL A
pushed down into the fist. It rises point first and repeats this every time it is pushed down. The pencil also rises from a bottle if placed therein. At the
the effect:
finish,
the pencil
the method:
pencil
is
is
given for examination:
Identical with that of the
Climbing Ring, except that no ring is used and the trick is done in reverse. The upper end of the pencil, with thread attached, is pushed down into the fist. A forward motion of the
hand shortens the thread and the
rises (fig. 5).
24
Jf%
Close-up Tricks
pencil
presentation: At used as a sequel to the
Climbing Ring, keep the thread attached. Or, the Rising Pencil may be done as a trick of its own, being set up exactly like the Climbing Ring with the pencil in the pocket. In either case:
HAND BACK AND FORTH
FIG. 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. At the finish, you state, "And now the pencil rises completely from the hand, and here it is—pencil and eraser both." Give
them
for examination, adding,
fully in the eraser.
tains
an
invisible
You
"And look
care-
will find that it con-
magnet that made the pen-
cil rise!"
worked with a bottle, the pencil is pushed down in, eraser end first, exactly as with the fist. Forward and backward motion of the bottle will cause the pencil to rise and fall in spooky fashion. Always keep the motion note:
If
Rising Pencil
A 25
as slight as possible, drawing the
rather than pushing the
adds to the
body away
hand forward. This
effect.
THE HYPNOTIZED MATCH BOX (Impromptu Version)
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, uncanny the effect:
When
pushed down by the right hand, the drawer rises again and the match box is handed for immediate inspection. the method: The position of the left fin-
fashion.
gers
is
important.
The thumb
of the box, while the
upward
first
presses the side
three fingers slant
across the front, the third finger cov-
ering the edge of the lower end.
This forms a screen hiding the
which
is
pushed up into the box,
secretly
causing the drawer to
forward
tilt
little finger,
of the
rise
(fig. 6).
A
slight
hand helps render the
ac-
tion imperceptible.
presentation:
The
trick
should be prac-
can be performed naturally and in a slow, smooth manner. One or two repeats
ticed so that
should be
it
sufficient.
This impromptu version
makes an excellent follow-up to the mechanical method to be described. 26
A
Close-up Tricks
6
FIG.
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, which
is
held palm up, fingers
pointing toward the spectators. Slowly, magithe drawer of the box
cally,
cover. It
and
is
rises
rises
pushed down by the
from the
left
thumb
At the taken from the box
again, as often as desired.
conclusion, the drawer
is
cover and both are freely shown.
the method:
A
to supply the "lift"
ger in the
hidden lever is required furnished by the little fin-
impromptu
version, as here all fin-
"gimmick" and narrow
gers are fully in view. This
is
made
strip of
with a paper clip
easily
Scotch tape.
Hypnotized Match Box ^i 27
INNER FLAP (LOOKING DOWN)
Start the tape about
A
l
inch from one end
and run it along the clip, over the other end, and back beneath, pressing the two gummed surfaces together, above and below, firmly imbedding the paper clip between them. Allow another Vi inch or more of tape, which is cut along the sides and narrowed like a tongue (fig. 7a). of the paper clip
between the two portions of the double side of the match-box cover. With most wooden match boxes, the This tab
inner part
is
is
inserted
loose, so the job
Insert the tab so that the
tape
is
is
gummed
1X1
side of the
outward, toward the overlapping part
of the match-box cover (fig. 7b).
28
quite simple.
Close-up Tricks
Add
a few drops of glue to
fix
the sides of
the box firmly with the tape tab between.
drawer
is
per clip
The
then placed in the box and the pa-
is
pressed against the end, the tape
and the short end of the clip projecting at the side of the match box. This should be at the bottom left, when the match box is set upright on the extended fingers of acting as a hinge
the
left
hand.
In this position, the box
is
supported by
and little finger, which are slightly raised to clamp the box between them. The forefinger is just above the clip end and, by exerting a downward pressure, the finger actuates the lever and forces the drawer upward (fig. 7c). This is completely hidden and the
forefinger
the action
is
so slight that
it is
imperceptible.
After the drawer has risen about halfway, it
down with the extended left may then be repeated as often
can be pushed
thumb. The
rise
as desired, the right
hand making hypnotic
passes above the box.
presentation: At the
start
of the trick,
show the match box in the left hand, the lever end nestled in the bend of the fingers and covered by the thumb, so that no one can glimpse the "gimmick." right it
on the
left
into position,
Then
set
the box up-
hand, using the right to
and proceed
tilt
as described.
Hypnotized Match Box
Jf$
29
At any time during the trick, the box can be shown apparently unprepared in a simple, convincing manner. Lever the drawer to
its
remove it from the cover (fig. yd). As one hand shows the drawer, the forefinger of the other maintains pressure on the clip end, while the thumb moves over and full
extent and
presses the right side of the cover.
The finger
cover is
may then be
turned so the fore-
at the top (fig. ye)
and the thumb
bottom, giving the spectators a look clear through it. By holding it slightly below at the
eye level or tilting the outer end a
trifle
down-
ward, the "gimmick" will be completely hid-
den against what
is
now the upper inside
of the
cover.
At the finish the drawer may be replaced and the box pocketed. An ordinary box should be planted in the pocket beforehand, so that it can be brought out later, instead of the
One neat plan is to "vanish" the special match box— as described in the Vanishing Match Box— and leave it in the pocket, special box.
bringing out the ordinary box instead.
In either case, once the unprepared match
box has been brought into follow-up this
is
play, the perfect
to cause the drawer to rise again,
time using the impromptu method. This
can be done while extending the 30
£f$
Close-up Tricks
left
hand
toward the spectator, the box finally being placed in his hands for examination.
VANISHING MATCH BOX the effect:
A
box of matches is held upright, projecting from the loose left fist. The right hand tamps the box down into the fist; the left hand is opened and the match box is gone. The right hand finds it in the coat pocket.
the method: At the faces directly
IS
the magician
toward the audience. In tamping
the box, the right
BOX
start,
hand
is
held palm
down
PALMED
C
FIG. 8
Vanishing Match Box
Jf$
31
and the fingers project over the top end of the box (fig. 8a). Once hidden, the box is levered toward the audience, enabling the right hand to clamp it in the finger bend (fig. 8b). The performer then turns toward the left, and the right hand either points or gestures toward the left hand, which is shown empty (figs. 8c and d). The right hand, which secretly retains the "vanished' match box, can then go to the coat pocket and "find" it there, or produce it in 7
some other way. presentation: For a quick or surprise vanish, the downward tap and swing to the left can be done in a single move. For a more deliberate vanish,
two other procedures may be
used, as follows: (1)
The
right
match box down
it
left,
actually pushes
into the left
fist
by a
the
series
hand then goes below brings up the match box and replaces
of light taps.
the
The
hand right
in its original position.
This
is
repeated one
two times, and finally the match box is palmed away. (2) The match box is originally held with the drawer open and extending upward (fig. 8a ) With one tap, the drawer is driven downor
.
With another tap, the box is driven down into the left fist, but
ward.
32
Jf$
Close-up Tricks
apparently is
actually
palmed
in the right
hand
(fig. 8c)
and van-
ished (fig. 8d).
Here, one
downward move,
resulting in the
closing of the drawer, leads into the next,
creating the illusion that the
match box,
too,
was driven down into the hand.
THE MATCHLESS MATCH PACK the effect:
A
neat,
that can be followed
effective
table trick
up with another
that pro-
duces an added climax. In the simple form,
you remove the matches from an ordinary match pack; then you bend the empty pack in concave fashion and set it upright on the table, holding
it
in that position with your fingers.
When it rolls
you release the curved match pack, over, making a complete somersault on
the table. Clever? Yes. Easy?
It
should be.
But it isn't, when other people try it. You them the match pack, show them how to ance flat
it,
but when they
on the
table
let go, it
simply
give balflips
and won't do the magic som-
ersault.
when you try it, because you know the magic word— and someBut
it
always somersaults
thing more!
the method: Along with the magic word (which means nothing) you simply take care Matchless Match Pack
A 33
match pack in an inverted position before releasing it. That is, the heavy striking to set the
surface
needed over when you let it
at the top, supplying the
is
weight to carry topple along
its
it
clear
curved
side, as fig.
9 shows.
i£-1 .THIS
.__^ffl?\
END
ON TABLE
FIG.
When
9
you give the pack to someone
him
else,
you set it upright, with the heavy end down, which is the more natutelling
to try
ral position.
it,
Not noting
the difference, your
you use a match pack that does not have printing on it, your turning it upside down will be less noticeaudience will try and
fail. If
able.
IMPROVED MATCHLESS MATCH PACK the effect: While the "somersaulting" match pack is quite effective when presented in
its
simpler form, as
trick takes
34
Jf*
on
just
described,
the
a highly baffling quality in this
Close-up Tricks
advanced version. In this case, you stand the match pack upright, striking end down, and it does its tumbling act. When other persons try it, the trick won't work.
the method: Affix two paper clips in the upper end of the match pack, fastening them firmly with a piece of
gummed
tape, taking
them completely hidden inside the pack. Thus weighted, the pack will somersault, even when set upright and released care to have
C872!C5oj. SCHOUL3
(see fig. 10).
That, however,
is
only part of the
trick.
In
you need three or four ordinary match packs as well. Begin by setting the faked pack upright and letting it somersault, a few times. Take an ordinary pack, invert it, and it somersaults, too. You hand it to a
this
case,
friend, saying, "See
You demonstrate
how it
easy
it
is!
Try
it!"
again with the weighted
pack and he naturally sets the ordinary pack upright, copying your example. Your match
PAPER CUPS
FIG.
10
Improved Matchless Match Pack
A 35
pack performs the magic flip-flop, but his won't. So you hand out more to other people, all
with the same
result.
Your pack alone
will
somersault.
Here, you really "have" them, because they
keep setting their match packs upright, like yours. At intervals, you take one of the other packs, saying, "No, no, don't push it; just let it flip over— like this!" Simply invert the ordinary pack and let it somersault so promptly that the victim hasn't time to spot the fact that
it
started upside
down.
Again demonstrate the "flip" with your own pack right side up. Later, while again showing a spectator how easily his pack can flip, you drop your prepared pack in your pocket. It's good to have a duplicate (unprepared) pack waiting there, so that you can bring it out later, give it a flip from the upside-down position and leave it with the rest.
THE RESTORED MATCH This
is
an ideal close-up
it
requires
done
literally
trick as
the simplest of objects, and
is
"under the noses" of your audience; yet it is one of the easiest of all tricks to perform. the effect: A large wooden kitchen match is
36
placed in the center of a handkerchief, jjd
Close-up Tricks
FALLS
OUT
RESTOREOI
FIG. OUPUGATE MATCH
which is
is
wrapped around
it.
IN
HEM
The handkerchief
held close to a spectator and the match
broken through the cloth,
The magician
as fig.
na
is
shows.
whispers a magic word, un-
wraps the handkerchief, and the match
on the
11
table completely restored (fig.
The handkerchief
falls
nb).
shown and shaken to prove that only one match was used. the method: Actually, there is a duplicate match, but the manner of its concealment is very neat. Use a handkerchief with a fairly wide hem. Beforehand, open a few is
freely
stitches near the corner of the handkerchief,
and push another match into the hem, as shown in fig. nc. This is the match that you intend to break. In performing the trick, lay the original
Restored Match
A 37
match
in the center of the handkerchief, fold
and
in the corners
bundle. In doing
roll
the cloth into a loose
so, grip
the duplicate match
through the cloth, so you can show
and break
its
shape
it.
After suitable
mumbo
jumbo, simply unroll
the handkerchief and let the original match
drop out "restored" and as good presentation: By
first
as ever.
folding in the corner
that contains the hidden match, you can im-
mediately fold another over
it,
and then
pro-
ceed more slowly with the remaining corners,
make
you grip the duplicate —not the original—when you come to break
so as to
sure that
the match.
Emphasize the breaking process so there will be no question later. With some persons, it is safe to let them feel the match through the cloth, and in some cases even break it themselves. Be deliberate when you spread the handkerchief and show the "restored" match, letting everyone see that
Hold
it is
empty.
and put it in your pocket; then hand the match for examit
by two
corners, shake
it,
ination.
added effect: With a really flabbergasted group of spectators you can baffle them further by putting the match back in the handker38
A
Close-up Tricks
up and breaking it again, restoring it in the same magical fashion. Again, the method is simple: Have a second extra match in another corner of the hem. Break one duplicate the first time, the other when you do your repeat. In either case, it is a good plan to have
chief, folding it
another handkerchief in your pocket, that you bring out and use in a different trick, before or after the Restored
Match
mystery.
THE "REPEAT" RESTORATION Here
is
another version of the Restored
Match that the method
anyone familiar with just described. It is also a good alternative to the usual effect, as it can be performed with a borrowed handkerchief. the effect: A wooden match is wrapped in a handkerchief and broken through the cloth. The handkerchief is spread; the match falls
fool
will
out restored and the handkerchief
is
given for examination.
the method:
Special
preparation
is
re-
quired. First, prepare a small tube of thin
enough to contain a match. The tube is sewn or glued, but one end is left open and a match is inserted therein. cloth, large
The elastic.
next item
One end
is
is
a six-inch length of cord
tied
around the match bag,
"Repeat" Restoration
Jjk
39
ELASTIC
t
TINY BAG WITH MATCH
5
GRIP BAG AND HIDE IN PALM
FIG.
12
the other end to a small safety pin (fig. 12a).
pinned to the inside of the left coat sleeve above the elbow, so that the dangling end is a few inches up the sleeve. This
is
draw the match tube down to the left hand and grip it crosswise in the palm (fig. 12b). For a firmer grip, the tube can be held by bending the fingers inward. The back of the hand is kept Before presenting the
trick,
toward the audience.
The 40
right
hand
A Close-up
takes the handkerchief
Tricks
and
drapes
over the
it
left,
which
then turned
is
palm upward. Make sure that the handkerchief covers the space between the left hand and the sleeve, so that the cord elastic is hidden.
The
right
hand
lays a
match
in the center
of the handkerchief, then folds the outer edge or corner inward over the visible 12c).
The
match
(fig.
side edges or corners are folded
and the right thumb the bag containing the
loosely over the center,
and
then grip
fingers
duplicate match, by pressing
down through
the folded cloth.
The
left
ward and
hand it
also
other end; that elastic
is
promptly turned back upgrips the match bag at the
is
is,
at the left, so that the cord
hidden beneath the down-turned
left
wrist.
Between them, the thumbs and fingers snap the duplicate match (fig. i2d). The right hand moves forward, carrying the handkerchief, letting it unfold at one corner. At the same time, the fingers release the bag, which flies up the left sleeve under cover of the handkerchief and the left wrist (fig. i2e). The original match falls on the table in its "restored" condition, while the hands spread the handkerchief and show it empty. The handkerchief,
if
borrowed,
is
then returned to
"Repeat" Restoration
Jf$
41
owner. Otherwise,
its
it
may be handed
for
examination along with the match.
THREE VANISHING KNOTS the effect: is
A
rope— or piece of string-
tied with three genuine knots.
A
simple tug
on the ends of the rope and the knots
are
gone!
the method:
by tying a
knot with the right end of the rope toward you (fig. 13a). Keeping that end still in front, tie another single knot on top. This forms what is commonly termed a square knot Start
single
Keep the two loops loose as shown. Now run the right end through the lower loop from front to back; bring it up in front and push it through the upper loop from front (fig. 1 3b)
to
back
.
(fig. 13c).
This third "knot" actually
fig.
42
A Close-up
Tricks
13
unties the other two. Pull the ends
and the
knots will disappear.
presentation: Practice the trick until you can do it smoothly and easily, but not too rapidly, as
talk
it is
deceptive in slow motion.
can run along the following
"Here me. ...
is
Your
line:
a neat knot an old sailor taught
He
one knot, then another, to make a sailor's knot. Then he tied a third knot to hold the two together. When he wanted to heave away, it was easy. ... He just pulled the ends and the knots were not knots any longer!" tied
.
.
.
.
.
.
RING OFF! Either as an alternate or as a follow-up to the Three Vanishing Knots, this
is
excellent,
combines the disappearance of the knots with the penetration of a solid ring through as
it
the rope.
A
which may be made of metal, or cut from heavy cardboard, is threaded on the center of a thin rope. Three knots are tied to hold the ring in place, but
the effect:
when
large ring,
the ends of the rope are pulled, the
and the knots are gone! the method: String the ring on the rope; then tie two knots above it, forming a square ring falls free
Ring Off!
A 43
FIG.
14
knot, with the right end toward you, exactly
with the Three Vanishing Knots.
as
Now bring the right end of the rope through the ring from right to
left.
Carry
it
to the
and push the end under itself, then through the bottom loop of the square knot, from front to back. Follow the right of the ring
diagrams in
From
fig. 14.
end out under and over
there, bring the
and thrust
it
to the right itself,
then
through the top loop of the square knot from front to back. Pull the ends
and the
trick
is
done.
presentation: Follow the same line as with
Three Vanishing Knots, but that the rope
is
stress
being tied to the
the loops loose, so the ring will easily. If
Keep drop more ring.
the rope snarls, a few shakes will free
the ring, making
44
the fact
A Close-up
it all
the more mysterious.
Tricks
THE RUBBERY PENCIL Here
both easy and deceptive, yet becomes more intriguing each time you try it. All you need is an ordinary pencil, the longer the better, which you handle in is
a trick that
is
this fashion:
Take the
by the ends and work your hands back and forth as though trying to make the pencil pliable. Then hold it by the point between the extended thumb and forefinger of one hand and start shaking it up and down with a quick, short, wiggly motion.
The
pencil
center of the pencil will immediately
begin to bend up and
down
in flexible fash-
had turned to rubber. The closer people watch, the more rubbery the pencil seems to be, and the more amazing the trick. Yet at the finish it proves to be a solid, ordinary wooden pencil. It is all an optical illusion, and a good one. Hold the pencil as described, wiggle it up ion as though
it
and down, but keep it fairly level, so that the free end covers about the same range as the end you are gripping.
The
seems to wobble, rather than the ends, which the eye tries to keep in a somewhat constant position.
The
result
is
that
the
center
observer literally baffles himself.
Rubbery Pencil
Jfk
45
3.
Easy Card Tricks
Card
tricks
come
in the close-up category, par-
can be performed when
ticularly those that
you are seated at a are called
upon
table, or
when
spectators
to shuffle or deal the cards
themselves. Such tricks, too, can be very simple to perform,
when
they are dependent upon
subtle principles rather than a display of
The
tricks
skill.
comprising this section have been
chosen for that very reason. All you need
pack of cards and you can
them immediately,
start
either
is
a
doing most of
as
part
of your
close-up repertoire or as an act of their own.
No essary.
intricate shuffles,
But here
is
no deft
an important
magic
applies to other types of
deals are nectip,
one that
as well.
The
more smoothly, the more neatly you handle the cards, the more effective your tricks will be.
When
a performer handles a pack of cards
clumsily, people take
must be
it
for granted that his
he couldn't do them. Conversely, brisk shuffles and rapid deals give the idea that skill is needed in even
tricks
the simplest of
easy; otherwise
tricks.
So you should these Easy Card 46
Jf$
cultivate
Tricks,
Easy Card Tricks
that
style
with
and when you go
on to the more advanced forms of card magic, you will find that many of the earlier effects will still be good numbers on your program. In the instructions for doing in
tricks
this
many
of the
chapter, you will be told to
square the pack. Squaring the pack simply
means
to even
pack
squared
is
up or make
it
when
it
The
neat.
adjusted so that the
it is
on top of each
cards
fall directly
down
in the dealer's hand.
other, face
THE DOUBLE DEAL This trick
is
based upon a neat but simple
mathematical stunt and becomes a zler
when presented
real puz-
which
as a card trick in
a spectator practically mystifies himself.
the effect: A person cards and is told to deal to
twenty,
turned.
is
given a pack of
any number up while the performer's back is
When
that
is
off
done, the person
is
told
heap with the same number to make sure he will not forget it.
to deal another
of cards,
The performer then
tells
him
to
deal a
third heap of ten cards, gather all the heaps
together and deal alternating left picks
up
original
them
and
right.
either pile
number
into
two separate
The
piles,
spectator then
and from
it
deals the
of cards onto the other heap.
Finally, the spectator counts the
remaining
Double Deal
jf$
47
cards he has in
hand and concentrates upon
The magician immediately tells him how many cards he holds. The entire trick is done with the magician's that number.
back to the audience.
the method: The trick hinges on the third heap of cards the person is told to deal, in this case ten. At the finish, the spectator will have just half that number, so by announcing, "Five/' the performer
sure to be
is
correct.
For example, the spectator deals off eight cards. Told to deal the same number again, he deals off eight more, making sixteen. Now the performer says, "deal ten more," and those are added, bringing the total to twenty-six.
The
cards are then dealt into
two heaps
which will contain just thirteen each. From one of these, the spectator deals his original number, eight, into the other. That leaves him exactly five cards, the number which the magician proceeds to name. presentation: Since the result
"set" be-
is
forehand, the performer should stress the fact that the spectator has free choice of any ber.
as
He
casually tells
him
num-
to "deal ten more,"
though those extra cards did not particularly
matter. In repeating the trick, that
should be changed.
If
the spectator
is
number told to
"deal six more," the final total will be three.
48
A
Easy Card Tricks
twelve more/' the total will
If told to "deal
be
six,
and so on.
COUNT-DOWN CARDS the effect: The magician hands the pack to a spectator and tells him to deal off between 10 and 20 cards while the magician's back is turned. That done, he is to add the figures in his number and deal that many cards from his packet back onto the pack, noting the final card dealt. For example, if his number is 15 he adds the digits together and deals six cards back ( 1 5 consists of 1 and 5, or 6). If the number is 19, he deals 10 cards
(19=1+9
or 10).
done with the pack face down until the turnup of the final card, which may then be buried in the pack and shuffled there. Still, the magician names the card! the method: Beforehand, the magician All
this
notes the tenth card either "plant"
it
while illustrating
be
dealt.
down
in the pack.
He
can
there, or get a glimpse of
how he wants
it
the cards to
This should be in single fashion, each
card going on the one before, reversing their order.
Suppose the spectator deals off 15 cards. Adding 1 and 5 gives him 6, which he deals from his packet onto the pack in the same
Count-Down Cards
A 49
That brings him back to the the one the magician knows or
reverse fashion.
tenth card,
has predicted.
The same applies to any number between 10 and 20. With 11, he would count back 2 (the eleventh and the tenth), while with 19, he would count back 10. So he is sure to hit
the
known
card.
you note the nineteenth card, the spectator can be told to deal a number between 20 and 30, then add its figures and deal that many from his packet, looking at variation:
If
the final card.
FOUR-HEAP DEAL the effect: A borrowed pack is thoroughly shuffled and spread face down along the table, so a spectator can remove any four cards, which are also laid face down, in a row. The magician gathers the pack and hands it to the spectator. He turns his back and tells the person to turn up the first of the four cards and note its value: 1 for Ace, 2 for Deuce, and so on, all face cards. (Jacks, Queens and Kings) simply counting 10 each.
On
that
first
card, the spectator
is
to deal
enough additional cards to total 12. Thus, on a 7, he would deal 5 cards; on a 10 or a King, 50
Jft
Easy Card Tricks
These cards are to be dealt face down,
2 cards.
slightly overlapping.
The
spectator
is
then to turn up the next
card in the row and repeat the process, continuing on with the third and fourth card.
Here
is
a sample result:
OF CLUBS
OF DIAMONDS
KING OF
2
5
SPADES
(10
(^
cards
JACK OF CLUBS (^
cards
(7 cards
cards
face
face
face
face
down)
down)
down)
down)
Finally, the person
into the pack
number.
He
is
The performer "Queen
is
told to count
down
and turn up the card at that to look at it and remember it. calls
of Hearts,"
the
and
name it
of a card, say
proves to be the
chosen card!
the method: A pack of exactly 52 cards must be used, so make sure to remove the Joker beforehand. All you have to do is glimpse the bottom card after the shuffle— in this case the Queen of Hearts— and the rest is automatic.
For example, if four Aces were turned up, the spectator would have to deal 11 cards on each, making 48 in all and leaving only 4 cards in the pack. He would then gather the
Four-Heap Deal
jf$
51
44 face-down cards, drop the 4 cards from the pack on top, and count down the total of the Aces, which would be exactly 4. With four 10s, or face cards, he would deal 2 on each, making 12 in all. That would leave 40 cards in the pack. He would gather the 8 face-down cards, drop on the bulk of the pack, and count down the value of the 10s (or face cards ) which would come to 40.
That done, 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 is then to add the totals of the face-up cards and lay them aside, face down, for later verification. In this case, the cards would add up: 2 for the 2 of Clubs, 10 for the King of Spades, 5 for the 5 of Diamonds, 10 for the Jack of Clubs, for a total of 27. In most instances, as in the example
first
somewhere in between, the same in every case.
given, the total falls
but the result is presentation: beforehand to do.
down
you
will
what you want the spectator card face up, then add enough
to bring the total to 12, saying that
have him do that with several heaps.
Show him how
to gather the face-down cards
and drop the pack on them. 52
Jf$
best to illustrate
just
Deal a
face
It is usually
Easy Card Tricks
Then have the pack shuffled, spot the bottom card, and go right into the routine. If you are using this method to "force" a card, or as a "mental test,"
much
it is
best to turn
away
as
as possible.
However, if you turn the trick into a "prediction" by writing the name of the bottom card on a folded slip of paper before the spectator even draws the four cards
from the pack,
you can watch the process, even helping the gathering of the face-down
As long dealing or
in
piles.
most of the convinced that you could not
as the spectator does is
have manipulated the cards in any way, the trick
is
100 per cent
LET'S
effective.
FACE
IT!
the effect: The magician spreads a batch of cards, showing that some are red cards, others black, and that some are face up and others face down, all in haphazard fashion. To mix them further, he squares the packet, cuts it, and turns over the two top cards together. Another cut, another turnover of the two top cards. He allows other persons to continue this process, cutting the pack and turning over the two top cards, time after time. This is done behind the magician's back, so he has no way of knowing whether two cards Let's Face It
A 53
are turned face
up
or face down. In
some
one card is already face up and the other face down, complicating matters still more. cases,
Finally, the magician takes the packet be-
hind his back, stating that he will pick out each card by its color: red or black. A few moments later, he brings out the packet and spreads it, showing all the red cards face up
and the rest face down. He turns over the fan and sure enough, all the black cards are faced the other way!
the method: The matic, which makes system First,
itself is
trick it
all
is
practically auto-
the better, as the
well concealed from the start.
your packet must contain an even num-
ber of cards, half red, half black. These colors
must
alternate through the entire packet of
about twenty cards. To conceal the arrangement, cut the packet
and turn over the two top cards. Do this a few times and you are ready. Show the packet "well mixed/' and let people cut the packet and turn over the two top cards together. Repeat this as often as you want. Behind your back, deal the top card face down from your left hand to your right. Deal the next card face up. Continue thus through
the entire packet. Bring out the cards, fan
them and you
will find
the other color
all
54
A
one color face down.
Easy Card Tricks
all
face up,
.
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 together, as any slip-up here will spoil the trick. Turn the top cards over together. If one has its face up and the other has its face down, turn both over so that the card which was face up is face down, and the card which was face
down
One
is
plan
face up. is
to hold the pack behind your
back and let someone cut it; then turn over the two top cards yourself. But once you have found a trustworthy helper, you can let him
go ahead with it on his own. If anyone asks why only two cards can be turned, simply say that you are keeping "mental count," even though you don't see the cards. This makes it all the more mysterious After placing the packet behind your back, you can give it a false shuffle (explained in Chapter Five), letting the spectators watch what appears to be an additional mixing. But always face your audience before you start to deal the cards from hand to hand. In the deal, the simplest way is to push off the cards with the left thumb, turning the left hand over and back as you do so. Practice this so you can do it rather rapidly and with very little
excess motion.
Let's Face It
Jf$
55
As
you can demon-
a follow-up or repeat,
strate the next trick:
FACE UP-FACE the effect:
A
DOWN
packet of red and black
shown, with colors well mixed and
cards
is
some
of the cards facing up, others facing
down. The packet
is
cut and the two top
cards are turned over. This
may be done
re-
peatedly, as in the preceding trick.
Behind
his back, the
packet into two heaps.
magician divides the
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, all the face-up cards in one packet are red, while all the faceups in the other group are black!
the method: Follow the exact procedure used in Let's Face It! but with one additional
"face
action.
After dealing
up— face down"
the
packet in
fashion behind your
back, count off half the cards with the right
hand and
retain the rest in the left.
20 cards, this would
Then
mean
With
10 in each hand.
turn over the entire group in the
left
hand before bringing the two batches into sight. Each heap will have the same number of face-up cards: reds in one, blacks in the other.
56
Jf%
Easy Card Tricks
presentation: This follows the pattern of Let's Face It! up to the final point. There, the best plan
to lay the heaps side
is
by
side
on
the table and spread one heap, saying, "6
Then 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, face-up cards in this
heap— all
and which color they
are.
black!"
Afterward, you can
turn the heaps over and show that each has the same
number
of face-down cards, reds in
one heap, blacks in the other. note: This trick offers a good "out" if you have trouble setting up the reds and blacks in alternate fashion, or
if
someone should
give the
packet a shuffle instead of a cut. In that case, go through with
it
as usual,
but
announce: "7 face-up cards in this heap" (or whatever the count may be) and "7 face-up cards here— exactly the same number!" at the finish
In short, avoid
all
reference to reds or blacks
you see whether they show up should. That way, you can't lose!
until
as they
THE RED CARD the effect: Four cards are laid in a row, the center cards face down, the end cards face
Red Card
A 57
up.
A
and
is
spectator told to
is
given a folded slip of paper
name any number from
so the performer can count back
1
to
1 5,
and forth
along the row to reach the card thus designated.
This states:
is
done and the
"Your choice
is
slip
is
opened.
the red card."
The
It re-
maining cards are turned over and the chosen card proves to be the only red card in the row.
the method:
Use three cards from a blue-backed pack and one card from a redbacked pack, for example the 10 of Clubs, the Jack of Spades, the 8 of Hearts and the 5 of Spades. These are lined up as follows: JACK OF
OF
10 OF
SPADES
CLUBS
OF HEARTS
Face
Face
Face
Face
up
down
down
up
Red
Blue
Blue
Blue
back
back
back
back
5
8
SPADES
an odd number is called, count from left to right and back again; as "1-2-3-4"— and re " turning— "5-6-7," ending on the 5 of Spades. If an even number is called, count from right to left and back, in the same fashion. Whatever the number, you are sure to end If
on the face-up 5 of Spades 58 Jf% Easy Card Tricks
or the face-down
8 of Hearts. If you hit the 5 of Spades, turn both end cards face down, showing that you
stopped on the only card with a red back, thus fulfilling
the prediction. If you hit the 8 of
Hearts, turn the two middle cards face up,
showing that you stopped on the only red card in the row. This also verifies the folded slip.
presentation: Using a blue-backed pack, place the 10 of Clubs on top and the 8 of
Hearts just below
On
it.
the bottom, put the
Jack of Spades and then, beneath
add the 5 of Spades from a red-backed pack. Having thus "set" the cards, you are ready to begin. Deal the top two cards face down, left and
right.
Turn the pack
face
it,
up and
deal the 5
of Spades to the left of the center cards, and
Then
the Jack of Spades to the right of them. a spectator:
tell
"I 1
want you
to think of
to 15, but don't
we
will
tell
any number from
me what
count along the row from
and back—like this. Here use the right .
.
it
is!
Later,
left to right
."
forefinger to count the
from finger to little finger and back toward finger, showing what you intend to do. tips of
You .
.
.
your extended
left fingers
continue: "Until
But
first,
take this
we
fore-
fore-
reach your card.
slip, as it
predicts the
very card which will be at your number!"
Red Card
A 59
Hand the person the name his number. If it counting from your
and have him odd, you do the
slip is
left to
your
right. If even,
have him do the counting from his left to his right. Since he is on the other side of the table, the count will go the opposite way.
YOU DO This
is
a classic
AS
I
DO
among impromptu
card ef-
one that will really bewilder your audience. Yet it is easy to do, once you have learned to handle a pack of cards in a fairly fects,
convincing
style.
the effect: You take two packs of cards —those from a bridge set may be used— and choose either pack.
let a spectator
You
pro-
ceed to shuffle one pack; he shuffles the other.
To show
that
all is fair,
you then exchange
packs, so each shuffles the other's.
Finally,
you hand your pack to the spectator and say: "From now on, you do as I do— and let's see what happens!" You cut your pack in three heaps on the table, so
pack.
your friend does the same with his
You then
lift
the top card of the middle
heap and peek at its corner. He does the same, as you remind him: "I am remembering my card, so
I
want you
Now, you 60
Jf%
to
remember
yours."
gather the heaps and give your
Easy Card Tricks
pack two or three complete
cuts, the other
person does the same with his pack. Remarking that the noted cards are
now "well buried," You then say:
you exchange packs again. "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. Then we'll put them face down on the table." That is done and the packs are laid aside. Dramatically, you turn up the two cards. are identical.
By an amazing
They
coincidence, you
have each taken the same card from a
differ-
ent pack!
the method: After a few shuffles and exchanges, note the bottom card of the pack that you hand to the other person, for example, the 9 of Clubs. You take his pack and say: "Now, do as I do." Lift off about two-thirds of the pack, set
it
to the right, then
the top third and put
The
spectator does the
it
lift off
further to the right.
same with the pack you
gave him.
Peek
at the top card of the
middle heap, but
remember it. Still keep thinking of that bottom card of the other pack. Pick up the bottom heap of your pack, now the furthermost-left heap, put it on the middle heap and place both heaps on the top heap. Your friend does the same with his pack. don't bother to
You Do As
I
Do
Jf$
61
In the process, 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, yet the
two cards will remain together. So after you exchange packs again, you simply look through your friend's pack for the 9 of Clubs and remove the card just below it, say the Jack of
Diamonds. That will be the card he looked at. Meanwhile, he is looking through your pack, finding the Jack of Diamonds and taking it out as you instructed. So the two cards turn out to be identical.
presentation: This
trick
must be done
in
a confident manner, with the performer shap-
ing the pattern as he proceeds. If you miss a
chance to note a bottom card, or
it
gets lost in
a chance shuffle, simply exchange the packs
again and proceed from there.
Sometimes you may "spot" the bottom card of the pack that the other person shuffling,
and
in that case
is
you don't have to
note yours. Instead of exchanging packs, you
would say: "Just put your pack on the table and cut it as I do mine." Don't worry about which pack is which after the trick has passed the preliminary stage. Just refer to a pack as "your pack" or
62
$jk
Easy Card Tricks
"my
pack/' according to convenience or the
way
circumstances develop. After you receive the other person's pack,
you can give pack
is
it
a "false shuffle" in which the
merely
not
cut,
shuffles are described in
(False
shuffled.
Chapter Five.) You
would then remark: "Fll shuffle your pack while you shuffle mine." Your friend gives your pack a real
You have now
shuffle,
but
doesn't matter.
it
reached the point where you
are each going to look for your
own
card in the
other's pack.
the other person starts to shuffle his pack
If
after looking at his card, don't give trick.
shuffle
Just
say:
now
'That's good,
up the
me
let
your pack while you shuffle mine." At
him your
the same time, hand
pack, pressing
the exchange. It generally takes a
good
shuffle to separate
the chosen card and the "key" card above so the chances are the trick
may work
despite
If it "misses," try it again, preferably
it.
the
New Do
As
I
Do, which
NEW DO Here, the effect
is
AS
I
it,
with
follows:
DO
almost identical.
Two
packs are shuffled and exchanged by the per-
former and a spectator. Each notes a card,
New Do As
I
Do
jfa
63
and
when drawn from
these,
the other per-
be the same. the method: During a shuffle, note the top card of your pack before handing it to the spectator. Then tell him: "Now do as I do."
son's pack, prove to
In this case, carry
it
lift off
two-thirds of the pack
and
Then
the
well to the right.
top third and bring
lift
off
back a short way, setting it between the other two, so that it becomes the middle heap. You do this with the spectator's pack; he it
does the same with your pack.
Now, you
say:
"Look at the top card of the middle heap and remember it." Your friend looks at the card you noted, say the 4 of Clubs, while you are peeking at a card in his pack. Again, the packs are exchanged.
He
looks
you look for your deck. You both come up with the
for his card in your deck,
card in his
4 of Clubs. presentation: This version has the advantage that the card tor, so
is
"forced" on the specta-
the trick cannot possibly miss. Further-
more, you can include a shuffle in the routine
middle heap has been noted by your friend. You simply say: "Now do as I do and shuffle the pack thoroughly." after the top card of the
Then you
The 64
follow with the final exchange.
best plan
A Easy
is
to
work the
Card Tricks
original
You
Do
As
Do
I
and save the newer version
for
a repeat. In the original trick, the spectator actually takes a
random card from deep
The newer
the deck.
trick,
while
in
artful, de-
pends upon an odd handling of the heaps, which works best when dealing with a smart spectator who is looking for something else.
COINS AND CARDS the effect: The magician runs through the faces of a pack of cards, showing that they are well mixed.
He
says that
he
will predict
the card that a spectator will select at ran-
dom.
He
folds
it
writes something
and
places face
Now,
lays
it
down on
on
a slip of paper,
beside the pack, which he
the table.
the magician
a spectator to take
tells
any coin from his own pocket and add the figures on the date. "Whatever the total," the magician says, "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 date,
person looks at a coin and names the
which we
added, the figures
The
suppose
will 1,
9, 6,
1
is
1961.
When
give a total of
down
17 cards and happens to turn up the 7 of Clubs. So the magician tells him: "Go right ahead and count 17.
down
spectator counts
seven more/'
Coins and Cards
A 65
The
up the seventh card. It is the 10 of Diamonds. The magician tells him to open the slip of paper. To his astonishspectator turns
ment, the spectator finds the written message, "10 of Diamonds/' which hits the prediction
on the nose! the method:
Beforehand,
you must
ar-
range 13 cards in descending order: King, Queen, Jack, 10, and so on down to Ace. These cards can be of any suits, hence the "setup" is
quickly and easily arranged. Put this set on
top of the pack, then count any 10 cards from the bottom and put
Run
them on top
of that.
through the face-up pack, showing
it
and watch for the card just below your setup— in this case the 10 of Diamonds. That card, which is at the twenty-fourth position, is the one you must predict. The trick is sure to work every time, prowell mixed,
vided the spectator's coin later.
The
1901
or
eleventh
bringing
1910, card.
There he
for 13, so a
him
sum
the will
come from
count to the find
a King,
count of 13 more
to the twenty-fourth card.
Other dates work the
dated 1901 or
lowest possible total will
which stands will bring
is
just as well.
The
higher
of figures contained in the coin's
from continued. Thus, 1-9-6-0
date, the lower the value of the card
which the count 66
A Easy
is
Card Tricks
would end on the sixteenth card, an would cany the count on to 24.
A
1—9—5—9 wou
date of
^
8,
t°tal
which
24 and
bring the count squarely on the twenty-fourth card, so there
no need
is
to go
on
further.
Just tell the person to read the prediction;
there
it is!
presentation: pack,
and
thumb
running
In
through
the
the cards rather rapidly as you
reach the setup group, and no one will notice their numerical arrangement. After the specta-
tor has dealt the twenty-fourth card, take the rest of the
he
is
pack from him and
shuffle
it
while
reading the prediction and turning up
the card. That will really mix the setup group.
UPS
AND DOWNS
the effect: Two cards are dealt face down on the table. The Joker is placed face up beside them. The pack is then shuffled and twenty cards are counted
off.
Someone pushes the Joker the packet of twenty
(fig.
down into 15a). The maface
gician spreads the packet facing the spectators
and
lets
one person note the card above the
Joker, while another person notes the card just
below the Joker
Now, lets
(fig. 15b).
the magician squares the packet and
anyone cut
it.
He
then holds the packet
Ups and Downs
A 67
upright, face toward the audience.
He
slides
the top card up, the second card down, the third card up, the fourth card
down, and con-
tinues thus through the entire packet
(fig.
15c).
He
spreads the cards in a double fan and
asks the is
first
person to note whether his card
in the top half or the
bottom
half,
but not
mention which. The magician then "weeds" the bottom half by drawing it downward (fig. i5d), and places it on the top half, squaring the two into a single packet (fig. to
15c).
Now, he
repeats the
"up-down" process and
spreads the double fan so the second spectator can see
whether
his card
is
in the top or
bottom half. Again, the magician draws the bottom portion clear and places it on the top, squaring the entire packet.
He
then fans the packet and
remove the Joker
(fig. i5f).
lets
someone
The pack
is
cut
at that point (fig. i5g), the magician counts off
the top ten cards (fig. 15I1), placing
face
down
in front of the
first
them
spectator.
He
places the remaining ten in front of the sec-
ond
spectator.
Originally,
down. to be the face
68
fSf%
the magician dealt two cards
He 5
turns
up the
first
and
it
proves
of Clubs, so he has the
Easy Card Tricks
first
6
PACK CUT AT POINT WHERE JOKER REMOVED
ONE CHOSEN CARD
OTHER CHOSEN CARD
FIG. COUNT OFF TOP TEN CARDS
IS
IS
6
DOWN
5
DOWN
15
Ups and Downs
Jj%
69
spectator count
The
other card
second person
down
five cards in his
the 6 of Diamonds, so the
is
down
told to count
is
heap.
six cards
in his heap.
They turn up
their cards
and each proves
to
be the very card that the spectator noted. The magician has scored a double "hit" in predicting 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, as they represent the numbers at which the chosen cards will appear without
done exactly
The
fail
if
the trick
is
as described.
may be inserted anywhere in the packet of 20 cards. The card just above it will eventually come 5 down; the card just below it will be 6 down in its group. There are two "up and down" deals or Joker
"weaves" of the cards, and in each case the portions are pulled apart intact and one
placed on the other.
The
Joker
and the pack must be cut
is
is
then removed
at that point
and
the cut completed.
In counting
off
the top ten cards, keep
exactly as they are.
That heap
chosen card at position
five;
will
them
have the
the other chosen
card will be at position six in the lower heap.
presentation: 70
A Easy
Two points must be stressed.
Card Tricks
you do not see the cards noted by
First, that
the two spectators, as the faces are facing for-
ward all the time. Second, in making the up and down weaves, insist that each person in turn must note which portion of the packet contains his card.
You do
this
because
result and, therefore,
it
has no bearing on the
is
a good "throw off."
But the up-and-down interlacing is itself essential, so you need an excuse for it, particularly as it must be done twice. You can vary the numbers at which the cards appear in their respective packets simply
by
from the upper section to
sliding a card
the lower section at the time the Joker
is re-
moved, and making the cut at that point. That will put the first chosen card at position six in the top ten, the second chosen card at position seven in the
bottom
ten.
Or
if
you
from the lower section to the upper section when the Joker is removed, you slide a card
will
put the
first
card at
10 and the second card
bottom This people
number 4 in the top at number 5 in the
10. is
useful
who have
when working seen
it
the trick for
before. In either case,
cards of the proper value should be placed
on
top of the pack beforehand.
Ups and Downs
A 71
BEHIND YOUR BACK the effect: A pack of cards is shuffled and handed to the magician behind his back.
He
brings out the pack, with
tom
its
front or bot-
card toward the audience, and asks some-
one to
call
name
the
of the card that appears
there.
Again behind fles
his back, the
magician shuf-
the pack to another card, brings out the
pack, and has the audience
Ace ways
of
the front
few more times the magician
card. After a
begins to call
name
them
himself, as "9 of
Clubs-
Hearts— 10 of Spades"— and he
is
al-
right!
the method: Behind his back, the magician counts off 6 cards and lays them face up on the pack. In showing the front card and letting someone name it, the magician notes the back card, which is turned his way, for example, the 9 of Clubs. Putting the pack behind his back again, he
moves that card to the front. When he shows the pack, he calls, "9 of Clubs," and notes the next face-up card, the Ace of Hearts. He continues thus, concluding the trick when he runs out of face-up cards.
presentation: Ask someone to shuffle the pack. Turn your back, saying, "Let me have
them now, 72 Jh Easy
so
I
can mix them
Card Tricks
still
more."
Behind your back, continue shuffling with the cards face down, letting everyone see what you do.
Turn toward the audience, bring out the pack face front and say to someone: "Name the card you see there." Put the pack behind
your back, saying, "Let's shuffle to another
Repeat the process of having someone name the front card when you show it. About the third or fourth time you do this, count off the six cards and lay them face up on the pack. Have someone name another card and this time note the back card as you show the front one. Next time, move that card (say the 9 of Clubs) to the front and state: "Don't name the next card you see. Just keep thinking of it while I concentrate on it. Maybe card."
I
can guess
it."
This time, you
name the
card (9 of Clubs)
and meanwhile note the next (Ace of Hearts) and continue in that fashion. In naming each card, you can pretend to grope for the thought, saying, for example:
"This
is
spot card, too,
—no, only they're
say
A
a black card; I'm sure of that.
9.
it's
But
thick with them:
8—9—10
hard to
whether
it's
tell
Clubs or Spades. Just a tossup, but
Clubs— the 9
I'll
of Clubs."
Behind Your Back
Jf$
73
To
continue past the sixth card, do as
fol-
lows:
In naming the
fifth card,
spot the sixth (say
the King of Hearts) and, as you put the pack
behind your back, turn
it
face
down on
the
pack. Immediately bring out the pack, saying:
"That's enough. Let's try something else."
Then, call
inquiringly,
more
You
me
you add: "You want
to
cards? All right."
are holding the pack face
everyone can
see,
that you could
making
know any
it
down,
as
seem impossible
of the cards, except
the bottom one, which you just named. But it
happens that you know the top So behind your back, you move
card, too. it
to the
more cards on top of the pack, thus picking up where you left off. At the point where you decide to continue, bottom and turn up
six
you can give the pack an overhand
shuffle of
the type that brings the top card to the bot-
tom. That will put
it
where you want
it,
so
behind your back you simply turn up the 6 top cards and you will be ready.
74
Jf$
Easy Card Tricks
4.
Tricks with
Ordinary Objects There are two advantages to doing ordinary objects.
First,
with
tricks
your appliances are
usually easy to obtain; second, they lack the
suspicious look of special or fancy apparatus.
This puts your audience
off
guard at the
because you can introduce "faked"
start,
articles or
hidden "gimmicks" without their realizing
it.
In short, some of the simple objects used in the following tricks are not as "simple" as
they seem; but the tricks themselves are simple, in fact all
the more
so,
thanks to special
some hidden device. In other instances, some secret manipulation or unsuspected "move" will enable you to create the magical effect. Even though these are comparatively simple, the method should be carefully practiced, and the effect itself rehearsed so that there will be no hesitation at preparation or
the vital point.
Some
of the tricks in this section are adapt-
able to close-up work; they
may be
regarded
as extensions of close-up tricks, so they
used
when performing
can be
that type of magic.
But
they are mostly suited to somewhat longer
Tricks with Ordinary Objects
Jjk
75
range and before an audience larger than one
two persons. These are good
or
tricks to
work
at a party or
You
need a table for some of them, so this should be "set" in advance, along with the needed articles.
before a small social group.
will
ONE OUT OF THREE This creates an excellent effect because
it
can be repeated, always with the same suc-
What
seems to be a "one out of three" chance actually becomes one out of many
cess.
more.
the effect: Three paper cups on the
table.
such as a
are inverted
The magician borrows an and asks someone
object,
to place
it
beneath one of the cups while his back
is
ring,
turned.
Then, the person is told to change the position of the other two cups, moving each to the spot where the other was. In this way, all chance of noting any exact position of the cups will be completely eliminated.
The magician
passes his
forth over the cups, finally
ing one of them.
hand back and stopping and lift-
Under that cup
is
the ring!
the method: One of the cups has a slight identifying mark, made by the performer and known to him alone. For example, the bot76
A Tricks
with Ordinary Objects
thumb. notes the exact position of this cup in
torn lip can be bent slightly with the
He
also
the row; for example, that
it is
at the left end.
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
is still
in its original position
(in this case at the left),
ring
is
under
What It's still
if
he knows that the
it.
the marked cup has been moved?
easy to find the ring.
You
eliminate
both the marked cup and the one that replaced it. The ring is under the remaining cup. If the marked cup was on the
and
is
now
left at
the start
in the center, the ring
must be
under the cup on the
The
test
may be
exactly as they are.
right.
repeated with the cups
Use the marked
cup's
present position as the start for the repeat.
Again, someone puts the ring beneath any cup
and transposes the other two while your back is turned. You find the ring just as you did before. Thus, if the marked cup begins in the center and winds up on the right, the ring is under the cup on the left. presentation:
Much
depends on neatly
stressing the exact procedure of the test.
can do
this
by casually showing what
One Out of Three
You is
to
A 77
be done and giving a
may
logical reason for
it.
You
say:
"Here are three paper cups and a ring. I want you to lift one of the cups, place the ring beneath it and then think of that cup.
.
.
."
Here you under it.
"To
lift
the cup and place the ring
aid your concentration,
I
want you to
switch the other two cups, like
You go through
this.
.
.
."
the action of transposing the
two cups. "That will doubt and my mind,
clear your
when
too,
thought impression, as
mind I
sense the
will focus
it
of any
your
at-
tention on the cup that hides the ring."
At
this point,
you
the ring and leave
the cup, bring out
raise
it
beside the cups.
Then
turn your back, as you add:
"Remember, you can place it under any cup, but keep thinking of that cup alone while you reverse the positions of the other two. Ready? Don't look at the cup that hides .
.
.
the ring. Just think of
it.
." .
.
Here, you turn about, run your hand back
you comment: "I gain the impression that the ring is under here—" Slowly dip the hand at the correct cup
and forth above the cups
and
78
lift it,
as
revealing the ring.
A Tricks
with Ordinary Objects
THE SUCTION CUP the effect: The magician takes two very ordinary items, a paper drinking cup and a table knife, and proceeds to demonstrate the impossible. He sets the cup on the flat blade of the knife and presses his free right hand on the rim of the cup; then he turns both over, takes his hand away, and the cup adheres to the knife blade! This, the magician claims,
created in the cup.
He
is
due to suction
hand hand a
brings his right
up beneath the cup, gives the left slight twist, and the cup drops from the
knife,
both items being given out for immediate
ex-
amination.
the method: does the
A
small but strong magnet
trick. Secretly
drop the magnet in the
cup beforehand. Set the cup on the knife blade, which, being steel, grips the
through the paper bottom the
palm of the
free
(fig.
magnet
16a). Place
hand on top
of the cup
and pretend to create suction as you invert knife and cup. The cup sticks to the blade in a mysterious fashion (fig. 16b) and heightens the effect as you bring your hand up beneath the cup and make the reverse twist. As you hold the rim of the inverted cup, simply releasing the magnet,
lift
the knife,
which drops unseen into Suction
Gup
Jf§
79
START THUS
*J& KNIFE BLADE
^
_i
MAGNET
IN
CUP
d
FIG.
l6 =? MAGNET SECRETLY DROPS INTO PALM
the right palm (fig. 16c). picks
The
hand then up the cup along with the knife and left
both for inspection. presentation: Test the type of cup before-
gives
hand, to make sure
it
does not have too deep
bottom flange or rim, as close contact is required between the magnet and the blade through the cup (fig. i6d). Make a great pretense of creating suction when you place your hand flat on top of the cup. Talk about compressed air and its peculiar properties and add any other scientific "hokum" that you may a
think up.
80
A Tricks
with Ordinary Objects
.
But
mention magnetism, or your audience may catch on just as fast as the blade and the hidden magnet! note: Before you perform this trick, test the magnet with the knife to be sure that the magnet will adhere strongly. don't, of all things,
THE SLIDE-ALONG KNOT A good
own
an excellent opening for a rope routine or a good preliminary to Cut and Restored Rope (
P
.
trick in its
right, this
is
also
3 8).
the effect: The magician stretches a sixfoot length of rope and shows a knot tied in the center. He takes the knot in one hand and slides it
along the rope to the end.
other sweep, he slides
it
With
an-
to the other end,
then back to the center where the knot
in-
stantly vanishes.
the method: Beforehand, three slipknots are tied in the rope. Such a knot is easily made by forming a loop in the rope (fig. 17a), then bending the upper portion beneath the loop,
and pushing
and tightening
Two
it
up through
it
(fig.
17b)
there (fig. 17c)
such knots are tied near the ends of
the rope; the third
is
tied at approximately the
The rope is held in the middle knot hanging down for the audi-
center (fig. iyd).
hands,
Slide-Along
Knot
A 81
ence to
see,
end knots hidden
in the
hands
(fig. 17c).
The magician
up the rope with one left hand and the other
picks
end knot (A) in his end knot (B) in his right. He shows the center knot (C) and grips it with his left hand, carrying the end knot (A) along. With his left thumb, he pushes out the center knot (C) and draws his hand toward the end of the rope, revealing the knot there (A). This is illustrated in the two sketches in fig. 17L Holding that end with his left hand, the magician takes its knot (A) with his right hand and pushes out the knot; then he slides his right hand along the rope to the other end, showing the knot there (B). Letting the rope dangle from his right hand, his left hand grasps the knot (B) and secretly pushes it out, then pretends to draw it to the center of the rope, letting the ends dangle.
The
right
hand grabs both ends
together,
shakes the rope, showing that the knot
and the that
it
left
hand
takes one
is
gone,
end of the rope
can be stretched to prove
so
it.
presentation: By bunching the rope on the
end knots (A and B) can be concealed beneath it. The two ends can be picked up together by the right hand, both knots (A and B) being concealed in the right fist, table, the
82
A Tricks
with Ordinary Objects
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, a solid, well-tied knot"—he tugs at it lightly with his left hand— "as you can see/' He raises his left hand to his right, and grips the left end of the rope with its knot (A) and spreads the hands, the right retaining its hidden knot (B). "Now all we need is the magic touch/' He brings his left hand to the center of the rope, grips the knot there (C) and secretly pushes
its
loop
free.
"Then
slowly, steadily,
Slide-Along
Knot
A 83
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
on the end of the
rope, as solid
it
here
and firm
as
ever!"
hand
knot (A) for the first time, as if it were the center knot (C), and the right hand, still hiding its knot Here, the
(B),
left
displays
the rope dangle.
lets
The
its
left
hand then
end of the rope, displaying
raises its
its
knot
(A), and the magician continues:
"So we take the knot again"— here the right hand moves over and grips the left knot (A), pushing its loop free— "and give it a long, quick slide." The right hand, all the time concealing its knot (B), runs along the rope and reveals the knot (B) as it reaches the end.
"And that brings it clear to the other end." The right hand lets the rope dangle and the
left
comes over and
grips the
knot (B)
while the magician states: "So once again grip the knot
while
we draw As he
we
and whisper the magic word it
to the exact center of the
he pushes out the knot and pretends to draw it to the center of the rope. "There— that's about it." "And now, taking both ends"—he grips them with the right hand— "so the knot can't rope."
get away,
84
we
speaks,
give the center a single slap, like
A Tricks
with Ordinary Objects
this"—the magician releases the center of the rope with his left hand, 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.
The hands
and the rope is shown between them, with no trace of a knot
are spread apart
CUT AND RESTORED ROPE This
is
a simplified version of perhaps the
most popular
trick in
soft rope
thin,
is
magic today.
A
fairly
best for this real baffler,
which has the added feature that it can be repeated immediately with the same surprising result.
the effect: The magician shows a six-foot length of rope.
his left
He
five-
or
holds the ends in
hand, brings up the center loop be-
tween the ends and uses a pair of cut the rope in half.
He
scissors to
then presses the cut
ends together, spreads his hands wide apart
and the rope be given
is
restored.
Not only
can
for examination.
the method: Hold the rope hand, gripping right
that, it
it
near one end.
hand down along the
full length.
in the left
Draw
the
rope, stretching
it
Do this a few times, then: Gut and Restored Rope
A 85
Bring the right hand up to the
left.
the rope between right
thumb and
Then double
a small loop
(fig. 18a).
with the right hand, gripping
it
the
The
left fingers
(fig.
18b).
in
Grip
fingers
upward the bend of
thumb
left
aids in retaining the loop there.
Immediately, the right hand
is
drawn
along the rope to the other end. This
clear is
an
exact copy of the original stretching process,
no one suspects that the left hand conceals a loop near the upper end of the rope. Bring the right end up and place it in the left hand so that both ends protrude. Both ends are gripped by the left thumb and fingers with the hidden loop between (fig. 18c). Now, the right hand dips down into the censo
ter loop, fingers
going through to the front,
thumb
(fig.
brings plants
stead
The
hand the big loop up into the left hand and it there, taking the little end loop in(fig. i8e). This is done in one conin
back
tinuous move.
The
up above the
left
i8d).
little
loop
is
right
then brought
hand, between the ends
(fig. i8f).
This appears to be the center loop.
It is
cut
and the magician announces that he now has two ropes with four ends (fig. i8h). Actually, he has a short bit of rope with two ends (A and B) and a with the
86
scissors (fig. i8g),
A Tricks
with Ordinary Objects
FIG.
l8
rope almost as long as the original with two
ends (C and D).
The
right
hand
lays the scissors aside
Gut and Restored Rope
and
Jf%
87
takes a long
D) and thumb in catching
end
them together
presses
halfway
it
(fiq.
The down
The rope
now shown
left
hand
along
it,
it
to be "fully" re-
the short extra piece as though
The
i8i),
(fig. i8j).
but actually the right hand
rope end.
left
and
stretching
almost at the end
it
is
down and
A
(as
back, fingers in front.
holding
stored,
a short
the rope and runs
releases
level,
end and
were the
it
hand's position
holding
is
is
identical
and the fact that it is holding a real end— which was openly shown— draws any suspicion from the right.
To
dispose of the tiny extra end:
hand approaches the
The
right
and folds the extra bit of rope there. In the same action, the rope is gathered up and wadded in the left hand, which lays it aside, the odd end going with it. Or:
The
right
left
hand
leaves the long ends in
up the center and then the rope away and leaving
the left hand, gathers
the ends, carrying
the extra bit in the
left
hand.
hand
To
dispose of
up the scissors and pockets them or lays them somewhere out of sight, dropping the odd end with
the extra piece, the
left
picks
them.
88
A Tricks
with Ordinary Objects
FOOLED-AND FOOLED AGAIN! the effect: Three cards are shown, each of a different color: red, green, and blue. They are dropped in a hat or simply covered with a handkerchief. In the latter case, the magician still
them
retains
Two and
in
one hand.
cards, the red
laid aside.
and
blue, are brought out
When people are asked to name
the remaining color, they say "Green," but
when the magician shows white one, with the word
on
the card,
FOOLED
is
a
printed
it.
By
then, smart spectators are figuring that
the card
is
green on the other side, so they
demand, "Turn
it
around!"
does, showing the card
words
still
FOOLED AGAIN
red,
The magician white, with the
in big bold letters!
the method: Three cards is
it
are used:
another blue, while the third
is
One
white,
FOOLED printed on one side and FOOLED AGAIN on the other. Also, there
with
is
a special fake, consisting of a green card cut
to about half the width of the others.
This "half card"
is
pasted to one side of
the red card, being set at a slight angle toward
one edge. that
its
It
should be shortened a
corners
trifle,
so
do not project past any edge of
the red card.
By
arranging the colored cards in a fan,
Fooled
—and
Fooled Again!
A 89
they appear to be three cards— red, green, and blue,
thanks
FOOLED
the
to
special
The
fake.
behind the others, thus hidden from view. fig. 19 shows how the "fake" card is made and how the card
is
set lengthwise
cards are held.
In bringing the cards from the hat or cloth, the blue
may be shown on both
the back of the red card
green
fake
FOOLED
hidden.
is
card
all set
is
sides,
but only
shown, so the
That
the
leaves
for the double-barreled
finish.
presentation:
With
the hat, small cards
should be used, about the size of playing
Simply show the "three" color cards and drop them in the hat. Bring out the blue first,
cards.
carelessly turning
the other hand. ing only
its
Put both
it
over as you transfer
Then
back, and place the blue with
it.
you can pick up
the hat with one hand and reach into
when you
to
bring out the red, show-
in your pocket, so
the other
it
it
with
ask the color of the re-
maining card. If you intend to use the handkerchief instead of the hat, you can make up the cards in a larger size. This is good for platform presentation since they can be seen at a distance. After covering the "three" color cards with the cloth, turn
ward the 90
them around and extend them
spectators.
A Tricks
with Ordinary Objects
to-
RED
GREEN
BLUE FINAL CARD
BLUE
RED
RED 1/ GREEN If BLUE
MOW CARDS ARE HELD
BACK VIEW
FIG. 19
This automatically brings the back of the blue card to the front, so it can be drawn
down from the cloth, shown, and laid on the table. Good comedy can be intro-
straight flat
duced by pretending to show the cloth empty after removing the red and blue cards.
You
say that the green card has vanished
and you
let
the cloth drape downward, but
the audience can see the outline of a card
behind
it.
With
your other hand, you bring
the lower half of the cloth up in front and shift the card
behind
it;
then you
let
the rear
Fooled—and Fooled Again!
Jf$
91
portion of the cloth drop. is
done the
to
know
better, as
The
clumsier this
you want the audience
that you are trying to hide the "van-
ished" card.
When
you
show the
away the cloth and front and then back, the FOOLED and FOOLED
finally take
card, first
double impact of
its
AGAIN message will be all the stronger. 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
a
is
good idea
to have
an
ordinary red card that can be switched for the fake card, either in the pocket or behind object
on the
shown
as ordinary, later.
table. All the cards
some
can then be
FARMER AND SHEEP Here
is
an intriguing
with a magical climax.
trick involving a story
The
only requirements
are a pack of ordinary playing cards hats.
A
and two
pair of paper bags, or boxes, or similar
may be used instead of the effect: The wizard places
receptacles
the hats. the hats
on the table, openings upward. Between them, he deals five spot cards, which he turns face down, saying they represent five sheep, out grazing in a pasture between two barns, represented by the hats. 92
A Tricks
with Ordinary Objects
He
two Jacks from the pack, saying that they are a pair of tramps who want a deals
He
place to sleep, so each goes into a barn.
and
places a Jack in each hat
one
lays the
pack to
side.
The tramps they
call
right,
them
decide to steal the sheep, so into the barns: First
then one on the
right— until performer
all
left,
then
one on the right, left,
The
the sheep are in the barns.
illustrates
this
by dropping the
"sheep" cards into the hats in alternating fashion.
from
Just then, the farmer's daughter looks
the house and sees that the sheep are gone. Here, the magician turns up the top card of the pack and shows
it
to be a Queen, rep-
resenting the farmer's daughter. So she goes
to
tell
her father.
down on
The Queen
is
replaced face
the pack.
Immediately, the tramps become worried
and they
let
the sheep out again— one from
one barn, one from the other, and so on.
To
indicate this, the wizard brings a face-down
card from the hat on the
the right, then
left,
left, right, left,
then one from
making
five in
all.
By
then,
daughter.
the
farmer
The magician
cards of the pack: one
is
arrives
with
his
up the two top the Queen, the other
turns
a King, representing the farmer.
The sheep
Farmer and Sheep
Jf%
93
are back, but the farmer
is
suspicious.
He
to get the sheriff, while his daughter stays
goes
and
keeps watch.
slyly
Here, the magician turns the King face
down on
Queen
the pack and places the
up under the pack, but extending ward, as though keeping watch. Right away,
face
partly out-
the tramps steal the sheep
before— right, left, right, left, The magician puts the sheep cards into
again, just as right.
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 daughter (Queen)
states tells
that
the
the farmer
farmer's
(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. right, five
From
the hat on the
the wizard brings out the King and the
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 enables you to proceed as follows: First, in
placing a Jack in each hat, turn
the Jacks so their faces are toward you and
tilt
When
you come to the sheep cards— the spot cards—put them in the hats,
them
forward.
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 face down.
on the
Then
right
and
overlapping the
it
take the Jack from the hat lay
first
it
face
down,
slightly
Jack.
Next, take a spot card from the hat on the
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
left
cards.
People think that you have replaced the inal
sheep cards, or
five
orig-
spot cards, on the
Farmer and Sheep
Jf$
95
and that
table
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
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
barns,
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 spectators, no one will know that two of the supposed "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
and the presentation becomes almost 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. as described
Rehearse the routine along with the story
no fumbling or hesitation. Then no one is apt to notice that you pick up the "sheep" beginning with the right, and lay line so that there
is
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
holds
spectator
a
wand
while the magician wraps a
silk
handkerchief
twice around the center and
ties
the ends in a
He
sudden tug and pulls it through the wand. Both ends of the wand may be held during this surprising demfirm knot.
gives the cloth a
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
particularly good.
ruler
The
is
better
and a cane
is
larger the handkerchief,
the better.
the method: Use a rather large handkerchief and twist it rope fashion. Hang the silk over the
Now der the
wand
so that the ends dangle.
wand and
over
it,
completely girded by the gling
them up unthat the wand is
grasp the ends and bring
from the same
side
so
silk,
each end dan-
where
it
hung
be-
fore (fig. 20a).
Have the
spectator place his finger
crossing above the wand, so that
Silk
on the
you can pull
Through Wand
A 97
He
the ends tighter.
holds the
hand while he does Take the ends of the
other
wand with
his
this.
and bring them back over the finger, down under the wand, and up over the top, where you tie them in a tight
knot
(fig.
Have the
silk
20b).
spectator
folds of the silk
and
draw
his finger
from the
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 By
(fig. 20c).
reversing the direction of the ends
the finger
is
when
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 convincing, 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
WIND ENDS BACK AROUNDTIE KNOT-DRAW OUT FINGER
SPECTATOR'S FINGER
HELD LIKE THIS
HANDKERCHIEF PULLED
THROUGH WAND
\J FIG.
Once
20
make
"show" of having persons hold the ends of the wand and play up the "pull through" at the climax. This is one trick in which a strong presentation is the knot
is
tied,
a
essential.
Silk
Through Wand
A 99
5.
Magic with Cards
Card
whole field of magic in themselves, ranging from simple puzzles to tricks represent a
difficult sleights. It
is
important to learn the
proper handling of a pack at the very outset,
may
since an easy trick, well presented,
pear to be a display of great
skill.
On
hand, any bungling with the cards
ap-
the other
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. Sometimes the lifted group is replaced, which puts the pack back in its original condition. But if the lower group is placed on the upper group, the cut is said to be "completed." Actually,
the completion of a single cut
does not mix the cards, though a
new
it
does bring
card to the top of the pack. But
if
cer-
tain cards are clustered together— for example, all
four
Aces— they
will still retain that for-
mation despite any number of single long as the deck is not cut where the
cuts, as
clusters
occur.
the multiple cut: Here the pack 100 Jk
Magic with Cards
is
di-
vided into three or more heaps which are then
assembled in a completely different order. Or, a batch of cards
may be
pulled from the cen-
pack and placed on the top or bottom, which has the same effect as a Multiple ter of the
Cut.
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.
The
usual
way
in the left hand,
is
down
to hold the pack face
thumb
at left side, forefinger
at far end, other fingers at right side. right
thumb and second
sides
near the inner end
finger then grip the (fig.
21a), draw
out the bottom portion and place (fig. 21b).
Another way the right scribed,
is
to pick
With
it
on top
up the pack between
thumb and second
finger as just de-
then use the right forefinger to
the top half of the pack, tilting side can
The
it
raise
so the other
be pressed against the thumb. the halves thus separated, the right
Guts
A
101
hand
drawn back quickly, carrying the lower portion between the thumb and second finger, while the forefinger releases its pressure on the upper portion, which drops to the table. The lower half is promptly placed on the upper and the pack is squared, completing a is
neat one-hand cut that looks quite
which it really to do it well.
is,
as
some
practice
is
skillful,
needed
SHUFFLES
A
shuffle
though
it
mixes the cards quite thoroughly,
may be
limited to a degree to suit
the purposes of a particular
trick.
THE DOVETAIL OR RIFFLE SHUFFLE: The pack is cut into two heaps, which are brought together end to end, the thumbs at the inner ends and the fingers at the outer ends of their respective heaps.
The thumbs bend
the ends of the packets
upward, then release them simultaneously in
downward riffle, at the same time pushing them together so that they interlace in "dove-
a
FIG.
102
Jf$
Magic with Cards
22
tail" fashion, as fig.
The
22 shows.
packets
are then squared into one.
Sometimes the packets may be
riffled at
the
inner corners instead of the ends, the fingers
being at the far
may
Also, the forefingers
sides.
down on top
aid by pressing
of the pack-
ets.
the overhand shuffle: The is
entire
pack
held in the right hand, fingers at one end,
thumb
The pack is tilted to an and the left thumb is pressed
at the other.
upright position
against the upper edge, where cards
downward,
bend of the
letting
left fingers (fig.
fig.
This
is
peels a
fall
few
into the
23a).
23
repeated, so that another small batch
of cards drops
The
them
it
upon the
first
group, and so on.
shuffle thus consists of a series of small
which each new group or packet goes on the one before (fig. 23b). There is a variation, however, known as the front and back shuffle:
cuts in
Shuffles
A
103
THE FRONT AND BACK SHUFFLE: This like
Overhand,
the
batch
of
cards
the left hand
is
tilts
but
Now,
on the
deposited
forward, throwing
against the base of the left
its
first,
cards
thumb.
down thumb
the right hand brings the pack
in back of those cards, so
when
peels off the next batch,
it falls
already shuffled
The
second
the
after
Starts
the left
behind those
off.
next batch goes in front, the next in
back, and so on, in alternating fashion, until
the shuffle
is
completed.
DEALING CARDS Dealing
another
is
common
procedure
which has
several variations. Since these var-
iations are
important in card
be described in
tricks,
they will
detail.
In most deals, the pack
is
held in the
left
hand, with the thumb slanting across to the
The
outer right corner.
left
thumb pushes
top card outward and to the right, where taken between the right
thumb and
the it is
forefinger,
which complete the deal by drawing the card farther from the pack. the group deal: This consists of pushing two, three, or right
hand
more
cards from the pack to the
(fig. 24a),
which
a group, exactly as they are.
104
A Magic
with Cards
them in The right thumb receives
24
FIG. is
above and the right fingers are beneath the
cards thus dealt, so they can be taken in threes, fours, fives, or
any number desired
This type of deal
is
(fig.
24b).
sometimes termed a
count 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, exactly as they were counted off,
and then replace them upon the pack
their original order.
This
is
in
essential in cer-
tain tricks.
In dealing two or
more heaps of hands, the
Group Deal may be used
to complete
one
heap, then the next, and so on; or cards
may
be dealt
singly, either
completing each heap,
or going from heap to heap. This
may
volve either the Reverse Deal or the
Turnup
Deal. If important to the trick,
it is
in-
generally
specified in the instructions.
the reverse deal: The Reverse Deal involves dealing off the cards one by one, each Dealing Cards
A
105
going on the card that was dealt before that their order
is
reversed. This
important in certain card
is
tricks,
it,
so
also highly
but
is
so
escapes general notice, which
simple that
it
makes
the more valuable in some cases.
it all
With
the Reverse Deal, you can have a
group of cards running in value from Ace up to 10. After dealing
them and
replacing
them
on the pack, they will run from 10 down to Ace, yet no one will realize it— except you, the magician.
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. Thus, each new card goes on the one before, but since they fall face up, they will be in their original order when you pick them up together and replace the entire group face down on the pack.
Here, a special point should be stressed: In 106
A Magic
with Cards
hand must flip them forward (fig. 25a), then upward (fig. 25b), if it takes them in the usual manner, with fingers below and thumb above. This method is good if it is done neatly. A
dealing cards face up, the right
better system, however,
still
right
thumb below
fingers above.
is
to bring the
the card and the right
In this case, the card
is
first
upward with the thumb (fig. 26a), then forward (fig. 26b), which is neat in itflipped,
self,
giving the deal a deft touch.
FALSE CUTS
AND SHUFFLES
After acquiring a natural ting
and
shuffling a pack,
duce "false" cuts and
manner
it is
of cut-
easy to intro-
which appear to mix the pack, yet enable you to keep certain cards just where you want them. One of the simplest yet most deceptive is shuffles
the following:
false single cut:
Lay the pack on the
False Guts and Shuffles
A
107
table
and
lift off
the top half with the right
hand, placing that portion closer to you. Immediately pick up the far heap with the right
hand and place it in the left hand; then pick up the near heap with the right hand and drop it on top. This apparently completes an ordinary single cut, but actually leaves the pack exactly as it was originally.
The pack
false three-heap cut:
is
on
the table. Lift off about two-thirds of the pack
and
lay this group six inches to the left. In
the same action,
group and drop
now
it
lift
off
about half of that
in the center.
The
packets
will be:
LEFT
CENTER
Top
Middle
With
RIGHT
Bottom
the right hand, pick up the heap at
and drop it on the heap at the right. Then pick up both heaps and drop them in the left hand. Pick up the remaining heap (the center one) and drop it on the rest. The pack will be as it originally was. the
left
variation: After laying out the heaps, use
hand to pick up the left heap and on the right heap; then drop both on
the right
drop
it
the center heap. This looks like a multiple cut but
108
is
actually only a single cut.
A Magic
with Cards
false triple cut:
down and thumbs front.
face
lengthwise between the hands, the
pressing the back edge, the fingers the
Thumbs and
ward and inward,
With
Hold the pack
right
fingers are pointed
down-
as fig. 27a shows.
thumb and
forefinger
draw
off
the bottom third of the pack (fig. 27b). Carry
above the pack and with the right thumb and second finger draw off the top third this
(fig. 27c).
The
left
hand
retains the
middle
third.
fig.
The
right
thumb and
27
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. The left hand immediately plants its heap on the False Guts and Shuffles
A 109
first
one.
The
right
hand then drops the
re-
maining heap on top. Despite this seemingly intricate cut, the
pack
is
in
original condition.
its
false dovetail shuffle: effective
way
This
is
a very
of keeping certain cards where
you want them, because the
shuffle
is
actually
a standard Dovetail or Riffle Shuffle, but
is
handled in a special way. Simply cut the pack and bring the ends together. Then, to keep
on the bottom of the pack, start the riffle with a few cards from the lower half, so that the bottom card drops first. To keep a card on the top of the pack, retard the
a card
riffle
of the upper half, so that the top card
falls last.
By combining
the two processes, cards can
be kept on both the top and bottom of the pack, though that is seldom necessary. 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 Dovetail.
In such cases,
it is
wise to cut off a larger
upper packet when keeping a group on top, or a larger lower packet when keeping a group on the bottom. This will allow for a more convincing riffle. false overhand shuffles: These are used 110
A Magic
with Cards
to retain the top or entire
groups—in
bottom cards—as well
as
position. In every case, the
false shuffle simulates the
genuine to a degree
that defies detection.
For top or bottom control of a single card, the following is one of the neatest methods: the pull away: To keep the top card in place, stand with your right side toward the audience and hold the pack lengthwise between the thumb and fingers of your right hand, which are at opposite ends. The top of the pack is toward your right palm. Now, the left hand approaches from in back and draws down a batch of cards from the bot-
tom of the pack, as with the simple Overhand Shuffle. But at the same time, the left fingers come up between the pack and the where they press the top card and draw it down along with the bottom batch. The left hand continues to draw off clumps right palm,
of cards until the shuffle
the top card
still
is
completed, with
in place. This
may be
re-
peated as often as desired.
To
keep the bottom card in position, turn
toward the audience. Pack is in right hand, but with top upward, or away from the palm, as with the usual Overhand Shuffle. The left thumb draws down a batch of
your
left side
•
cards from the top of the pack, while the left
False Guts and Shuffles
A
111
go up beneath and bring along the
fingers
same action. Shuffle off of the cards on top of the first batch.
bottom card the rest
in the
top to bottom: Using the Overhand Shuffle, you can shuffle the top card to the bottom of the pack by simply drawing off the top card alone, with the left thumb, then shuffling
the rest of the pack onto
bottom to
it.
done with a straight Overhand Shuffle until you come to the last few cards. Then, the left thumb simply draws them away one by one, so that the last card can be dropped on top of the pack. top:
This
is
stacked pack shuffle: When working with a pack in which the cards are "stacked," or arranged in shuffle is
is
some
special rotation, a false
needed to keep the setup
intact.
Here
one type:
overhand cut shuffle: Hold the pack for the Overhand Shuffle, but draw off about thumb. Bring the bottom half over with the right hand and drop the entire group on top. Continue this in a fairly rapid but irregular fashion, varying the size of the batches drawn off by the left thumb. The result is simply a series of single cuts which look like a shuffle half the cards with the left
112
A Magic
with Cards
but do not mix the pack at
all.
Even
better
the next one:
is
front and back cut shuffle: This retains the order of the entire pack and even keeps the top and bottom cards in their original positions.
with the
left
Draw off a small batch of cards thumb and bring the pack down
over the front with the right hand, but do not
draw
off
any
cards.
Instead, the right
hand
carries the
pack over
and leaves some cards there, as in the Front and Back Shuffle. Continue thus, never leaving any cards at the front, but dropping some at the back. This looks exactly like the regular Front and Back with the cards diminishing in number as you go on. Drop the final batch in back and the pack to the back
undisturbed.
is
on
top,
With
the final batch
you give the pack the equivalent of a
single cut.
end the
By throwing
This
is
a very convincing
to
false shuffle.
a small group of cards that
kept in rotation for some special is
way
must be
trick,
here
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, receiving them in the right hand, False Guts and Shuffles
^ 113
THUMB PUSHES TOP CARDS INTO RIGHT HAND-
LEFT FINGERS.PUSH BOTTOM
LEFT
CARDS ON TOP OF RIGHT-HAND PACKET
LEFT THUMB PUSHES TOP CARDS UNDER CARDS OF RIGHT-HAND PACKET
which
is
FIG.
28
the same position as the left
in
(fig. 28a).
Now left
and
the
left
bring the right packet beneath the slide
some
cards from the
bottom of
packet onto the top of the right one.
done with the
This
is
right
thumb
left
fingers
(fig. 28b).
Bring the right packet above the slide
some
and the left
and
cards from the top of the left
packet to the bottom of the right one, push-
them with the left thumb and drawing them into place with the right fingers ing
(fig. 28c).
Continue in this manner and the cards will seemingly be shuffled, but actually the group being cut at different places, with the cards still in rotation. You can vary this by pushing
is
114
jf$
Magic with Cards
cards
from
right to left as well as left to right,
but as long as you follow the regular process of "top to bottom" and "bottom to top" it
makes no This
difference.
perhaps the most deceptive of
is
false shuffles,
all
but looks unnatural and awkward
when done with
the entire pack, so
it
be used only with smaller batches of
should cards.
SIMPLE CARD SLEIGHTS Any
secret
termed a
move with
a pack of cards
and some of these
"sleight,"
is
are
"slight" as well, being almost impossible to
They
detect. tricks
and
it is
many card how they are
are very useful in
important to learn
performed.
THE GLIDE This simple
move
enables you to "change"
one card into another, neatly and The pack is held face up in the
thumb
effectively. left
hand,
at the left, fingers at the right, curled
across
slightly
the
front
card of the pack
(fig. 29a).
The
left
hand turns the pack
face
down
end of the pack, where they draw out the bottom card and lay it face down on the table, the
and the
right fingers
go beneath the
Simple Card Sleights
far
A
115
FIG.
29
thumb
right
aiding in this simple maneuver
(fig. 29c).
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, the tip of the third finger "glides" the bottom card back toward the inner end of the pack (fig. 29b). This enables the right fingers to draw out the card just above the bottom card and lay that on the table instead.
The
projecting
hidden by the
left
end of the bottom card hand. Later, the
finger "glides" the actual
to
its
116
left third
bottom card forward
original position.
A Magic
is
with Cards
variation:
difficulty
If
is
experienced in
gliding the card with the left third finger, the
move can be accomplished
in a slightly dif-
ferent way:
The
hand
left
turns the pack face
down
and the right fingers, coming beneath, press the bottom card lightly and push or glide it back toward the heel of the left hand (fig. 30a). This leaves the front end of the next card available so that the right fingers can
out in the manner described earlier
draw
it
(fig.
30b).
The
right fingers
bottom card back
Q
11
*'
to
its
can bring the
original position later.
>
**7"T r>»
•«*• 1
FIG.
30
> > + j.h4-
to*
When
performing various card tricks, it is a good plan to show certain cards on the face of the pack, then turn the pack down and
draw
off
laying
it
the required card in normal fashion, face
down
or face up.
Simple Card Sleights—Glide
A
117
when
Later,
ment
will
the Glide
is
used,
its
employ-
be natural and the "change" of one
card to another will seem amazing indeed, as
no one
will link it
with the dealing process
that took place earlier.
THE This
is
SLIP
another effective way of "changing"
a card. It also enables the magician to bring a
card from the top of pack to the middle, with-
out having anyone guess what happened.
The pack as
is
held in the
though about to
deal.
the ends of the pack,
left
hand, face down,
The right hand takes thumb at inner end,
and tilts the top half slightly though hinged at the back edge
fingers at outer,
upward, as (fig. 31a).
The
right
hand then removes the upper
por-
tion of the pack, but in that simple, natural action, the top card of the
fig.
118
A Magic
31
with Cards
upper packet
is
secretly transferred to the lower picket,
becom-
ing the top card of that portion.
the method: As the right hand tilts the top portion upward (fig. 31b), the left fingers press lightly against the top card and retain it, so that,
when
the upper half of the pack
drawn away, the card drops on the lower
To
hide
upward
this,
at the
is
half.
the lower half should be tilted
same time and the performer
toward the audience. With both halves of the pack face front at the finish, no one is the wiser. should turn his
By
left side
gesturing the left
hand toward the
right,
or pointing the left forefinger in that direction,
the whole
movement
of the Slip looks like
a simple cutting process and no sleight will be suspected.
THE SLIDE This move
is
used to bring a card from the
top of the pack to the bottom, turning
up
in the process.
Hold the pack
it
face
in dealing
position in the left hand, then lower the left
thumb beneath
the pack and
tilt
it
forward
to a face-up position against the left fingers.
The grips
it
and the
right
hand approaches the pack and
between the thumb at the near end fingers at the far end.
The
right
hand
draws the pack slightly forward and upward,
Simple Card Sleights— Slide
^ 119
FIG.
turning 3
2
it
face
down on
this
action,
the
32
left
hand
(fig.
)-
During
the left fingers press
lightly against the top card of the pack,
remains face up as the pack
is
laid
which
upon
it.
In fig. 32 the 4 of Spades is the top card which, after execution of The Slide, will now
be at the bottom of the deck, face up.
THE TURNOVER This
is
a simple
way
of reversing the
half of the pack, bringing
it
bottom
face to face with
the top half. Hold the pack in the left hand, face
down. Grip the top half with your right
fingers at the far end,
thumb
b
a
120
A Magic
at the near end.
with Cards
As the
right
hand
the upper half a few
lifts
inches (fig. 33a), the left
thumb comes
neath the lower half and
flips
forward direction.
The
over in a
hand promptly down on the face-up
right
replaces the top half face
cards
it
be-
and squares the pack
(fig. 33b).
This Turnover can be used with a single card or small packet at the
botom
of the pack.
TURNING THE PACK an easy and useful move when two portions of the pack are "faced" so that either can appear to be the top of the pack. Hold the pack in dealing position in the left hand, but bring the left thumb beneath it. Bring the right hand above the pack and at the same time "kick over" the entire pack with the left thumb, in the fashion of the This
is
Turnover, with the right hand concealing the action.
The
right
hand
either grips the pack
by the
ends or goes directly into a deal, while the left
hand
retains the pack.
of the hands, brings
them
A
slanting
downward and
motion
to the right,
into a natural dealing position.
THE GLIMPSE Glimpsing a card at the top or bottom of the pack is necessary in certain tricks, and
Simple Card Sleights
— Glimpse A
121
fig.
should be practiced so
it
34
can be done casually,
without attracting notice.
the top glimpse: Push the top card with the left thumb so the card comes over the right edge of the pack, just as though you were starting to deal it. There, pause and press the fingers inward and upward, squaring the card with the pack, but raising
its
edge
slightly (fig. 34a).
Now,
look right
top card. will
the pack end upward and you can
tilt
down
at the index corner of the
A little extra pressure from the fingers
bend the card
slightly,
giving a better
sometimes termed. Once the index has been noted, relax the
"peek," as this glimpse pressure of the fingers
is
and square the card on
the pack.
the bottom glimpse: The bottom card of the pack can often be noted while handling the pack in a casual way, such as transferring
from hand to hand, or while pulling up one sleeve and then the other. Such mannerisms should be cultivated for that very purpose. it
122
A Magic
with Cards
.
The best Bottom Glimpse can be made when least expected; that is, when the pack is held in the
thumb
left
hand, ready for the deal, with
at the left side, forefinger at the far
end, and other fingers at the right side. Tilt the left
and you
will note that it
to "spot" the
glimpse
hand
hand forward and downward
bottom
almost impossible
is
which
card,
why
is
this
so effective. Just squeeze the left
is
slightly
and the
fingers will slide the
pack
inward, past the base of the left thumb, bringing the lower index into sight (fig. 34b)
The hand
is
immediately
the
tilted to
left,
so that only the backs of the cards can be seen, as in the usual dealing position.
THE DOUBLE LIFT the effect: The magician takes the top card from the pack and shows it to be the
He
6 of Spades, for example.
down on table.
replaces
turned up,
it
face
on the has changed to an
the pack and later deals
When
it
it
entirely different card, such as the Jack of Dia-
monds. the method: The pack position in the left hand.
is
held in dealing
The
right
hand
ap-
proaches as though to square the pack at the ends. This
Palming
move
is
similar to the
one used
in
(see below).
Simple Card Sleights—Double
Lift
A
123
Meanwhile, the left thumb pushes the top card and the second card very slightly to the right, where the right hand covers the two cards and squares them as one (fig. 35a). The left thumb, pressing the left side of the cards, and the left forefinger, pressing the right side, assist in this operation,
holding the cards
thumb comes beneath the end and the right fingers press down
while the right inner
from above
(fig. 35b).
This enables the right hand to turn over the
two cards
as one, so the spectators see the
face of the lower card fig. 35c).
The
the card face 124
A Magic
right
(the 6 of Spades in
hand immediately
down on
turns
the pack. Later, the
with Cards
drawn off and proves to be the Jack of Diamonds. Of course, any cards can be top card
is
used in this
trick.
variation:
Some
performers prefer to
lift
the two cards between the tips of the right
thumb and slightly to fig.
forefinger,
bending
the
cards
hold them neatly together, as in
35&
PALMING A CARD the effect: By palming a card, the magician can secretly remove it from the pack, later producing it from his pocket, or leaving it
there
if
he wants to dispose of
it,
as in the
case of an extra or duplicate card.
the method: The move
itself is
quite sim-
VIEW FROM BELOW (AUDIENCE, OF COURSE. DOES NOT SEE THl$)
FIG.
36
BACK OF HAND WITH CARD PALMED
Simple Card Sleights
—Palming
a Card
A
125
Hold the pack in the left hand as if to deal. The right hand comes above the pack
pie.
from the
right, as
if
by end
to square the cards
them with the fingers at the far and the thumb at the near end (fig. 36a). The left thumb pushes the top card to the right so that it comes beneath the right hand, and the second finger of the left hand presses the card up into the right palm and the bend pressing
the
of
right
fingers,
which
curve
inward
slightly to retain it (fig. 36b).
Two
palmed in this manner, the left hand pushing them slightly to the right, one by one, with the right hand squaring them as it covers them. When the or three cards can be
cards are in position, the left second finger presses
them up
into the right
palm
in a group.
SINGLE-CUT FORCE the effect: A person cuts a pack of cards and notes the bottom card of the upper packet. Later, the magician reveals the
name
of the
card.
the method:
Glimpse the bottom card
of the pack or shuffle a card to that position.
Tell the spectator to cut off any
number of upon them.
and place the rest crosswise While you turn your back, he is to glance cards
the card above the break. 126
A Magic
with Cards
at
That, of course,
is
the original bottom card,
which you already know. presentation: Done boldly, this is very effective, as you emphasize that the pack can be cut "anywhere/' and the business of laying one
packet crosswise, plus the slight delay
when
you turn your back, makes people think that the card came from the middle. As a "prediction," you can write the name of the bottom card on a slip of paper, then tell someone to cut the pack so you can put the prediction in between its halves.
When name
the paper
is
opened,
it
bears the
which you can show by turning up the heap, making a very of the card just above
convincing
it,
effect.
THE FAN FORCE This
is
the best way of forcing a card from
an ordinary or borrowed pack, since it cannot fail, yet is done in a most nonchalant and natural fashion. Furthermore, the "force" can be accomplished even if the subject changes his mind as to the card he wants, something quite impossible with the
more standardized
force.
the effect: The card to be forced is on the bottom of the pack. The magician begins by spreading the pack between his hands to form a wide fan. The pack actually rests on Simple Card Sleights
—Fan
Force
A
127
the fingers of the
left
hand, so that the
can push the cards to the in the spreading
right,
thumb
which helps
process— thumb above, fingers
below.
A
spectator
asked to touch any card dur-
is
ing this fanning process, so that the pack
may
be cut at that spot. This is done, and the performer lifts the upper portion, showing the card so designated, which is naturally at the
bottom or face of the upper packet. That card, however, is actually the bottom card of the pack, the one to be forced! Here is the reason why: the method: During the spreading process, the fingers of the left hand secretly slide the bottom card of the pack a small distance to the right. There, the fingers of the right
hand draw
it
a
farther
little
beneath the
spreading fan.
When the left
a spectator touches a card in the fan,
thumb pushes
so that the right
it
slightly to the right,
hand can
away that card above it. But in doing lift
with
all
this,
the right fingers secretly bring along the
the rest that are
bottom card of the pack, hidden beneath the part that represents the upper portion.
The
left
hand
tilts
its
packet slightly
in-
ward, so that the performer can "square" the
upper packet by tapping 128
A Magic
its left
with Cards
edge against
He
the lower half.
then
raises
the upper packet
to give the spectator a full front view of
its
bot-
tom, or facing card, without the performer seeing
it.
Actually, the magician doesn't have to see
He knows
it.
he
is
who
it
already, for this
upon
forcing
is
the card that
his unsuspecting victim,
be the card at the exact spot where the cut was made. The spectator can change his mind, even going back along the fan if he wants to, because in cutting the pack, the bottom card is always drawn to the desired spot. takes
it
to
THE DRAW SHUFFLE Known Shuffle,
as
the Running Cut, the
and by various other names,
Hindu
this
is
a
very useful device for magical purposes. Like
the simple Overhand Shuffle, cutting off
little
before.
ever, the
made
With
pack
consists of
groups of cards from the top
of the pack and dropping
went
it
is
the
held
them on those
Draw
flat
Shuffle,
and the
that
how-
cuts are
endwise.
Rest the pack face
thumb
down
in the left hand,
against the left side, fingers at the right
side,
with the forefinger at the
right
thumb and
far end.
The
fingers take a pincer grip at
the sides of the pack near the inner end; the
Simple Card Sleights—-Draw Shuffle
A
129
fig.
a
right
37
hand then draws the bulk of the pack
inward
group of cards to drop from the top of the pack into the left hand.
The
(fig. 37a), allowing a small
right
hand comes forward, drops
its
packet on top of the cards remaining in the left
hand, and repeats the action, the
hand which
left
again retaining a group of top cards,
on those below. This is continued until the entire pack has been shuffled off, the right hand dropping the last small group on top fall
(fig. 37b).
Though the
by the right hand, the slight opening and closing motion of the left thumb and fingers makes it look as though they, rather than the right hand, were drawing
action
off
is
chiefly
the cards. This creates the
illusion that the right
hand
is
pulling
its
cards
from the center of the pack, whereas they really
come from the bottom,
so the
bottom
card remains the same until after the final cut. 130
A Magic
with Cards
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 letting a
first
stage of the
few clumps
the magician
tilts
fall
Draw Shuffle.
After
into the left hand,
the bulk of the pack up-
ward and inward, so
tamp the inner end and square them into
as to
of the left-hand cards a neat packet (fig. 38).
fig.
38
This simple, natural action gives the magician a glimpse of the
bottom card
as
he
ex-
tends his hands straight toward the specta-
Knowing the bottom card, the wizard can then employ the Flash Force, which follows: the flash force: While making the tors.
Draw
Shuffle, the
magician says to a specta-
Simple Card Sleights
—Draw
Shuffle
^Si
131
me when you want me
tor,
"Tell
The
spectator gives the
to stop."
word and the magician raises the right-hand heap so the person can see its bottom card.
The magician
states,
"Remember
the card
you see there." He turns his head away at the same time and drops the right-hand cards on the pack, which he gives to the spectator to shuffle his
own
way.
The magician already knows the noted card, since it came from the bottom. The spectator, however, thinking it came from somewhere in the middle of the pack, supposes that he had a free choice of a random card, which, of course, he did not.
draw-shuffle location: The magician spreads the pack so a person can take a card. Or he riffles the outer end, allowing the spectator to insert a finger among the cards and remove one. The magician then squares the pack and goes into the Draw Shuffle, using the Glimpse to learn the bottom card, if he does not already know it. Shuffling slowly, he invites the chooser to drop his card anywhere in the pack. As the person does this, the magician simply drops the remainder of the pack on top with the right hand (fig. 39). This puts the bottom card directly above the chosen one, so 132
Jf%
Magic with Cards
SPECTATOR LOOKS AT TOP CARD OF THIS HEAP
AND REPLACES
IT
MAGICIAN KNOWS
BOTTOM CARD OF THIS HEAP (ORIGINAL BOTTOM CARD OF PACKJ
fig.
the magician can find the
known
later
it
39
by looking
for
card.
you can follow with another Draw Shuffle, but in this case let the center portion of the pack fall in one After the card
is
replaced,
big clump, rather than run the risk of separating the chosen card from
its
locator.
draw-shuffle control: This
way
effective
a neat
and
of bringing a chosen card to the
top during the course of the is
is
Draw
Shuffle. It
not necessary to note the bottom card in this
and pause wherever a person wants you to, so he can look at a card by lifting it from the lower packet and re-
case.
Simply
placing
it.
From but in
start the shuffle
Draw fashion: The
there, the
this
Shuffle right
is
continued,
hand
places
its
packet on top but keeps a "break" at the inner end, the
thumb and second
few cards
The
just
right
fingers gripping a
below that space
hand then
is
(fig. 40a).
drawn back,
se-
A
133
Simple Card Sleights—Draw Shuffle
RIGHT HAND KEEPS "BREAK" BETWEEN UPPER & LOWER PACKETS..
AND DRAWS OFF SMALL PACKET! FROM TOP OF LOWER PACKET (CHOSEN CARD IS ON TOP
8
-_„
FIG.
..
.
_
4O
cretly bringing
.
OF THIS SMALL PACKET)
away a
chosen card on top
(fig.
little
packet with the
40b) The right hand .
Draw Shuffle until it reaches Then it drops the little group on
continues the
the break.
top, putting the chosen card
on top of the
pack.
note: In using
this shuffle prior to a trick,
good plan to tilt the pack edge upward and actually draw clumps of cards from the middle, and put them on top, letting people see this as you do it slowly. They will then think that your later and more rapid horizontal shuffle is done in the same haphazard way, eliminating any suspicion regarding the bottom card. it is
a
134
A Magic
with Cards
Finding
6.
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. Those three ways
are:
(1)
By glimpsing
the course of pack,
so
its
removal from or return to the
that you can
through the pack (2)
or spotting the card in
By
find
it
later.
locating the card through
tion in the pack, or
by
its
its
posi-
nearness to other
cards or groups of cards that identify
by looking
may
help to
it.
(3) By controlling the card through some skill or subtle device so that it may be pro-
duced when required, even though identity may still be unknown.
its
exact
All of these simply lead to the great climax,
which is the "discovery" of the chosen card, wherein the performer, by some apparently magical means, reveals or discloses the card itself.
One
of the simplest, yet
learning a chosen card
is
most
by the
ways of Glimpse:
clever
Riffle
Finding a Chosen Card
Jf$
135
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, facing the spectator. right fingers press the lower
the right releasing
end of the pack;
thumb bends back it
The
the upper end,
card by card as the left
hand
tilts
the pack forward (fig. 41a).
During this "riffle/' the person is asked to note and remember a card that he sees. That is done, and later a card is named or produced by the magician. It proves to be the very card that was mentally selected by the spectator! the method: During the riffle, hesitate slightly on one card. That will be the card that the spectator remembers and, since you are watching the cards, you can note it too. That is the card that you produce later. The riffle should be neither too fast nor too
FIG. SIDE VIEW OF a
SHOWING HOW RIGHT HAND RIFFLES THE PACK
136
A Finding
a Chosen Card
41
slow.
A sudden
be seen,
stop, allowing only
too obvious. Conversely,
is
show too many reasonable amount of take to
one card to
cards too long. practice,
a mis-
it is
you
With
a
will find
the right in-between speed.
Gradually slowing the
good policy, as the later impressions are more apt to be remembered. Also, the card that you particularly note is the one that the spectator is most apt to pick. riffle is
THE WRIST GLIMPSE the effect: magician
riffles
A
card
selected
is
and the
the pack slowly, allowing
it
be replaced anywhere that the chooser wants. Slowly, deliberately, the magician to
someone to By then, the wizard knows the chosen
squares the pack and gives shuffle.
it
to
card!
the method: Hold the top portion of the pack in the right hand, the end, the
hand
thumb
fingers at the outer
at the inner end.
slightly as the card
is
Advance the
replaced, so in
lowering the upper packet, the tip of the right
thumb (fig.
To
presses
down on
the
chosen
card
42a). square the pack, the upper portion
is
brought inward, causing the chosen card to
Wrist Glimpse
A
137
a CHOSEN CARD REPLACED
ON LOWER HALF
THUMB PUSHES CARD BACK
RIGHT HAND PRESSES
CARD
project in that
hand
right
The
aiP PACK FORWARD AND OVER WITH FOREFINGER
IN
42
FIG.
LEFT HAND TURNS OVER GLIMPSE CARD AT WRIST
same
EXTEND PACK FACE DOWN FOR SHUFFLE
direction (fig. 42b).
The
serves to hide this.
hand
immediately turned back upward. This enables the magician to glimpse left
is
the chosen card and note the base of the
left
its
thumb
index, just
below
(fig. 42c). This,
hidden from the spectators. The right hand promptly comes up from below, thumb projecting upward behind the pack, fingers extended in front of the pack. The right thumb presses the chosen card fortoo,
is
138
Jf%
Finding a Chosen Card
ward into the pack, which is gripped between the right thumb at the back and the right fingers at the front (fig. 42d).
The
left
now
right
doubled beneath the pack, which shown face up and is extended toward
forefinger is
hand moves away and the
is
a spectator (fig. 42c). Slowly, the right fore-
whole pack forward, almost into the spectator's hands (fig.
finger levers the
flipping
it
42f). In this easy, natural procedure, you have
learned the chosen card while asking someone to shuffle
it
into the pack.
Coming now to card locations, we have a basic method with various applications known as the Divided Pack.
THE DIVIDED PACK the effect: The pack heaps, each of which
is
is
divided into two
separately shuffled.
A
drawn from one heap, placed in the other and shuffled there. Looking through
card
is
that heap, the magician finds the chosen card.
the method: Beforehand, secretly divide the pack into two distinctive groups. The Joker can be placed as a "divider" between these, so that by looking through the pack and removing the Joker, you can automatically separate the cards at the right place.
Divided Pack
A
139
When
a card
taken from one half and
is
you find it by simply looking through the group and picking out the "odd" card that does not belong there.
shuffled into the other,
The
simplest of such setups
is
Reds and
Blacks.
reds and blacks: Put the red cards in one half,
the black cards in the other.
this quickly, often
with a borrowed pack, some-
times while looking through cards that you
You can do
want
Finding a card
it
certain
for
for another trick.
is
quick, too, since a red
shows up conspicuously among the blacks, and
But that
vice versa.
You
is
this trick's weakness.
can't risk letting a spectator handle a
packet or even see the faces of the cards, or he will
note the arrangement. Therefore
ter to use a
bet-
Two-Suit Setup.
two-suit setup: This takes a to arrange
it is
and you
little
longer
can't find the chosen card,
or cards, quite as quickly, but
it is
much
safer
than Reds and Blacks. Use a red and black suit in
each division, for example, Spades and
Diamonds
in
one half of the pack, Clubs and
Hearts in the other. Each pair of suits shuffled together beforehand, so there
is
is little
chance of the ruse being detected. However, if the cards are shown face up too often, the absence of certain suits in one group 140
A Finding
a Chosen Card
may be noted by an
observant spectator. This
can be counteracted by dividing the pack into odds and evens.
odds and evens: (1),
3, 5, 7, 9,
The "odd"
The and Queen
Jack (11), and King (13).
Deuce (2), 4, 6, 8, 10, This makes an unequal division, but
"evens'* are
(12).
Ace
cards are
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. This also equalizes the face cards
and the setup
stand the closest
will
scrutiny.
handling the pack: This presents another problem, because the constant insertion of a card from one group into the other
unnatural and suspicious.
One way
is
both
of over-
coming this is to keep the pack intact, but with one group— say the "odds"— on top, and the other group— the "evens"— on the bottom.
The pack
is
spread for the selection of a
card. If the spectator takes half, the
for
its
it
from the upper
magician simply fans the lower half
return, or vice versa.
Thus the card goes
into the other group, where
it
can be located.
In this case, a false shuffle will have to be used.
Divided Pack
A
141
A
more
subtle location technique
Pack and
as the Pointer
is
is
known
described below.
THE POINTER PACK the effect: The pack is divided and a card is taken from one shuffled group and put into the other, or replaced in
group which can again be
shuffled.
its
own
The magi-
cian finds the chosen card.
the method: One group
is
composed of
"pointer" cards consisting of:
A* A*
2* 5A
c* c A
6* 6*
A
3
5
6
7o
7* 7* 1*
8* 8*
9* 9^
8
9
Joker
These are termed "pointers" because each card has a majority of its spots pointing in one direction, as a study of the cards will show.
They
are arranged so they all point upward,
the 7 having its odd point at the top and the Joker being upright.
With some packs, be classed the
K*
top; the
certain face cards can also
as pointers, the
commonest being
with a central ornament shaded at the
Q*
with a belt of tiny Spades point-
ing to the right, which can be regarded as up-
ward; the
J
A
with
its
belt of Spades pointing
upward. 142
A Finding
a Chosen Card
Also, the tral
K*
sometimes has a shaded cen-
ornament; the
the right; the top.
K^
KO
has one high and to
has a wider belt band at the
These can be used
when
pointers
as
available.
The performer spreads
the pointer packet so
a card can be selected, then squares the packet, turns
it
around, and spreads
card's return.
The
it
packet can then be shuffled.
In looking through
it,
the magician promptly
finds the chosen card because
the opposite way. its
again for the
it
By turning the
original position the packet
is
is
pointing
card back to
made
ready
for a repeat. If
too
many
pointers get
turned— this may
happen from a "wrong" shuffle— the other portion of the pack can be brought into action: A card taken from the pointer group and placed
among
the "ordinaries" can be easily
located.
With
the pointer packet as the top half of
the pack, a card taken from that portion
be replaced anywhere
after the
pack
is
may
turned
about. If the card goes into the top half,
it
be pointed the wrong way; if it goes into the lower half, it will be among cards of the nonpointer type. Thus, it can be easily located
will
in either case.
Pointer Pack
A
143
BOTTOM-CARD LOCATION the effect: The pack is shuffled and cut into two heaps. A spectator notes the card at the cut, places it on the other heap and completes the cut. The pack is given several more cuts.
The magician
looks through the pack
and finds the chosen card. the method: After the shuffle, glimpse the bottom card, say the 8^. When a person cuts the pack, takes a card from the center and places it on the top, the mere act of completing the cut puts the bottom card (8^) directly above the card he noted.
The pack can be cuts,
given any
number
of single
without separating the two cards. Simply
spread the faces of the cards toward you, find the original bottom card, and the card just before
it
will
be the chosen one.
variation: Note the bottom card, spread the pack and allow a card to be drawn. Square
the pack, undercut about half the cards and
extend the top half of the pack, telling the chooser to place his card there. Complete the cut by dropping the lower packet on the upper.
The chosen
card will be just below the bottom
card that you noted.
144
A Finding
a Chosen Card
COUNT-DOWN LOCATION A
pack is shuffled and a spectator draws a card from any place he wants,
the effect:
notes the card (say the
down on
10*) and
lays it face
the table, at the performer's instruc-
tion.
The
spectator
is
then told to deal additional
cards onto his, stopping after he has dealt the
number
exact
card
indicated by the value of the
(in this case,
itself
10).
while the magician's back finish,
he
is
is
He
does this
At the pack on the
turned.
to drop the entire
pile just dealt, square the pack, cut it
anywhere
and complete the cut. In fact, the pack can be given
few more
a
cuts to confuse the performer completely; yet
when he
looks through the pack, he finds the
chosen card!
the method: Note the bottom card the let
K^
)
after the shuffle.
(say
Spread the pack and
the person take a card from anywhere, or
hand him the pack and
tell
him
to
draw out
a card himself.
When
down, deals its own number on it and drops the pack on top, he puts just that many cards between your locator (K^ ) and his own card (10* ). Single cuts will not change this, so all you have to he
lays this card face
Count-down Location
A
145
do
find your
is
known
the card just below
and
it
card
(K^) and
call
"zero/' then start count-
on
you reach 13. When you reach his card, you will score a direct "hit" with your number; that is, in this case, your count of 10 will come exactly on the 10 of Clubs, which you can produce later as the chosen card. There is just one hitch. Sometimes other ing:
i,
cards
2,
so
accidentally
position.
might
3
fall
until
into exact numerical
For instance, on your count of
strike the
3
of
Diamonds and,
you
3
after
reaching 10 and finding the 10 of Clubs, you
might go on to 12 and
hit the
Queen
of
Spades.
be the 3O, 10*, or Q*, you would announce, "Your card is a black one." The reply being, "Yes," you would add, "and a Spade." Getting a "No," your comment would be, "That makes us even. Concentrate completely on your card and you won't go wrong again." Knowing now that the card must be the 10*, you proceed to
Knowing the chosen card
reveal
to
it.
In instructing the person at the sure to
tell
Jack, 11, a
146
him
Queen,
A Finding
to count an 12,
and
Ace
a King, 13.
a Chosen Card
start,
as
1,
be a
CARD CONTROLS Getting a chosen card to the top in a single
hidden action requires some form of ckrd control. The most direct way is by a sleight called the Pass, or Shift, whereby halves are transposed as in an ordinary cut, only secretly.
Actually, the Pass
is
unnecessary, as the
pack to transfer a single very cumbersome. Since the
shifting of half a
card to the top Pass
is
is
usually followed
by a
shuffle of the
pack, the whole operation can be simplified into the Shuffle Pass.
the
THE -SHUFFLE PASS effect: A card drawn
from the
is
pack, noted
and
replaced.
The
who
magician,
holds the pack spread for the card's return,
immediately closes the pack and gives
Overhand
Shuffle
which
an
it
secretly brings
the
card to the top of the pack.
the method: The pack is spread with the fingers of both hands below and thumbs above. In closing the pack, insert the left just
little
finger
above the chosen card, holding a "break"
there.
Only the
tip of the finger
is
required
(fig. 43a).
The
right
hand
squares the pack,
thumb
Card Controls
Jf%
at
147
HOLDS BREAK ABOVE CHOSEN CARD
LTTTLE FINGER
AUDIENCE FACES
BACK OF CARDS
fig.
43
inner end, fingers at outer end, where they can
Turn your right side toward the audience; in the same move the right hand begins a shuffle, lifting the front or top portion of the pack and carrying it
give the pack a quick
riffle.
over and behind the back or bottom section,
which
is
promptly
tilted
forward on the
left
fingers (fig. 43b).
That
is,
the right hand
above the break, and the
left
lifts
all
the cards
thumb then
peels
cards from the
tinuing this
bottom of that packet, conbona fide Overhand Shuffle until
the right-hand cards are exhausted (fig. 43c).
The hands can be extended toward
the audi-
no longer being used, the chosen card now being on top of the ence, as the "break"
148
A Finding
is
a Chosen Card
pack. It can be kept there by a series of false shuffles
and
cuts, as desired.
THE TURNED-UP JOKER the effect: A card is selected, replaced in the pack, and the magician spreads the cards face down, to find the Joker turned face up in the pack. He removes the Joker and promptly discovers the chosen card.
the method:
The
Joker
ruse
secretly
aids in bringing the chosen card to the top of
the pack. Beforehand, find the Joker and slide it
to the
bottom of the pack, placing
it
there
face up.
Spread the pack, have a card selected and square the pack.
Draw out
the bottom half
with an Undercut and extend the upper half to
Bottom-Card Location. Drop the upper half on the lower, so the Joker comes on top of the chosen card. Give the pack a few cuts, spread it again, and when you come to the face-up Joker, remark, "Somebody must have put the Joker in the pack— anyway, we don't need it." With that, lift away the lower half of the pack with the left hand and thumb the Joker so it falls on the table. Openly place the lower half on the upper half and the chosen card will be on
receive the card, as in the
top.
Turned-Up Joker
A
149
THE PUSH-AWAY PASS A
the effect:
selected
card
is
replaced
on the lower half of the pack. The magician happens to show the bottom card of the upper half, so he puts that half beneath, rather than have
next to the chosen card.
it
He
then
buries the chosen card in the middle of the
pack and proceeds to find
the method: (say the
4*)
is
When
when needed.
it
chosen
the
card
replaced on the lower half,
the upper half upward, edgeways, flashing
tilt
bottom card, for example, the 10 0. Noticing this, you comment: "I wouldn't want to put this 10 of Diamonds right on your card, because then we'd know where it was." With that, you draw away the upper heap, at the same time executing the Slip, which its
secretly brings the top card of the
the chosen card (4*), which
bottom
is
pack onto
on top of the
half.
You then
add: "We'll put this whole heap
underneath." Here, you put the top packet
under the bottom packet. "And we'll push your card into the very center of the pack."
the off
While
hand holds the pack, the right draws the top card and pushes it face down in the left
center.
The Clubs 150
spectator thinks that his chosen 4 of is
being buried in this convincing fash-
A Finding
a Chosen Card
but actually it is the unknown card that you "slipped" from the original top of the pack. The chosen card is now actually on top, ion,
where you can control
the
it
until needed.
THE DELAYED CUT effect: A card is selected
turned to the pack.
and
re-
A second card is then taken
by another person, who retains it so that it can be used in a later trick. By then, the magician has obtained the first card and can produce it as needed. the method: This is a neat way of delaying a special cut that controls the
chosen.
and two
The
first
card
is
first
card
10*, you draw the
selected, say the
removes it sections of the pack apart, sliding the upper or right-hand portion beneath the lower as the spectator
packet in the
This
is
left
hand.
simply an excuse for a later action.
Spread the pack and have the card (10*) returned. Close and square the pack, keeping the tip of the left finger
Now
above the chosen card.
turn to a second person, spread the pack
again and ask
him
As he draws
to take a card.
separate the pack as rally slide
JO), you again you did before and natu-
his card (say the
the upper portion under the lower.
But instead of separating the halves Delayed Cut
at the
jf%
151
spot where the second card was, you draw the
pack apart at the break that you are holding with your little finger. In placing the lower packet on the upper, you automatically put the
first
chosen card (10*
)
on top of the pack.
AUTOMATIC REVERSE This card
is
a combination of card control
complete
a
discovery,
trick
in
and
itself,
wherein the act of locating a chosen card
re-
sults in its revealing itself.
A
the effect:
card
is
selected
and pushed
into the very center of the squared pack. Be-
hind
his back, the
and turns
it
performer finds the card
face up,
where
when
at the spectator
it is
seen staring
the magician spreads
the pack along the table.
the method: Beforehand, slide a card from the top of the pack to the bottom, turning it face up beneath (fig. 44a). Spread the pack, allowing the free selection of a card
44b). Turn slightly to your*
(fig.
the chooser
is
left
while
looking at his card, square the
pack, and give
it
a complete turnover (fig.
44c).
Hold the pack squared where
it
appears to be face down, but
ally face up,
the top.
152
in the left hand,
with a single card face
Have the
A Finding
is
actu-
down on
spectator push his card
a Chosen Card
PACK SPREADBOTTOM CARD
PACK FACE DOWNBOTTOM CARD FACE UP
fig.
face
down
44
into the center of the pack (fig.
he has trouble, take the card from him and push it into the pack yourself. Square the pack, showing that it is impossible to tell just where the chosen card went, but add that you can find it magically— and
44(d). If
behind your back! Put the pack behind you,
Automatic Reverse
A
153
.
turn the top card face up, and then turn the entire pack face
down
(fig. 44c).
Bring out the pack, spread
it
along the
and the chosen card will appear triumphantly face up in the center (fig. 44f).
table,
DOUBLE REVERSE the effect: Two cards are selected by different members of the audience. Each is returned to the pack, which is given a magic causing both the chosen cards to turn
riffle,
up in different parts of the pack! the method: Here, the Delayed Cut and the Automatic Reverse are worked together to produce a double-barreled climax. Have two face
cards selected, 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, telling the second person not to let you see his card. 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.
But
in this case, that card
happens to be
the card already selected by the
first
spectator.
So when you push the second person's card 154
A Finding
a Chosen Card
into the pack,
up
you have two chosen cards face
instead of only one.
It is
not necessary here to put the pack be-
hind your back. As the right hand covers the pack, the left gives
it
and the
a full turnover
about a dozen cards from the actual top of the pack and puts them underneath, right lifts
with a simple, sideward cut.
The
left
hand can
then make an undercut near the middle of the pack, which
The
is
handled openly and
right fingers
riffle
casually.
the pack and
it
is
spread along the table, showing both chosen
Sometimes it takes a little while them, which makes the trick all the
cards face up. to find better!
Double Reverse
A
155
Revealing
7.
a Chosen Card In most card revelations, the card
is
first
brought to the top of the pack, then revealed
you already know the card, or can locate it, all you have to do is look through the faces of the pack and cut just above the chosen card, thus bringing it to in
some
surprising way. If
the top. If
you have controlled the card
after its re-
turn to the pack, that very process
may have
you can proceed directly to the discovery. There are cases, however, where the chosen card does not have to be brought to the top of the pack. These will be discussed individually. brought
One
it
to the top, so
of the simplest of card revelations
is
the following:
ANY NUMBER
DOWN
the effect: The performer asks a spectator at what number he would like his card to appear.
The
spectator says, "Five."
The magi-
cian counts to the fifth card in the pack, but it is
156
not the chosen card.
A Revealing
a Chosen Card
That's
when
the magician remembers that
he forgot to snap the pack five times. He does it now and counts down to the fifth card, once again. This time it is the right card. the method: First bring the chosen card to the top of the pack.
number—in
required
Then count down
the
this case five—by revers-
them
ing the order of the cards as you draw
from the pack. Show the fifth card. It is the chosen card. But when you replace cards on the pack, you automatically put original top card— the chosen one— at fifth sition. Repeat the count and hit it.
not the the po-
QUICK-COUNT TRICK the effect: Any number 1
to 15.
The
is
named, from
performer counts to
it
quickly
and turns up the chosen card. the method: This is similar to Any Number Down, but is done in a bolder, faster style that makes the repeat count unnecessary. Start with the chosen card on top of the pack, then count
off
their order as
At the
the cards quickly, reversing
you take them in the right hand.
person's
number— say, 8—simply
over the whole batch and slap
the
pack,
announcing:
"And
it
turn
up on
face
there's
your
card!"
Since the chosen card
is
showing face up,
Quick-Count Trick
Jf$
157
everyone takes
for granted that
it
it
is
the
do not realize that the count was reversed. But you settle that by immediately turning the whole batch face down. eighth, as they
Then
the card
is
at the eighth position,
if
any one wants to know. In fact, you can hand the pack to the chooser and let him verify your count.
THE CARD TURNS UP the effect: Here is a card discovery that literally lives up to its title. The magician squares the pack and drops it on the tafcle. A chosen card instantly appears face up on top of the pack.
the method: The chosen card is first located and brought to the top of the pack. In squaring the pack,
the left
thumb
secretly
pushes the top card over to the right as dealing
it.
This
is
if
covered by the right hand
which moves along with the card, the thumb pressing the inner end of the pack, the fingers
end (see fig. 45). The right hand drops the pack flat on the table and the air catches the projecting card and flips it face up. The exact amount of projection and proper distance for the drop can be
at the outer
determined by practice. 158
A Revealing
a Chosen Card
fig.
45
the card jumps clear of the pack, the
If
effect
is
just as good. Its
appearance comes as
a surprise, too quick for the eye to follow.
THE KNOCKOUT the effect: Here
effective discovery of a
case extend the pack it
so
downward
chosen card. In
and ask someone to
to the table.
and knocks
er's
another quick and
is
all
The
this
strike
spectator does
the cards from the perform-
hand, with the exception of one, which
proves to be the chosen card.
the method:
The chosen
card
is
first
brought to the bottom of the pack. If the pack is gripped firmly between the thumb and fingers,
thumb
stroke will
above, fingers below, a sharp
knock out
all
but the bottom card.
Knockout
ifr
159
The
grip
is
the pack and,
away
all
confined to an inner corner of if
the spectator
the cards, he
is
fails
knock
to
told to "hit the rest"
same fashion. Or the magician himself can knock the cards away. With a chosen card on top of the pack, the Knockout can be delivered while the in the
pack
is
held face up.
The
card
then at the
is
bottom of the reversed pack and is revealed stantly when the others are knocked away.
in-
DOUBLE CHOICE In certain
tricks,
a chosen card
may be
learned through a process of elimination, un-
may be
casionally, the performer
to
Or
only one of two choices remains.
til
which one of two cards was
oc-
uncertain as
When
selected.
confronted with such a situation, a "two-way" discovery
is
the answer.
The magician
places
one card on top of the pack, the other on the bottom.
He
then says to the chooser:
"Name
your card." If
the spectator names the top card, the ma-
gician gives the pack a snap, turns
card and says: "There
it
is!"
named, the wizard
If
up the top
the bottom
pack as though driving the card to the bottom, then turns the pack face up and shows the card. Another procedure is to use the Knock-
card
160
is
A Revealing
slaps the
a Chosen Card
out, described previously, leaving either the
top or bottom card, according to is
how
the pack
held.
The Turnup
discovery can be used
if
the
names the top card as the chosen one, while the Knockout is reserved in case the bottom card is named. spectator
SPELL IT
OUT
the effect: After a chosen card has been shuffled into the pack, the performer asks the
chooser to
name
it.
Suppose the person
says,
"9 of Spades." Rapidly, the magician counts cards from the
top of the pack, spelling
S-P-A-D-E-S" turns
up
"N-I-N-E O-F
(a card for each letter),
and
that very card!
the method: Have the chosen card on top. Simply deal off cards reverse fashion, as with Any Number Down, but in this case you spell the
ber.
name
When
instead of counting to a
num-
the wrong card turns up, replace
the packet, snap the pack and spell again, this
time arriving on the card. Or, do a quick spell as with the Quick-Count Trick, showing the 9 of Spades
the dealt packet
when you
turn
on the face of it
over
all to-
gether.
variation: Spell the person's
name
Spell It
Out
instead
A
161
of the
name
of the card. It works out the same,
but apparently you don't know what the card is
until
it
finally turns up.
YOU CANT GET
IT
the effect: The magician places a pack of cards against his forehead and tries to concentrate on a chosen card. He finally says, "I just can't seem to get it. What was it?" As the spectator says, "3 of Diamonds," the magician
draws
'Tunny,
And
it
I
pack
the
away,
repeating:
just can't get it." is
funny, because the chosen 3 of sticking to the performer's fore-
Diamonds is head. Somehow, he did manage to "get" it! the method: This comedy climax is easily maneuvered. Bring the chosen card to the top, then turn the pack face toward the audience
and
press the pack against your forehead with
your right hand.
At the
finish, tilt
the head back and draw
the pack slowly downward, so the top card will
adhere to the forehead. Pause long enough to push the top edge of the pack against the card,
which
162
will help
make
A Revealing
it stick.
a Chosen Card
THE MAGNETIZED CARD the effect: The magician holds the pack upright in his left hand, the bottom card facing the audience.
He
rests his right forefinger
on the upper edge of the pack, then raises the right hand slowly. The chosen card rises from the pack as though magnetized. the method: The chosen card is on top of the pack.
The
right forefinger
is
pointed
toward the spectators when it is placed on the upper edge of the pack. This enables the performer to extend his right little finger straight
and
unseen against the top or rear card of the pack, namely, the chosen one. Raise the right hand slowly and the card press
it
will rise automatically as
though drawn by
the forefinger, thanks to the constant pressure of the will
little finger.
From
a
little
distance,
it
appear to be rising from the center of
the pack rather than the back, which makes it.
more
deceptive.
For a
finish, either
lower the right hand
go back in place, or extend the right thumb and second finger, one on each side of the chosen card, so they can slowly, letting the card
grip the card quickly
and hand
it
to the spec-
tator.
Magnetized Card
Jjk
163
FIG.
46
AUDIENCE'S VIEW
MAGICIAN'S VIEW
A HAIR RAISER the effect: The magician holds the pack pack toward the audipretends to take a hair from his head
in his left hand, front of
ence.
He
and attach
He
to a card
it
somewhere
in the pack.
pulls the imaginary hair with his right
hand and pack
a chosen card swings
up out of the
(fig. 46).
the method: Hold the pack with
its
long
side toward the floor, with fingers in front,
thumb
in
through
its
back.
As the
right
pretense, the left
presses the top card (which
and
pivots
fect
is
164
A Revealing
it
upward.
is
From
hand goes
thumb simply
the chosen one) in front, the ef-
very surprising.
a Chosen Card
TURN the effect:
A
placed in the pack.
OVER
IT card
is
and
chosen
The magician
re-
starts deal-
ing cards from the top of the pack, turning
on the 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!"
each card face up and dropping
When
it
the spectator smiles or shakes his
head, the magician reaches
among
the cards
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 already dealt
a locator.
No
need to look for
it,
just let it
turn up in the deal. Keep on past gradually slacken the dealing speed
it,
then
and study
the backs of the cards before you turn them up, as though that it.
Then
had something
to
do with
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' whenever 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: 166
Jjk
If a
quick spectator
says,
"Stop!" as
Revealing a Chosen Card
you that card back and
you are about to deal out the fourth are
still all
right. Just glide
card,
pull out the chosen card instead!
THREE HEAPS-THREE CARDS the effect: A selected card— say the Ace 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 of
—and deals them in a face-down row. The spectator then designates one cardsay 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
final
"No." The magician gestures to the card and says, "Then that must be it-
turn
it
replies,
up."
Again, the person
is
saying
"No" when he
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
turns
card (Ace of Hearts) second from the bottom.
we
assume that the bottom card is the King of Diamonds. Lay the pack face down and cut off a small
In this case,
will
Three Heaps
—Three
Cards
A
167
group—about one-third—to the
and a 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 Diamonds) 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 right
chosen card.
he takes an end card, tell him to away and take another. If it's the other
note: slide it
If
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
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 say,
"Is that yours?"
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
The
spectator the choice of any such row. five
cards are dealt so the spectator has a
choice of three, and the three cards. It
he takes one of proves to be the chosen 9 finally,
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 to
proceed to deal the cards face
down
form the following layout: 2
1
7
4
5
6
8
9
10
12
13
14
16
15
You then across,
3
11
17
"Take a row of 5 cards— up and down, or diagonally." Actually, say,
Seventeen Cards
A
169
there are only 4 such rows, consisting of the following arrangements: 1, 4, 9, 14,
17; 2, 5, 9, 13, 16; 3, 6, 9, 12, 15;
7,8,9, 10, 11.
Whichever row
is
taken, the ninth card
(the chosen 9 of Clubs)
is
sure to be in the
But by rushing the choice, you can gather up the chosen row before the average center.
person realizes that
fact.
5 cards:
Then
lay out your
^ * 9
*
*
Again, the cards are face
down and when
you say, 'Take either row of 3 cards," the 9 of Clubs will again be the middle card. Deal
them
in a row: *
g
*
Then, proceed to "force" the center card, exactly as described with Three HeapsThree Cards. When the person turns up the final card, it will be his chosen 9 of Clubs. note: You can use this as a regular discovery of a card taken from the entire pack by simply counting off 17 cards and making sure that the chosen card is among them. Or you can work it as a prediction by writing the name of a card on a slip of paper and letting someone hold it, while you lay out 17 170
A Revealing
a Chosen Card
cards
as
described.
The
predicted
card
is
placed in the center and, after the rest have
been eliminated, the paper is opened and found to contain the name of the card that was finally turned up.
CARD FROM A HAT effect: A card chosen, the
the is pack is dropped into a hat, the magician snaps his finger from beneath, and the chosen card sails out (fig. 47a).
the method: Bring the chosen card
to
the top. In placing the pack in the hat, drop the pack in one section and slide off the top card so
A
it
goes in the other section (fig. 47b).
well-delivered
flip
beneath the side con-
taining the single card will send
through the
it
scaling
air.
fig.
47
CHOSEN CARD
FUP HERE
Card from a Hat
jfa
171
CARD ON THE WALL the effect: The magician throws a pack of cards against the wall. All the cards
the
floor,
card,
to
fall
with the exception of the chosen
which
on the
stays
wall.
This
is
a very
startling climax.
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, as you turn away, press the gum or other sticky substance on the back of the chosen card.
Throw the pack the wall, back
squarely and cleanly against
first; its
weight will cause the
chosen card to stick there, while the
rest fall.
THE CARD THAT FINDS ITSELF A
the effect:
dozen red cards and a
dozen black cards are shuffled in alternating fashion,
the reds face up, the blacks face
down. The performer cuts the packet and turns over the two top cards together. He repeats this a few times, showing how it mixes the cards still further. He hands the packet to a spectator and
lets
him continue
the process. turns his back and
The performer
tells
the
spectator to cut the pack again, adding: "If
the top card
remember 172
it;
down, turn it up and then cut the pack once more. If is
face
A Revealing
a Chosen Card
happens to be face up, simply remember it and turn it face down; anyway, cut the pack." That done, the spectator can resume his former procedure, turning over two cards together, cutting the pack and turning over a new top pair. Finally, he hands it to the performer, who runs through the cards behind it
his
own
back.
Bringing spreads
it
out the packet, face
up on the
the
performer
Reds and are face up
table.
blacks are well mixed, but
all
with the exception of one card.
The
face-
down card is removed from the packet and, when turned up, it proves to be the- chosen card!
the method:
Arrange
nately face up-face
down
the
cards
alter-
at the start. Colors
do not matter, but you put them in red, black, red, black rotation to draw attention from the real secret. Whenever you turn over two cards as one, you change the color sequence, but the face up-face except
when
down
setup
is
not disturbed,
the spectator turns over his single
card.
Receive the pack behind your back with the
left
hand and proceed
thus:
With
the left
thumb, push the top card into the right hand. Turn over the packet with the left hand and push the next card into the right. Go back to
Card That Finds
Itself
A
173
hand and
the original position with the left
another card. Turn the packet over and push off another card. Continue thus
push
off
throughout.
This will bring the cards face
up— with
all
face
down—or
the exception of the single card
that the spectator noted
and turned over him-
self.
presentation: At the
start,
the red packet
can be turned face up and actually shuffled into the black packet, dovetail fashion. If you
miss on one or two cards, simply go through
the double packet and arrange nately face
up and
face
them
down, but
alter-
referring to
"reds" and "blacks;'
Or you can simply
set
them
that
way
to be-
gin with, as long as you stress the reds and
you intend to mix them. In turning over pairs, you can show how sometimes a red and black card are turned over together, or two reds, or two blacks. Make sure that you impress upon the spectator exactly what he is to do* when he continues your procedure, and later stress the blacks
and the
fact that
turning of the single card.
Then
the trick
sure to work.
174
A
Revealing a Chosen Card
is
DOUBLED THOUGHTS the effect: The magician shuffles a pack of cards and spreads it face down, clear across the table, so that two persons, seated or standing opposite, can each take a card.
done while the magician's back is turned and he tells each person to hand his card to the other, so that each will know both This
is
The cards The magician
cards.
are then replaced in the pack.
up the pack and glances through it while the two persons concentrate on their cards. Thanks to their
turns to the table, gathers
"doubled thoughts" the wizard finds
both cards and brings them from the pack. the method: This involves a very clever use of the Divided-Pack principle. At the outset, the magician has the pack separated into
two groups (say reds and blacks) and he keeps them that way with a special shuffle. When he spreads the pack across the table, all the red cards are at one end and all the black cards at the other. So each person naturally
draws a card of an opposite color.
they exchange cards and put red card automatically goes
them back, the
among
and the black goes among the performer easily finds both
When
reds.
the blacks
Thus the
when he
runs
through the faces of the pack. presentation: In spreading the pack, make
Doubled Thoughts
^St
175
sure that the cards near the middle lap,
still
over-
although those near the ends can be
widely spaced.
You
simply state:
"111 spread the pack across the table so
can take a card from your
end"— this
you
to the
person on the left— "and you can take one
from your end"— this is to the person on the right. "But I want you both to wait until my back is turned." Once you have turned away, you say: "You each have a card? All right, look at your card,
remember the table.
it,
it
to your friend across
You each have
Good. Look in
and hand
the other's card?
remember your own end of the pack and at the card,
it,
place
it
straighten
where you put the ones you chose. Then let me know." When the word is given, you turn around, the cards so
I
can't tell
gather the cards together and look through
the pack as though concentrating deeply,
fi-
nally drawing out the chosen cards.
note: Instead of reds and blacks, the two groups may consist of odds and evens,
and non-pointers, or whatever combinations you prefer. pointers
FOUR-ACE DEAL Although
one
tricks, this is really
worth including 176
in
A Revealing
of
the
simplest
of
card
a surprising effect and well
any routine. a Chosen Card
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, he has the spectator move cards from one heap to another until they are equalized.
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. They are kept there during a simple
though
riffle shuffle,
false shuffles
and cuts may be added. After the pack
is
cut
in four heaps, the magician follows a set routine in telling the spectator to transfer cards
from heap to heap. As a result, the magician keeps track of the Aces so that at the finish, there is one on top of each heap.
presentation: Here
is
a suitable routine
which may be varied as required. Get the four Aces to the top of the pack and use the Riffle Shuffle, letting the top cards fall last. False
and cuts may then Aces on top. Then:
shuffles
follow, keeping the
Have
a person cut the pack in half, then
into quarters.
wants, but
we
He may will
in a square, with
set the
heaps as he
assume that he forms them
"A" the Ace heap:
A B C D Four- Ace Deal £k 177
Have him move
C
to
from
C
of
a few cards from the top
D, and then from D to B; then one to A; and a few from D to B or D to
C, whichever seems to balance best. Next, you decide that
D
needs a few more
you have him move three from A to D, one at a time. This puts two Aces on top of D. The other two are still on A. Now move cards one by one from B to C, cards, so
or vice versa, until they just about balance.
You then decide that C needs one more card, so have him move a card from A to C. Now, B looks a bit short, so you tell him to move a card from All
is
D to B.
ready for the climax. Tell
him
to turn
up the top cards of the various heaps and he will be surprised to find that he has dealt himself
four Aces!
What makes is
this
simple trick so effective
the fact that no one expects what
to happen.
They
are thinking in
is
going
terms of
heaps, not Aces. For that reason, never
show
the trick after another Ace Trick. It
trick
makes a good preliminary, however, to a such as The Assembled Aces, which
follows.
178
A Revealing
a Chosen Card
THE ASSEMBLED ACES the effect: The magician deals the 4 Aces in a row, face down. On each Ace he deals 3 more face-down cards. The heaps are gathered and replaced on the pack, which is genuinely shuffled and cut. The magician then deals cards face up until he comes to the Joker, which isn't needed,. so he discards it and proceeds to deal 4 heaps of 4 cards each.
A
person
is
given a choice of a
heap.
That heap
is
turned up and
is
found to con-
tain the 4 Aces!
the method: Simplicity is again the keynote. Have the Joker on the bottom of the pack. Deal 4 Aces with 3 odd cards on each, put the heaps on the pack and cut the pack. This brings the Joker just above that group. You can now shuffle the pack, overhand
about halfway down and simply throw the balance, or bottom half, onto the top. Dealing cards face up soon brings you to the Joker. There you deal 4 heaps of cards, one by one, with 4 cards in each, so that they form a square: style,
B
C
A D Assembled Aces
Jf$
179
Assuming that you dealt them B-C-D-A, the Aces will be in heap A. Now, ask some one to call any number, 1, 2, 3 or 4, so you can count to that heap. If his
"One." saying
from
number If
1,
he takes
C
to
D
you count Always,
tap
2,
"One— two."
If his
4, start at
A
choice
is
and
say,
B
to A,
3,
count
"One— two— three."
B, going to C, D, A,
"One— two—three— four."
off,
Heap
Heap
count from
to A, saying
In the case of as
is
A
is
there are the Aces,
the one turned up and
all
magically assembledl
presentation: At the outset,
you are dealing four separate piles with an Ace in each. After the gathering, the shuffling, and so on, announce that you will again deal four cards, just as you did the Aces, and then deal three more on each— one by one around the square— as you did before. The Aces arriving in a heap together will then be a surprise, although the action is automatic. In undercutting the pack just before the shuffle, draw more than half the cards and put them on the top. The original heaps, with their Aces, only run
so the
down
more you put on
have for your
stress that
to the twelfth card, top, the
more you
shuffle.
After the brief but genuine shuffle, you can follow with a false shuffle and a couple of
180
A Revealing
a Chosen Card
genuine cuts— each about half the pack in
depth—which it
will
keep the pack almost
as
was.
Instead of the Joker, you can use any bot-
tom
card as your "key" and simply stop deal-
ing face-up cards
Joker
is
usually
good reason
when you come more
effective
to
it.
and
But the gives
a
for the halt.
Assembled Aces
A
181
Magic with Coins
8.
Tricks with coins run from close-up effects to
made
in
which coins are
and appear
at the finger tips in
manipulations
showier
to vanish
very surprising style.
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.
become acquainted on which some of the
In this section, you will
with the basic sleights
simpler yet very baffling tricks depend. Here, skill is
needed, as you will see
when the
tricks
themselves are studied. At the same time, the
methods and routines have been kept as simple as possible, so that you can devote yourself chiefly to effect and presentation.
What makes as
much
a
good coin
as dexterity.
You
trick
is
facility,
can't just try a coin
few times and expect to impress audiences with it, because it is apt to seem slow trick a
and laborious when done that way. Just picking up a coin can be a clumsy action, as you may have found out when trying to make change in a hurry. So the first step in coin magic is to learn to handle coins with a light, easy touch: spin them, flip them, jingle them, toss them from 182
Jft
Magic with Coins
hand
to hand, until
you have a thorough feel of them. That gained, you will find that the simplest coin tricks can be made impressive.
HOW TO
PALM A COIN
Here are three basic ways of "palming" or concealing a coin in the hand,
and manipulations. The
various coin tricks easiest
useful in
all
and most quickly acquired
the
is
fol-
lowing:
the finger bend: As the name the coin into the
is
implies,
either placed or allowed to slide
bend of the
which are closed there (figs. 49a and
fingers,
sufficiently to retain it
b).
The
position of the
hand
holding the coins in the forefinger
is
is
natural
and by
last three fingers
free to point at the other
the
hand or
otherwise direct attention elsewhere.
The several
Finger Bend coins
is
particularly useful as
may be palmed
b FIG.
How
to
one time
at
c
49
Palm
a Coin
A
183
FIG.
through this method.
50 It
has the added advan-
tage that the inside of the
hand can be
shown in casual fashion the thumb palm: In
tially
method, the coin
is
in the fork of the
(fig. 49c).
this
excellent
concealed by gripping
thumb
enables the magician to
hand with
(fig.
it
50a), which
show the back
of his
fingers partly open, in a natural
that seems to
par-
make concealment
way
impossible
(fig. 50b).
There are two ways of attaining this position. One is to place the coin on the tips of the first two fingers (fig. 50c) and bend them 184
A Magic
with Coins
inward, pressing the coin into the root of the
thumb over
The thumb then
5od).
(fig.
and clamps the coin
into the
swings
palm
posi-
tion (fig. 50a).
The
other
way
is
between the
first
two
that
manner
to clip the coin edgeways fingers, exhibiting it in
5oe).
(fig.
The
fingers
then
bend inward, running the edge of the coin along the thumb (fig. 5of), which is then brought upward and inward to clamp the coin in the
thumb fork
Note that
(fig. 50a).
in this final action, the
gives the coin a turnover. is
"heads up"
gers, it will
in the
be
thumb
That
is, if
thumb
the coin
when
clipped between the
"tails
up" when
finally
This half turn
fork.
is
fin-
palmed
essential
to the palming action.
the
standard
the coin
is
palm:
So-called
because
actually gripped in the
palm of
fig. 51
How
to
Palm
o
a Coin
A
185
the hand
one of the oldest and at the same time one of the best of palming methods, well worth the practice necessary to acquire
itself, this is
it.
To make is
the
Standard Palm,
coin
the
placed on the tips of the two middle fingers
The hand
51a).
(fig.
upward
is
then turned back
51b) and the fingers are simul-
(fig.
taneously bent inward so that they bring the
balanced coin up into the palm of the hand (fig. 51c)
The
and
coin
press
it
there.
retained in that position
is
by
palm so that the coin is pressed between the base of the thumb and the opposite portion of the hand (fig. 5 id). The back of the hand may then be shown with thumb and fingers extended in a natural
contracting
fashion
(fig.
stretched
which
is
in
5ie), but they should not be
an awkward
spread,
"starfish"
apt to be a giveaway.
Though
may
the
easy to follow, the Standard
prove very
difficult for
some people
master and long, assiduous practice sary before the
hand
finally gains
muscular knack. Others find
Palm
it
is
to
neces-
the proper
quite natural,
but in either case, it is surprising how much the process can be improved by constant repetition.
As the 186
A
ultimate, the coin can be
Magic with Coins
all
but
thrown into the palm by one smooth, easy, action of the fingers. is
While the
required
still
being attained, the beginner can rely on
the palming methods previously described.
COIN VANISHES Vanishes are frequently used in coin routines and require proper timing and good misdirection as
simplest are
much as digital skill. Some among the best.
of the
SIMPLE VANISH the effect: A coin is shown in the right hand and is apparently placed in the left. When the left hand is opened, the coin has vanished.
The method: Stand facing the audience, but turn the body toward the left as the right
fig.
52
Coin Vanishes
Jf%
187
hand approaches the left. On the way, the right hand palms the coin and the left hand though receiving it. With the Finger Bend, the coin
closes as
the right fingers at the outset, so
lying
is
it is
on
simply
downward toward the left palm (fig. 52a) and drawing the right hand away as the left hand a matter of turning the right fingers
closes.
With is
Thumb
Palm, more of a sweep necessary, the right hand palming the coin the
while on
way
its
to the
fingers of the right
left.
The
first
hand should be pointing
almost directly away from the audience they are laid on the
two
left
hand, which
is
when held
palm upward.
The
left fingers close
hand
over the right fingers
from a horizontal to a vertical position, apparently drawing the coin upward from the right finger tips
and the
left
is
raised
(fig. 52b).
With
the Standard Palm, the coin
in the right is
hand
as
it
moves
palmed
to the left, but
naturally hidden in the action. So the right
hand
pauses, or
moves inward toward the body
as its finger tips graze the left left
as
is
hand
closes
its
fingers
palm, while the
and moves away
though receiving the coin (fig. 52c). note: All these moves should first be
188
A Magic
with Coins
tested
by actually placing the coin
hand, so that
when
the vanish
is
in the left
performed,
the process can be imitated exactly. sionally, a coin
may be put
in the left
and shown there, then taken by the which proceeds with the "vanish."
Occa-
hand right,
THE THROW VANISH
fig. 53
the effect: forth from the finally retains
A
coin
right
it.
hand
With
and which
tossed back
is
to the left,
a rubbing motion, the
hand causes the coin to vanish. the method: Face the audience and toss the coin from the fingers of the right hand to those of the left (fig. 53a) and back again. Continue this a few times and finally turn the body toward the left, retaining the coin in the finger bend of the right hand while the left fist
left
closes as
In this
The
though receiving it (fig. 53b). case, the hands never come together.
repeated tossing of the coin creates the
illusion that
it
was given a
Coin Vanishes
final
—Throw
throw from
Vanish
Jf%
189
the right hand to the
The
neat part of
can be done either way. body can be turned to the right, with the
this vanish
The
left.
is
that
it
hand making the pretense of a final toss and the right hand closing as though it has left
received the coin.
THE FRENCH DROP
the effect: Here, a coin is held in one hand and apparently taken away in the other, from which it immediately vanishes. Known also as
the Tourniquet, this
is
oldest of vanishing sleights, but
one of the still
very ef-
fective.
the method: Hold the coin at the tips of the left thumb and first two fingers, which are pointed upward, the coin being in a flat
or horizontal position (fig. 54a).
The 190
Jf$
right
hand approaches the
Magic with Coins
left,
back
.
upward, and the right thumb
is
inserted in
the space beneath the coin, the right fingers closing over the coin in a forward motion, as
away (fig. 54b) At that moment, the left thumb slightly and the left hand is given though taking
it
lifted
is
down-
a
ward, inward turn toward the body, with the result that the coin actually falls into the
bend
of the left fingers (fig. 54c) while the right
hand apparently
takes
it
finger points to the right
coin
is
along.
The
left fore-
hand from which the
vanished.
note:
It is
not necessary to keep the backs
of the left fingers toward the audience
when
beginning the French Drop, although this a
is
common
mistake.
thumb should be pointed
the
Instead, directly
right
toward the
spectators, so that the right fingers cover the fall
of the coin into the
bend of the
left
hand.
THE FALSE DROP This
is
a very effective vanish that starts
out like the French Drop and ends with a real surprise.
This involves a brief sequence of
simple but effective moves.
the effect: The right hand takes a coin from the left and immediately opens, showing that the coin has vanished. The left hand is then shown empty and both hands are disGoin Vanishes
—False
Drop
A
191
and back, with no
played, front
sign of the
vanished coin.
the method: This starts like the French Drop, but the left hand is held with the backs of its fingers toward the audience. As a result, the right thumb moves beneath the coin from right to left (fig. 55a).
At
this point, the left
do not
release the coin,
so that
it is
perfectly concealed close as the coin
The
right
but
tilt it
fingers
backward,
clipped at the back of the fork
thumb
of the right
thumb and
(fig. 55b).
by the
right fingers,
is
which
secretly taken away.
is
hand
This move
is
now swung upward and
over to the right, while the left side of the
body
turned toward the audience
is
the left
hand pointing
closed in a loose
the right
fist.
(fig. 55c),
to the right,
In following
which its
is
curve,
hand constantly keeps the coin from
sight.
The
right
hand
is
now opened and shown
empty, the coin being concealed behind the
thumb
The
hand is then turned toward the audience and is spread wide to show that the coin is not fork of the
(fig. 55c!).
left
there.
As a final touch, 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
•>
d (AUDIENCE'S VIEW OF c)
fig.
rests idly against
gers extending
back of
The
below the
it (fig.
right
the right palm, the right
55
left fin-
hand and up
in
55e).
thumb
is
then
lifted slightly, re-
from the back grip. The coin drops down into the bend of the left fingers
leasing the coin
Coin Vanishes
—False
Drop
A
193
and is retained there. The back of the right hand is promptly turned toward the audience and the left forefinger points to the right hand (fig. 55g). (fig. 55f)
During the dropping of the coin (fig. 55f) a slight upward motion of the hands, accompanied by a backward tilt of the note:
right, will
right
help cover the secret action.
thumb should be
lifted, in
relaxed, rather
The than
order to release the hidden coin.
MULTIPLE COIN VANISH the effect: Several coins are transferred from the left hand to the right, or vice versa. The hand which takes the coins is opened and the coins have vanished. the method: This is merely an adaptation of a single coin vanish applied to several
coins at once. Either of the following
two
methods may be used: with the French drop: Instead of a single coin, use a stack, but hold them loosely spaced between the left thumb and finger tips (fig. 56), and not as a solid stack.
When the right hand apparently takes away the coins in French-Drop fashion, they
fall
with a pronounced jingle into the bend of the left fingers,
as
the sound being exactly the same
they were clinked together in the right
if
hand. 194
A Magic
with Coins
fig.
57
WITH THE SIMPLE FINGER-PALM VANISH: The left hand lays the coins in overlapping fashion on the right palm, toward the heel of
the right hand, or the right hand
itself shifts
the coins into that position (fig. 57a).
The
hand then apparently dumps or
right
pours the coins into the
left.
Actually, they
bend of the right fingers, the back of the right hand being turned toward the spectators, while the left hand is cupped as though receiving them (fig. 57b). At this point, the right fingers are slanted downward, with the left fingers curled up in fall
into the
Coin Vanishes
—Multiple
Coin Vanish
A 195
front of them. Again, the jingle creates the
impression that the coins have been trans-
from one hand to the other. The left fist closes and moves away (fig. 57c), as though containing the coins, while the right retains them palmed in the bend of ferred
the fingers.
THE SLEEVE VANISH the effect: A coin is laid flat on the left hand, which may be held palm up or back up as preferred.
The
right fingers take the coin
with a plucking sweep and the coin later vanishes
from the right hand.
the method:
Actually,
the
two middle
hand provide a short but quick snap that skims the coin up the right
fingers of the right
sleeve (fig. 58).
This
may be
difficult to
but once the knack
becomes not only
is
perform at
first,
acquired, the sleight
natural,
but almost auto-
matic.
Snap the coin cleanly, rather than too hard, and keep the wrist about level. If the shirt sleeve impedes the coin, roll it up inside the coat sleeve.
Since skeptical spectators usually claim that a vanished object
went "up your
sleeve,"
it is
not good policy to indulge in "sleeve work" 196
Jf$
Magic with Coins
regularly. ever, in its
The
Sleeve Vanish
is
connection with certain tricks
occasional use
THE
howwhere
valuable,
is justified.
SPIN VANISH
the effect: Start a coin spinning on the table by snapping it upright between the thumb and second finger. While the coin spins, the hand swoops down and grabs it, taking it away in the fist. The coin then vanishes from the clutched hand. the method: This is another form of the Sleeve Vanish, but the fingers sweep the coin
fig.
Coin Vanishes
59
—Spin
Vanish
Jf%
197
while sleeve.
coin
it is
spinning, thus
Oddly, this
flat,
is
skimming
easier
it
up the
than sweeping the
as the clutching action supplies the
necessary impetus
and the spin helps the coin
to skim (fig. 59).
However,
it
can only be performed
when
and the hand must be given a slight lift as it makes the clutch to allow sufficient space between the wrist and the sleeve. Again, the knack must be acquired
seated at the table
with practice.
SIMPLE COIN PRODUCTIONS The
production of a coin at the finger tips
an excellent effect and is easily accomplished from any of the "palm" positions. from the finger bend: Simply push the coin up with the thumb until it comes above the second knuckle of the forefinger, which should be almost directly toward the audience.
is
By moving process
the hand upward during the
and bringing
it
to a sudden standstill
be
at the finish, the coin's appearance will
was plucked from the air. Several palmed coins can be produced in succession by this method, but sudden, giving the effect that
it
in that case, the start of the push-up should
be slow, to avoid any clicking of the
from the thumb palm: 198
A Magic
with Coins
Bend
coins.
in
the
second finger and lever the coin up against the thumb, which moves the coin slightly inward. This enables the forefinger to press
down
and the fingers are extended with the coin clipped between
on the upper
side of the coin,
them.
By moving
the hand forward and describing
a small spiral during this action of the fingers, their
motion
seem
will
pression that the coin
the im-
slight, giving
is
caught at the finger
tips.
from the standard palm:
hand forward and let the coin drop from the palm to the tips of the second and third fingers, where the thumb presses the coin and momentarily steadies All in the
Tilt the
it.
same
action, the
hand
is
raised
so that the fingers point slightly upward, while
the
thumb pushes
tips of
the
first
two
the coin to the extreme fingers.
other effective productions: Starting from any palm position, a coin may be produced in a variety of ways. Assuming that it is palmed in the right hand, it may be found at the left elbow and drawn into sight from there.
To
accomplish
this,
the right fingers should
be dipped below the left elbow and brought up behind it, while the coin is being worked Simple Coin Productions
Jjk
199
to the right finger tips. are brought slowly
Then
the right fingers
downward, drawing the
coin into sight.
Another effective production is the apparent drawing of a coin through the left sleeve. The coin is originally palmed in the right hand, which moves up behind the left fore-
arm and works the coin behind the
The
to the finger tips
sleeve.
right
thumb then
presses the sleeve
from in front, so the cloth can be drawn taut between the thumb and fingers, which also retain
the
coin
firmly, the right
downward,
in
position.
thumb and
apparently
Still
pressing
fingers are
drawn
the
coin
tugging
through the cloth.
A
be made at the knee, the right hand dipping behind the right knee and letting the coin drop from palm position to the finger tips, where the thumb presses through the double thickness of the trousers cloth from in front, while the fingers slide the coin into sight from in back. Again, the coin seems to emerge from the cloth. similar production can
FROM HAND TO HAND one of the best of close-up coin tricks, easily learned and quite baffling if presented briskly. It may be performed with This
200
is
A Magic
with Coins
any coins, provided they are
all
alike,
but
quarters or half dollars are preferable.
the effect: The magician shows six coins and takes three in each hand. A coin passes from one hand to the other, making two and Again, a coin travels in that magical
four.
fashion, leaving
then joins the
one and
rest,
so
The
final coin
are in
one hand.
five.
all six
the method: The trick starts with the coins in two stacks of three coins each. The right hand apparently puts three coins in the left, but secretly retains one coin and promptly picks up the other stack of three. Thus a coin can be "passed" from the left hand to the right. The left hand is opened, dropping its two coins, while the right hand opens and drops four. This operation is twice repeated, until the right hand holds all the coins.
presentation: Begin with the statement: "Here are six coins, three for the left hand:
one— two— three— ." With each
count, pick up
a coin with the right hand and drop left.
Let the
apart,
ward
first
two
fall
in the
about a half inch
then give the third coin a fling so it strikes
it
downmaking
slight
both the others,
a sharp clink.
Then
on the table, hand pick up the other
slap the left-hand coins
and with the
right
From Hand
to
Hand
A 201
stack of three, saying:
"And
three for the right
hand." After that, slap the right-hand coins
on the
table.
Now,
the right hand again picks up a coin
and drops it in the left hand, as the magician says, "One." But on the count of "Two," the right hand palms a coin instead of dropping it. At the same time, the left hand is cupped slightly, as if receiving the coin. At the count of "Three," the right hand slaps the third coin into the there.
left,
striking the coin already
This causes a repetition of the clink
that was heard before.
The
hand then scoops up the other stack of three coins, adding them to the one it has already palmed. The left hand makes right
a magic pass toward the right.
The magician
comments: "There goes one coin," and the hands are opened, the left hand dropping its two coins. The magician continues, "leaving two here," the right hand dropping its coins, "and four over here." The right hand moves to the left, picks up a coin and drops it on the left hand, the magician counting, "One." It picks up the second coin and palms it, on the count of "Two," and the left hand closes as before. The right hand then gathers its four coins along with the one it holds palmed. Again a coin 202
A Magic
with Coins
is
passed invisibly from the
right,
left
hand
and they are slapped on the
to the
table as be-
fore.
The
right
and palms
hand then
it
up the
picks
last
while pretending to place
coin it
in
the left hand, which closes over the imaginary
The
hand picks up the remaining five and the left hand passes a final coin to the right hand, which spills the coins on the coin.
right
table as the performer states:
have
all six
"And
here
we
coins!"
The Finger Bend this trick, the
is
the easiest "palm" for
placement of the coins in the
hand being similar to the move in the Multiple Coin Vanish. However, with the left
final coin, a
neat switch can be introduced, as
follows: Start tossing the last coin
back and forth
between the hands, with the comment: "It doesn't matter which hand takes the coin. Suppose we leave it in the right"—here the Throw Vanish is executed and the coin apparently goes into the right hand, but is retained in the left— "and take the five coins in the left hand." The left hand picks up the five coins and shakes them with the one it holds palmed, while
the
right,
with
a
throwing motion,
causes the last coin to pass into the
From Hand
to
left.
Hand
Jf$
203
MARCH OF DIMES This
is
impromptu coin production proves the saying, "The closer
a neat,
which literally you watch, the
less
you
the proper conditions,
the effect:
Two
held at the tip of
see/' Presented
it is
under
a real barrier.
dimes are shown, each
thumb and
forefinger,
one
palms toward the spectators, proving that the hands contain nothing else. The hands are brought together, one dime is rubbed against the other, and from between them the magician produces a half dollar! in each hand,
the method: The half dollar is originally concealed in the bend of the right fingers, with the back of the hand toward the audience. The left hand places one dime upright between the tips of the right thumb and forefinger,
while the right
thumb
secretly raises
the half dollar to an edgewise position behind
the dime.
The left hand adjusts the two coins so that when the dime is shown "full front" to the audience, the half dollar projects straight be-
and cannot be seen in the curve of the right thumb and forefinger. Meanwhile, the left hand takes the second dime and holds it in a similar position, this free handling diverting any suspicion from the right hand's dime. Both hands are shown hind
204
it
A Magic
with Coins
briefly,
come
and the
left is
turned so
in front of the right.
The
its
fingers
half dollar
is
then turned broadside toward the audience and "produced" by spreading the hands slowly apart.
When
worked with a spectator directly in front, the closer the right-hand dime is shown, the better, as its concealment of the half dollar is perfect. With persons seated at an angle, a longer range is needed. A slight rotary motion of the hand will make it difficult for anyone to glimpse the hidden coin. As a final safeguard, the second and third fingers may be lowered beside the half dollar and the hand turned slightly leftward as it comes to a pause, thus completely concealing the coin from any angle. With the action, the tip of the right forefinger also turns the
of the dime, keeping
it full
edge
front as the hands
are brought together for the climax.
COIN FROM
WAND
the effect: Here is the real magic touch! You show your left hand empty, touch it front and back with a wand that you hold in your right hand. The left hand is closed, then opened. From it, you drop a half dollar, magically produced!
Coin
From Wand
A 205
the method: from the wand.
The First,
coin
make
comes
actually
a
wand
of tightly
rolled paper, preferably a glossy type,
can be ornamented with
wand should be
silver
at least half
paper
which
tips.
an inch
The
thick.
A
narrow slot is cut near one end, just wide enough to receive a half dollar, edgeways. Pick up the wand from the table, where it is lying with the half dollar away from the audience. With a little practice you will find that you can keep the coin completely hidden,
while holding the
wand
in the right
hand
at
the lower end.
Show
hand empty and tap your open palm with the upper end of the wand, the
left
which contains the coin. Close the left fingers over the wand, which should be turned slightly so the left
hand
takes the coin away. All in
wand from the left hand over, so you can
the same move, draw the fist
and turn the
left
back with the wand. Now, open the left hand and show the half dollar, mysteriously arrived from nowhere— tap
its
certainly
not
from the innocent-appearing
wand!
206
A Magic
with Coins
DOUBLE COIN PRODUCTION the effect: A tap of the wand on your empty left hand and a coin appears from nowhere. Another tap with the same wand and a second coin puts in a mysterious appearance!
the method: This is similar from Wand, but the wand has two at each
end.
one
Two
Coin slots, one to
coins are placed in the
upper end, another at the lower. The right hand holds the lower end of slots,
at the
the wand.
The upper
produced in the left hand, as in Coin from Wand. It is dropped on the table and again the left palm is tapped with the upper end of the wand. But this time, you coin
is
open left palm straight down the wand, and in back of it, closing the left casually slide the
hand
as
it
reaches the lower end.
hand takes the wand coin and all. The left hand is
Tightening, the
from the
right,
left
turned over, frontward, with the
wand
project-
The right hand takes the extended end and draws the wand clear, leaving the coin ing from
it.
in the left hand.
In the same natural manner, the right hand
end of the opened and the half
taps the back of the left with the
wand. The dollar
is
left
hand
is
displayed.
Double Coin Production
A 207
9.
Thimble Tricks
Thimble Tricks form an
excellent branch of
magic, suited as well to the beginner as to the
advanced performer. The appliances— consisting chiefly of the thimbles themselves— are in-
showy when displayed upon the finger tips. The tricks can be worked either at close-up range or on a platform or stage. In the latter case, larger thimbles may be expensive, yet
used, either brightly painted or studded with
imitation gems, giving
The methods
fect.
same,
them
a sparkling ef-
used are essentially the
whether performing before a
small
group or a large audience.
From
the standpoint of "effect," this type
good because the thimbles are made to appear upon the tips of the fingers, where they would ordinarily be worn. When drawn away in the other hand, they vanish, only to reappear back where they belong. of manipulation
is
Multiplication of thimbles adds to the surprise,
sible
and by using colored thimbles it is posto change from one color to another.
Yet the method field
of
sleight
is
the simplest in the entire
of hand,
as
thimbles lend
themselves to manipulation more readily per-
haps than any other objects.
208
A Thimble
Tricks
magic who practices and rehearses a simple but effective thimble routine will find that it is still one of his best numbers, after he has become an advanced and highly experienced performer.
The beginner
in
THE THUMB PALM The most effective way of palming a thimble is
to grip
it
thumb, with the
in the fork of the
opening of the thimble inward. To attain this position, start with the thimble on the tip of the forefinger, as in fig. 6oa.
Then double
the finger inward, guiding the
thimble along the inner edge of the extended
thumb (fig. 6ob). thumb by bringing
Finally, it
straighten
the
to a normal position
alongside the hand, clamping the thimble in
the fork (fig. 6oc).
When
the back of the hand
the audience, the thimble
fig.
is
is
held toward
perfectly con-
60
Thumb Palm
A 209
hand may be shown
cealed and the extended
6od). This should be practiced until the
(fig.
position
acquired easily and almost automat-
without stiffening the thumb or bend-
ically,
ing
is
toe far inward.
it
The thimble can be "thumb palmed" as effectively
by
quite
starting with the thimble
on
the tip of the second Snger instead of the forefinger. It
can also be palmed from the tip
of the third finger, but this
and
is
more
difficult
used only in a few special manipula-
is
tions.
TO PRODUCE A THIMBLE The production tip
of a thimble
on the
finger
accomplished by reversing the palming
is
show clearly that the finger has no thimble on its tip (fig. 6ia). Then bend
process. First,
the finger inward, insert
it
in the thimble
hidden at the base of the thumb) and extend the finger to display the thimble (which
6ib).
(fig. If
is
the thimble
is
slightly larger, or slippery,
the finger can be extended by running the thumb, so that the
thumb can
thimble tightly on the finger tip as
it
along
press the it
passes
(fig. 6ic).
To 210
hide the action of the finger, the hand
A Thimble
Tricks
FIG. 6l
should
start
with a slight rotary motion, back
in toward the body, during
which the
fingers
Then, with a "reach," or outward thrust, the fingers are extended and the thimble makes its sudden appearance (fig. are bent inward.
6id).
PRODUCTION AT KNEE OR ELBOW Here,
sary—in
little
fact,
motion of the hand the
less
the better.
is
neces-
With
thimble palmed and the back of the hand
the to-
ward the spectators, the hand is brought slightly behind the elbow, just enough to hide the thumb and forefinger.
The thimble ger tip
is
quickly brought to the
and the hand
is
fin-
drawn downward,
Production at Knee or Elbow
A 211
with the finger extended as though bringing the thimble from the point of the elbow. similar process is used to produce a thimble
A
from behind the knee.
SIMPLE THIMBLE VANISH the effect:
A
thimble
tip of a right finger. It
the
is
shown on the
apparently placed in
hand, from which
left
is
appears on the right finger
it
vanishes. It re-
tip.
the method: The thimble is thumb palmed in the right hand as it approaches the left, which closes around the tip of the right forefinger and pretends to draw away the thimble (which
The the
is
really
no longer there).
right forefinger stays in sight, pointing to left
hand, which helps the
illusion.
presentation: There are two ways of covering the palming action. One is to stand with the right side toward the audience and bring the right hand toward the
with their backs in view
left,
both hands
(fig. 62a).
hand covers the right, the thimble is thumb palmed in the right hand (fig. 62b). Only a partial coverage is necessary to hide this action, with both hands moving upward in the process. The left hand continues upward when the right pauses, as though As the
left
drawing the thimble from the right 212
A Thimble
Tricks
finger.
FIG.
62 (REAR VIEW) LEFT HAND HIDES
RIGHTS PALMING ACTION
The
way
other
is
to start facing the audi-
ence, then pivot to the
with the right
left,
hand pointing directly toward the open left palm as it pretends to place the thimble there. The right hand palms the thimble during this sweeping action, so that the forefinger closes
is
out of sight
around
it
and
tip of the right
when
acts as
the left
hand
though taking the
thimble.
SWALLOW VANISH the effect: In
this bit of byplay, the per-
former apparently places a thimble in his mouth and swallows it, only to have it reappear on the tip of his finger.
the method: This is a variation of the Simple Thimble Vanish, where the performer faces the audience, showing a thimble on the top of his right forefinger.
Bring the hand upward with a rapid sweep,
Swallow Vanish
A 213
thumb palming same time
the thimble on the way, at the
the hand slightly inward, so
tilting
that the tip of the forefinger
den
as
practically hid-
reaches the mouth.
it
The
is
lips close
over the tip of the forefinger,
and the hand is lowered slightly so that the finger can be withdrawn slowly and visibly from the mouth, as though leaving the thimble there.
A
sudden gulp, a blink of the eyes, and a shake of the head add a comedy touch to the pretended swallowing of the imaginary thimble.
Reach
behind your elbow, and bring the thimble back on the tip of the forein the air, or
finger.
THE FINGER SWITCH This
is
a neat, deceptive
move
that can be
used with either the Simple Thimble Vanish or the Swallow Vanish, adding to the effect
and eliminating the need of an immediate
thumb palm. the effect:
A
thimble
tip of the right forefinger. It
is
is
shown on the removed by the
hand and displayed to the spectators, then replaced on the right finger tip. From there, the thimble is placed in the left hand or the
left
mouth, from which 214
A Thimble
it
disappears.
Tricks
the method: Stand facing the audience and hold the right hand loosely fisted, except for the forefinger which is pointing straight up. The thumb side of the hand should be toward the body.
While the left hand ble, bend in the right
is
forefinger
the second finger instead. of the hand,
no one
Thus the thimble
is
Due
and extend
to the position
note the difference.
will
actually replaced
second
tip of the right
displaying the thim-
finger,
on the
not the fore-
finger (fig. 63a).
Immediately swing the right hand, placing the tip of the forefinger in the
mouth, finger
at the
inward
left
hand or the
same time bending the second (fig.
covers the action
move forefinger may
63b). This sweeping
and the
right
be drawn into full sight, apparently having the thimble elsewhere.
fig.
63
BEND SECOND FINGER IN
THIMBLE STILL ON
EXTEND FOREFINGER
SECOND FINGER
Finger Switch
left
jf$
215
The
vanish follows;
the time the thimble
all
on the tip of the right second finger, safe and unsuspected (fig. 63c). It can be thumb palmed while the left hand is being shown empty, and then reproduced on the is
actually
right
forefinger.
The
of
forefinger,
course,
should be emphasized throughout.
THE TAKE-AWAY VANISH one of the cleanest and most deceptive vanishes in the entire realm of manipulative magic, yet it is so easy that it must be This
is
be appreciated. the effect: A thimble
tried to
tip of the right forefinger,
the
shown on the
which
is
placed in
hand (fig. 64a). The left finclosed and the thimble is removed in
the open gers are
is
left
left fist,
from which
it
immediately van-
ishes.
the method: Stand with right side toward your audience. Close the left fist loosely around the thimble and draw the right hand straight
downward
(fig.
64b),
six
inches or
more, doubling the right forefinger inward,
thimble and
all,
as
it
leaves the left
hand
(fig. 64c).
The
left
hand
is
raised slightly
and turned
back toward the audience, while the right hand thumb palms the thimble and then 216
Jf$
Thimble Tricks
FIG.
comes upward, the
left
empty
its
PALMED
forefinger pointing toward
hand, which
(fig.
note:
THIMBLE
64
is
64d).
The thimble
is
the right finger moves left
hand
opened and shown
(fig. 64c),
actually in view
when
downward from the
but so momentarily that
the spectators do not have time to glimpse
Normally,
it
it.
can be taken away quite deliber-
but at close range or with bad angles a downward snap of the finger will speed the
ately,
take-away and render
it
unnoticed.
Take- A way Vanish
A 217
The
hand draws attention in its direction by its well-timed lift and turnover. By opening the left fingers with a rubbing moleft
tion, the effect
is
conveyed that the thimble
was rubbed away to nothingness. The Take-Away can be worked by having the thimble on the second finger at the
The thimble down swing in
instead of the forefinger.
start,
thumb palmed on the manner already described. However,
can be the
this case it
ble at
is
in
not necessary to palm the thim-
all.
Instead, the right second finger
is
simply
doubled inward and retained that way, while the forefinger points to the left hand. Later, the thimble
may be thumb palmed
or repro-
duced on the tip of the second finger, ably from behind the knee or elbow.
prefer-
TWIST-AWAY VANISH Here
is
and convincing vanish with it on the tip of the
a very neat
of a thimble, starting
right second finger. This tive
is
during a routine where
particularly effecit
is
the middle
thimble of three already produced and on the finger tips.
the effect: Standing with
his right side
toward the audience, the magician spreads his left hand palm front. He shows a thimble on 218
A Thimble
Tricks
RIGHT HAND TWISTED 'PALM AWAY*
-LEFT HAND TWISTED UPWARD
FIG.
65
the tip of his right second finger and brings the right hand, palm front, up in back of the left,
so that the second finger can dip
into the left palm,
down
displaying the thimble
there (fig. 65a).
The
left fingers close
around the thimble
and both hands are rotated in deliberate fashion, the left hand twisting upward, while the inward toward the body. The left hand literally seems to "twist away" the thimright turns
The
ble from the right finger (fig. 65b).
left
hand makes a squeezing motion, then opens, and the thimble is gone! the method: The thimble never leaves the right second finger.
The
"twist" leaves
it
left
thumb
Twist-Away Vanish
A 219
doubled into the right hand, the
being kept loose enough for the tip of the right second finger to pass by. While the left
hand
vanishing the thimble, the right hand either points with its forefinger, or thumb is
palms the thimble so that all the right can be extended (fig. 65c).
fingers
EIGHT THIMBLE PRODUCTION This
is
the most spectacular of thimble
routines, a complete act in
itself. It
panded
introducing
as
desired
by
can be ex-
changes, penetrations, or other effects.
color
It is de-
tailed here in its basic form.
the effect: The magician reaches into the air and produces a thimble on the tip of his right forefinger. left
The thimble
hand, from which
appear at the
left
it
is
placed in the
vanishes, only to re-
elbow. After a few more
vanishes and reappearances, the thimble
is re-
placed on the right forefinger and another
thimble suddenly appears on the second
fin-
ger.
In the course of more manipulations, additional thimbles appear fingers,
on the
third
giving the magician a
and fourth
"full
hand."
Then, in rapid succession, thimbles appear one by one on the tips of the left fingers, so that the magician is showing eight in all. 220
A Thimble
Tricks
the method:
Beforehand,
are placed as follows:
One
four
change
in the right
pocket of your jacket, or wherever
else
it
may
for
immediate production; one at
left side of
the shirt collar, tucked out of
be obtained the
thimbles
sight beside the neck, the opening of the thim-
ble upward; one, similarly placed, at the right
one hidden in the left trousers cuff, which can be "tucked" from the inside with a small safety pin, to form a compact pocket from which the thimble can be easily drawn by inserting the finger. Four other thimbles are tucked up beneath the performer's belt on the left side of the body. These thimbles are arranged in a row, with their openings down. Instead of this, a special thimble holder may be used and placed in a convenient position under the coat. side of the shirt collar;
In making the "one-to-eight" production,
the magician secretly obtains the
first
thimble
from the change pocket and catches it on his right forefinger. During a series of vanishes and reproductions, he brings out the next three thimbles as though each was the original making
its
reappearance.
Finally,
when
the right hand
is
flashing four
thimbles, the left fingers obtain the second set of four from the belt or holder.
sequence for
all
these
moves
is
A
suggested
given in the
presentation that follows.
Eight Thimble Production
A 221
presentation: In pocketing some object, secretly obtain the first thimble and thumb
palm
it
With your
in the right hand.
right
side toward the audience, reach in the air
produce the thimble on the
and
tip of the right
forefinger.
Vanish the thimble by apparently placing it in your left hand, but palming it in the right, the Take-Away Vanish being the most effective method. Reproduce the thimble on your right forefinger under cover of your left elbow. Vanish it again and produce it from beneath the right knee. Face the audience and vanish the thimble by pretending to swallow it, actually palming it
in your right hand.
body your
slightly
Turn the
left side of
the
toward your audience, and dip
left forefinger into its side of
the shirt
and bring out the thimble hidden there, as though it were the original thimble. Turn your left side more toward the audience and extend the right hand, keeping its back toward the spectators. Pretend to "push" collar
the left-hand thimble into the right elbow, actually palming
it.
Show
the left forefinger
bare and simultaneously produce the right-
hand thimble on the tip of your right forefinger, as if it had traveled invisibly along the right arm.
222
A Thimble
Tricks
Pivot your body so that the right side
is
toward the audience, swinging both arms clear across in
pendulum
fashion.
You
are
now
set
to repeat the "along-the-arm" deception, only this
time the right forefinger "pushes"
its
elbow and the left hand reproduces its thimble on the tip of the left forefinger. The backs of the hands are always toward the audience. The left thumb and second finger remove the thimble from the left forefinger. They place it openly on the right forefinger. The right hand then reaches into the air and catches a "new" thimble (actually the original) on the tip of the second finger, so that the right hand now has two thimbles. The thimble from the right forefinger is now placed in the left hand, from which it thimble into the
left
disappears, actually being retained in the right
hand by the Take-Away. The
right forefinger
goes to the right side of the shirt collar and brings out the thimble.
Now
the right hand displays two thimbles,
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, making three in all. (If you prefer, 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 palmed thimble on the tip of the right forefinger.)
Again, the right hand apparently places a
thimble in the
The thimble and the sers
is
left,
actually palming
vanished from the
it itself.
left
hand,
right dips a finger into the left trou-
cuff,
bringing out the thimble that
is
waiting there.
The
left
hand now moves
the right forefinger to the right
This
from
a thimble
little finger.
frees the right forefinger for the produc-
tion of the fourth thimble. In catching this
thimble, the right
final
hand should
either
reach high, or dip toward the left ankle, while
the right side
is
turned directly toward the
audience.
In either case, this somewhat exaggerated
move
attracts
while the
attention to the right hand,
left brings its fingers
up beneath the
and obtains the four thimbles that are waiting there, one on each finger tip. With that, the body is pivoted so the left side is toward the audience. The right hand is turned palm front, its fingers extended wide apart, each with a thimble on its tip. The left hand then swings upward, its back toward the belt
audience, fingers doubled inward, out of sight in the hand.
Then, one by one, the
left fin-
gers are extended in front of the right hand,
showing a thimble on each 224
A Thimble
Tricks
left finger tip.
This
should be done rather rapidly, adding an
ele-
ment of surprise to the production. As each finger is extended, the left thumb can move to the tip of the next finger, pressing its
thimble firmly in place as the finger
is
ex-
tended.
thimble holders: The placement of the various thimbles is purely arbitrary, some performers preferring to place
them
in the out-
watch pocket of the or even better, beneath the coat la-
side breast pocket, the trousers, pels.
A
simple holder for a single thimble can
be arranged with a small safety pin and a large paper clip, the thimble being placed on the short end of the clip, where it will slide free when the finger is inserted. This may be fastened beneath the coat lapel.
»J ==S=** PAPER CUP SHIRT
FRONT
INSERT FINGER AND PUSH INWARD
FIG.
V
66
Eight Thimble Production
A 225
Another neat production
is
from behind a
necktie, a paper clip being attached to the shirt front, finger,
thimble and
the thimble
is
By
all.
easily
ing the clip in place. This
is
inserting the
pushed
free, leav-
shown
in fig. 66.
For the production of the four additional thimbles in the left hand, many magicians prefer a special holder because it is safer and easier to handle than drawing thimbles from beneath the
A strip
belt.
good holder can be made by covering a of cardboard with cloth on both sides,
then sewing four upright paper
clips to
it,
so
that they form a row, sufficiently spaced to
on each clip. The thimbles are set mouth downward, so that when the fingers are inserted a slight upward slide will free them from the clips, fig. 67 shows a place a thimble
thimble holder of this type.
The
holder
is
attached inside the coat with
safety pins at the corners
quired.
One
left edge,
and
suitable position
which enables the
as otherwise reis
left
at the lower
hand
to drop
away from the audience, while the right hand is catching its fourth thimble. The left hand obtains its thimbles at naturally at the side
that time.
Another plan
is
to set the holder edgeways,
so that the thimbles are in a vertical row, just
226
A Thimble
Tricks
V-
PM SEW SLIDE THIMBLE DOWN OVER SMALLER LOOP Of CUP
PUSHUP
FIG.
67
below the inside pocket. While the right hand is
catching the fourth thimble, the left
hand
and makes the
steal.
slides
inside the coat
Whether
the thimbles are tucked beneath
the belt or kept in a holder,
row of
to have a
Then
there will be
it is
a
five instead of
no fumbling
if
good plan only four. the fingers
meet the rims of the thimbles instead of the openings. either
A
shift
way and you
your finger
of a fraction of an inch will
have four thimbles at
tips.
COLOR-CHANGING THIMBLE the effect: the
left
fist,
A
red thimble
where
it
thimble. Again, the left
is
placed in
changes into a blue fist is
closed
Color-Changing Thimble
and the
A 227
.
blue thimble
is
pushed into
it.
When
the left
hand is opened, the thimble is red again. the method: Show a red thimble on the right second finger. A blue thimble is on the right forefinger, which is doubled into the hand so that it is hidden as you stand with your right side toward the audience
With places
(fig.
a sweeping motion, the right
its
forefinger in the left
second finger being doubled. this switch
is
fist,
68a)
hand
the right
Done
rapidly,
never noticed (fig. 68b and c).
By pointing the fingers toward the right hand itself helps hide Both hands are
the left hand, the maneuver.
raised to the vertical; the
drawn downward and the left fist is opened, the left hand displaying the blue thimble between thumb and fingers
right forefinger
(fig.
is
68d).
a
t>
FIG.
228
A Thimble
68
Tricks
Now ble
the left hand replaces the blue thim-
on the
right forefinger.
The
left
Color-Changing Thimble
hand
is
A 229
turned forward and downward to show
back
and during the
(fig. 68e),
right second finger
its
action, the
extended into the left hand, which secretly draws away the red thimble (fig. 68f). into a
fist,
The
is
left
hand promptly
closes
containing the red thimble.
The opening
of the left
fist
is
turned
di-
toward the audience and the right hand shows the blue thimble (fig. 68g), then thumb palms it in approaching the left (fig. rectly
68h). In the same move, the right forefinger is
poked into the
left fist,
apparently pushing
the blue thimble there (fig. 68i).
This time, when the
left fist is
opened, the
red thimble has replaced the blue (fig. 68j). At this final stage, all fingers of the right hand
can be shown. The right hand takes the red thimble and pockets it, dropping the blue thimble along with
230
A Thimble
it.
Tricks
Mental Mysteries
10. This
perhaps the most "modern" type of
is
magic, although feats of mental wizardry have art.
This
should be quite apparent to you, because
many
long been part of the magician's
of the tricks described in earlier sections, particularly
some with
cards,
have been mental in
effect.
The
effects to follow are
more
strictly
of
the mental type, the chief difference being that mental mysteries are presented liberately
and with
greater stress
more deon detail
than other branches of magic.
The whole tempo
changes. Quickness, dex-
comedy, and even the ordinary element of surprise are generally eliminated. Rather than a "trick/' you are presenting a "problem" which should astound the mind, not just terity,
deceive the eye. Naturally, there
is
no reason to take
this
too seriously, although some performers do.
It
depends chiefly on whether you are using mental mysteries as part of a magical program, or as a presentation of their own. If you are
doing them as magic, work them
fairly rapidly,
you would another trick. If you prefer to do a mental act, adopt a more serious style. as
Mental Mysteries
A 231
TAP THE NUMBERS the effect: Seven square cards are shown, each bearing a different number between 1 and 20. A person notes a number and the cards are laid face down in a circle. The magician taps the cards in random fashion, while the chooser spells his
by
number
mentally, letter
letter.
Thus, for instance, he
V-E," and on the
The cardboard
final letter,
square
amazing coincidence
is
"T-W-E-L-
spells
he
says,
"Stop!"
turned up and by an the one that bears
it is
the mentally chosen number, in this case, 12!
Each number is spelled with a different number of letters, so that the count works automatically. The numbers are as follows: 2 (T-W-O); 5 (F-I-V-E); 7 the method:
(S-E-V-E-N); 11 (E-L-E-V-E-N); 16 (S-I-X-T-E-E-N); 13 (T-H-I-R-T-E-EN); 17 (S-E-V-E-N-T-E-E-N). In forming the
circle,
the cards are
ar-
ranged as follows: 2
Make on the 232
the
first
7
*3
16
11
*7
5
two taps on any
third hit the 2, so
A Mental
Mysteries
if
cards,
but
the chooser
is
spelling
"T-W-O"
completes his card.
he will say "Stop" as he spelling and you will turn up his
clockwise fashion,
more
jump two cards in hitting 5. Then jump two
For the next
tap,
on around the circle, so you automatically turn up the right number on the word "Stop." to 7
and
so
showing the cards, speak of numbers only, with no mention of spelling. Just say, "Here are some cards with numbers from 1 to 20"—here you run through them, numbers up— "and I want you to take presentation:
In
remember it and mix it with the rest, numbers down." You hand him the cards, numbers down, so he can do this, while you turn away, then one, look at
it,
reach for the cards, saying: "Let cards so
I
number and no your thought.
.
other. .
.
.
.
.
.
.
.
just that
Fll try to catch
Now, I have it!"
don't have
circle in
have the
can go through them while you
keep thinking of your number
You
me
it,
but you have
the correct order.
You
set
your
continue: "As
want you to spell your number mentally, like 'O-N-E' for l-or T-E-N' for '10'—and on the last letter, say "Stop/" Tap slowly, as though concentrating deeply. I
tap the cards,
I
This allows time for the
jumping two
cards,
spelling. Instead of
you can move diagonally
Tap
the
Numbers
Jf%
233
though describing a sevenThis amounts to the same as
across the circle, as
pointed
star.
jumping but appears more
like a
random
proc-
ess.
PAIRED THOUGHTS This
is
an excellent follow-up to Tap the
Numbers because
it
utilizes
the same cards,
but with an entirely different result. Again, its climax is a surprising mental "coincidence."
the effect: Six cards, each bearing a number between 1 and 20, are mixed and dealt in a circle, with the numbered sides downward. A spectator is given the choice of any card, which he takes without showing its number. Behind his back, the magician draws two cards from the remaining group, then another pair. He hands the odd card to the spectator. When the two pairs are turned up, their numbers both add to the same total, exactly 18. The spectator looks at his two cards and they, too, add up to 18, completing the trio of paired thoughts.
the method: The cards used bear the numbers 2, 5, 7, 11, 13, 16. (This means eliminating the 17-card used in the
Tap
the
Numbers routine.) They are gathered face down in the following order, from the top down: 234
2, 7, 13, 11, 5, 16.
A Mental
Mysteries
They are then
dealt in
two heaps,
left-right-
each card going on the
left-right-left-right,
one dealt before, all with the numbered side down. The left heap is then placed upon the right heap.
Now
deal the cards in three pairs.
The
second pair of cards should be more widely separated than the pair should
and appear
be
first pair,
closer together
than the second,
same distance apart
at about the
as the cards in the
while the third
first
pair.
The diagram
below indicates the proper position for each pair of cards.
A A
5
B
B
13 16
2
C C
11
7
(A-A, B-B, C-C) actually add to 18 each. When someone takes a card, you pick up the other pairs together and drop the odd card on top. For example, someone takes a "B" card. You pick up A-A, putting one on the other, then C-C, finally drop the odd B on top. Put them behind your back, bring out the two bottom cards (A-A) and lay them face up, showing that they total 18. Bring out the next pair (C-C) and turn them up; again they total 18. Hand the odd card face down to the spec-
The face-down
pairs
Paired Thoughts
A 235
tator
pair
and let him match (B-B) also totals
it
with his own. His
completing the
18,
"coincidence."
presentation:
Tap
sequel to
When
using this trick as a
the Numbers, gather the cards
Put number 2 down on 7 and place them both on 13, then put 11 down on 5 and put them both on 16. Remove 17 before you start, or push it aside, since it is not as follows:
needed.
The
cards are then set for the deal as
described.
When
working Paired Thoughts as an individual item, you can lay the cards in two rows, as follows:
2
13 16
7
11
5
sum
of
different:
2
Call attention to the fact that the
each pair (top and bottom)
and 11 equal equal 29.
equal 12; 13 and 16 gather them by placing 7 on
13; 7
Now
is
and
5
"Seven and two are nine/' Put 13 saying, "Thirteen and seven are twenty."
2, saying,
on
7,
Then put
on 5, saying, "Five and eleven are sixteen." 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 dif11
ferent total."
That
Now
is
the case, as you have just shown.
turn the cards face down, deal
two heaps and gather them 236
A Mental
Mysteries
them
in
as described, pro-
ceeding through to the
adds up to the same
finish,
where each pair
total.
FACE-CARD FANTASY This intriguing effect can be presented either as a test in psychology or as a mind-
The result, however, is same: You name a card which a person
reading experiment.
the
has mentally selected from a group of four;
what is more, you can do it without fail! the effect: The magician spreads a fan of four face cards and asks someone to concentrate upon one card alone. The magician puts the cards in his pocket, then brings out three of them, one by one, keeping their backs
toward the audience.
As he reaches into
his pocket for the fourth
card, the magician asks the spectator to
name
the card he chose. Whatever the card, say the Jack of Clubs,
magician
now
it
is
the very card that the
brings from his pocket;
and he
immediately shows the faces of the other three cards to prove that
all
are different, with
duplicate of the chosen card
no
among them.
the method: The four cards originally shown are, preferably, Jack of Spades, King of Hearts, Jack of Clubs and King of Diamonds, the similarity of the faces of Jacks and Kings being helpful.
Face-Card Fantasy
A 237
In his pocket, the magician has three other face cards, King of Clubs, Jack of Hearts
and
King of Spades, which he has placed there be-
He
forehand.
brings out these three "extras/'
and when the person names the mentally lected card, the magician simply counts to
and draws
it
from
presentation:
seit
his pocket.
Show
the original four cards
you comment: "Here are four face cards, taken at random from the pack. 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. Do you have a card?"
as
At
this point, start shifting the cards in a
shuffling
fashion,
turning the faces toward
yourself as though trying to guess the chosen card.
This enables you to put them in a fixed
Diamonds, Clubs, Hearts, Spades. Then, with a nod, you add: "I have it. But keep concentrating, while I put the cards in order; say,
my
pocket." Placing the cards in your pocket
you continue: "This .
.
.
nor this one.
.
isn't it .
."
.
.
.
nor this one
Bring out the extra
cards one at a time, but keep their faces to-
ward you
as
you transfer each card to the
other hand.
You then so
tell
238
"That leaves only one card, everybody what it is, so they can see
Jf$
say:
Mental Mysteries
for themselves
whether
As the person names in the pocket
it is
the card
his choice,
I
kept."
count down
(Diamonds—Clubs)
or
upward
(Spades— Hearts) to obtain the correct card, saying: "I hope this is it"— here you draw out the card slowly, but without hesitation— "in fact it should be your card"— here turn the three "extras" face toward the audience— "because your card isn't one of these; so this must be it!" Turn the card toward the spectators to prove
it.
alternate routine: Use a fifth card, the Jack of Diamonds, but place it in front of the others so it is the most conspicuous card of the
Have them
five.
in their final order, Jack
Diamonds, Jack of Spades, King of Hearts, Jack of Clubs, King of Diamonds. Instead of of
shuffling the cards, simply close the fan after
the person makes his choice.
Then
some other you comment: "Ex-
turn to your right, letting
persons see the cards, as
cards— and
one has been selected mentally." You can spread the fan slightly, but
actly five
just
in the opposite direction, so that the only card
which
with these people
"registers"
is
the
Jack of Diamonds.
Put the
five cards in
your pocket (above
the extras) but retain the Jack of
and bring
it
Diamonds
out immediately, saying to the
Face-Card Fantasy
A 239
.
"Don't tell me the name of your card— yet. Just answer one question: Did you
chooser:
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
take the Jack of
You then
the original chooser: "Forget
tell
the Jack of Diamonds. We'll eliminate it—
along with three more cards— until just
one card
name
left in
we have
the pocket—your card— so
it!"
While
speaking, you proceed with the usual
routine of removing the three extras and bring-
ing the is
named
called.
card from the pocket after
This version gives you a more logical
reason for asking the
name
of the selected
card; also, with five cards there
of
it
someone
is
less
realizing that the cards
chance
shown
the conclusion of the trick are actually
at
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 belong 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 example: a key and a cigar; a penny and a match pack; a watch and a pencil; a ring and a cigarette pack; and so on. Similar articles can be used, such as coins of different value, cigarettes of different brands, keys of different
shape, provided there
enough variance so
is
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
form
more or
four
less
cross-rows
at
random,
with
five
until they
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
person with the same query. be:
"Both
turns to another
The
reply
might
in the fourth row." Again, the per-
former picks out the chosen
pair.
He continues
he has identified each pair of objects. the method: The pairs, although they appear to be placed at random, are actually until
Ten Pairs
Jf$
241
Looking at the center you imagine that you see four
set in a special order.
of the table,
words spelled in big
letters:
T
A
R
O
E
N
D
E
I
O
N
I
T R C
S
C
A
D
S
Place the
first
on each imand A, R and R,
pair of objects
aginary T, then a pair
on
A
O
and O, and so on, right down the line. These words: tarot, ender, ionic, scads, contain ten pairs of letters, all forming different
combinations, as far as the four rows are concerned.
Thus, when you ask someone which rows
he
and 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 remaining pairs. contain his objects,
presentation: ter
It
says,
"First
does not particularly mat-
whether you work
memory
if
this as a
mind-reading
both puzzling 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 feat or a
they
is
are.
You then 242
stunt. It
Jfk
start placing
Mental Mysteries
the pairs yourself,
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
pairs differently.
always good to lay out the
One way
is
to change the
order of the words, which varies the procedure
somewhat. mulas in
It is still better to
for-
you can switch to them two such arrangements:
reserve, so
Here
instead.
have other
are
MOTOR H E E R N I N T H S
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
Originally, this trick
D
was done with playing
cards instead of different objects; effective
when performed
it
is
still
that way. Simply
pack and deal 10 pairs of cards, face down, letting a different person glance at each
shuffle a
pair
and remember
The
pairs are
it.
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 Here
is
objects seen
AND SAUCER
mental mystery with ordinary
a
on every
table,
lent dinner-party stunt.
and
making
The
it
an
excel-
items used are a
two dozen lumps of 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 cup, dish
we
convenience,
Andy,
the
Charles.
saucer, plus
will
second
You
call
person
the
Ben,
begin by giving
of sugar; you give
person
first
the
Andy
a
third
lump
Ben two lumps, and Charles
three.
Now room,
I
you state: "While I am in the next 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 Mental Mysteries
A
many lumps in the is
same
as
he already has and hide them
Whoever takes the saucer times as many lumps and hide
fashion.
to take four
them/'
you warn: "Don't touch any of the remaining lumps or you may give me a false mental impression. When you are ready, call Also,
me back." On your
you pass your hand back and forth over the cup, dish and saucer, telling each person to keep concentrating on the item which he chose. Then, in dramatic style, you point from the cup to one person, say Ben, as you announce: "You took the cup!" Next, you point from the dish to another person, say Charles, and declare: "You took the dish!" Turning to the final person-in this case Andy—you conclude: "That means you return,
took the saucer!"
You are right on
every count!
the method: Actually
it
is
a matter of
counting, not X-ray vision, that enables you to look through items of solid tableware.
What
you count are the left-over lumps of sugar, those that you told people not to touch. But first, you must memorize a list of words, or better still, write them out in the form of a column, with certain letters underlined. These words are: cadets, dickens, custody, DRASTIC, SCORED, SARDONIC.
Cup, Dish and Saucer
Jfk
245
When listed they appear thus:
CaDetS DiCkenS CuStoD y DraStiC SCoreD SarDoniC
1.
2 3 5-
6.
7
Note
that there
Here
is
no No. 4 on the list. Also note that the large letters, C, D, S, appear in each word but in different order. Those letters stand for Cup, Dish and Saucer, respectively. is
how you
use the
list
to
work the
trick:
Suppose Andy, the first person, should take the saucer. You have already given him 1 lump
Whoever chooses the saucer is to 4 times the number of lumps you gave
of sugar.
take
him.
So Andy takes 4 lumps and hides them. Suppose Ben, the second person, takes the cup. You have given him 2 lumps of sugar. Whoever takes the cup is to take the same number of lumps that you originally gave him. So Ben takes 2 lumps and hides them. Suppose Charles, the third person, takes the dish.
You
takes the dish as
is
to take twice as
you gave him.
246
Whoever many lumps
gave him three lumps.
A Mental
Mysteries
So Charles takes 6 lumps and hides them. You gave out 6 lumps to start with. The three persons have taken 12 more. That makes a total of 18. So there will be 6 lumps left, lying over to one side as though they didn't matter. But they matter a great deal! No. 6 on your list is the word scored. Its "key" letters appear in the order S, C, D. That means the first person, Andy, took the saucer; the second person, Ben, took the cup;
the third person, Charles, took the dish.
them
tell
that,
making
it
You
sound very mysteri-
and you are right! If they had picked the objects order, your key word would be
ous,
just as
lumps.
accurate,
Two
in
some other
different,
but
according to the left-over
lumps, for example, would spell
dickens, meaning that
Ben the
Andy had chosen
the
and Charles the saucer. You can use more than 24 lumps of sugar, but make sure you know how many more, so you can ignore them. That is, if you use 28 lumps, mentally substract 4 from the left-overs dish,
cup,
before counting through your
list.
Other objects can be used, say a coin, a dollar,
and
and a
saucer, since they also
initials
of
a spoon, instead of a cup, a dish,
C, D,
lumps of
S.
conform to the Matches can be used instead
sugar.
Gup, Dish and Saucer
Jfa
247
THE WORD-CARDS This intriguing mental mystery requires a
pack of cards bearing various letters of the alphabet; also, some cards on which specific words are printed. Alphabet cards can be obtained with certain card games, but if none are handy, it is easy enough to make up a set, using blank cards the size of calling cards. Similarly, the required word-cards can be
on
hand-lettered in colored pencil
cardboard cut to a convenient
whole
outfit
is
easily
pieces of
size,
so the
The word-
prepared.
cards can be the size of playing cards or larger,
with the words printed lengthwise.
the effect: The performer runs through a packet of twenty-five cards showing that each bears a different word. five
face-down heaps and
He
deals these into
lets five
people select
from each heap. The remaining cards are collected, still face down, and laid aside, so that only the choosers know the words they have taken. cards at random, one
Now, cards.
the performer picks out several letter
He
word he
asks the selected.
The performer
lays
first
person to
Suppose he
down
name
the
says, "Least."
his letter cards,
one
by one, and they spell least. This 248
Jf$
is
repeated with the other persons. In
Mental Mysteries
word
every case the magician spells out the correctly.
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
one column of cards upon another, you form a packet of 25 that you can run through, calling off "slate, spear, smite"— and so on. But when the cards are dealt in 5 heaps, one by one, each cross-row becomes an individual heap, each composed of words formed by the same letters. For the first person, you pick the letters a-e-l-t-s from the alphabet cards and keep them toward you. When he calls the word on his card, you simply spell it letter by letter,
By
setting
showing them as you do. This holds for words
in
the group:
all
5
slate— steal—least-
stale—tales.
With the second person, a-e-p-r-s will spell any chosen word. The third, fourth and fifth words can be handled in the same way by simply picking out the letters that spell any
word
in that group.
presentation: Start by running through the
Word-Cards
A 249
emphasizing that: "Here are twenty-
cards,
words—" calling them off rapidly as you show them. Turn the packet face down, deal the five heaps and hand each to a different person, saying: "Mix them all you want, then draw one card and lay the rest aside without looking at them. Just concentrate on that one card and the word that you find on it." That done, you pick out the proper letter cards, but act as though you were spelling the spectator's word mentally. Tell him: "Keep spelling the word to yourself—letter by letter— now I've got it. Call the word and see five different
how close I came."
When
word is "Least," show the letters one by one as you pick them in that order. Continue with the other persons, acting as though you were spelling out each word through sheer concentration. he
states that the
WITHIN THE CIRCLE the effect: The performer takes a square sheet of paper and folds it into quarters. He then unfolds it and draws a circle in the very center.
He
tells
a spectator to write anything
he wants within the magic
name
such as the
of a friend, a place, a telephone
or an address.
250
circle,
The
A Mental
spectator
Mysteries
is
number
then told to
SECRETLY RETAIN THIS PIECE
FIG.
69
TEAR
TEAR
AND PUT AWAY REST
fold the paper
and hand
it
OPEN CENTER, SUP AND LEARN NAME
back to the per-
former.
Upon
receiving the folded paper, the per-
former deliberately tears
it
in half, then places
the pieces one upon the other and tears into quarters.
He
them
either thrusts the torn frag-
ments into his pocket or lays them in an ash tray and sets fire to them. In either case, he keeps telling the spectator to concentrate on what he wrote. Finally, the performer gives the name, initials, date, or whatever was written, and the amazed spectator admits that
it is
absolutely correct.
the method: The information is written and the paper is folded and torn into quarters exactly as described. But trickery begins when the fragments are pocketed or burned.
Within the Circle
A 251
During the tearing
process,
you keep track
of the center portion of the paper (fig. 69).
When
the right hand takes the torn pieces
and pockets them, or places them the
tray,
and
left
retains that center piece
bend of the left fingers. when you secretly open the center
presses
Later,
thumb
in the ash
it
into the
piece,
you
circle
that holds the written message.
will find that
it
contains the entire
three-quarters that are pocketed or
The
burned are
unnecessary, but they serve a useful purpose:
when you show them
in your right hand, peo-
ple suppose that you are disposing of the entire
message.
presentation: This
is
extremely important,
you must find some subterfuge whereby you can open and read the center portion that you tore from the "destroyed" message. If you are seated at a table, you can let your left hand as
rest in
the
opens the center of giving you a chance to read the mes-
your lap while
slip,
it
sage there.
Another way, whether seated or standing, is to take a pad in the left hand and begin to write "thought impressions" with your right hand, crossing them out, tearing away a sheet from the pad, and beginning over again. This action enables you to open the torn center between the left thumb and forefinger, which are on your side of the pad. The right 252 Jf$ Mental Mysteries
hand can help
you read the message and writing the
which answer it by
in this operation, during
name
or
finally
number on the
pad.
You
can then tear the sheet from the pad and
hand
it
to the spectator, saying
it
is
your
thought impression. In pocketing the pad, you get rid of the center
slip.
you burn the torn portions in an ash tray, you can walk away and bring back a pad from a table in the corner of the room. On the way, you simply open the torn segment and If
read
it.
It is best
not to use too large a piece of
paper for this
trick, since
the center portion
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.
that you retain
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. The performer writes something on a small slip of paper, which he rolls into a ball. He turns a small glass upside down and places this prediction on the bottom of the upturned glass. Predicted Thoughts jfa 253
Now,
number
the spectator writes his
the center of a square of paper. This
is
in
folded
and given to the magician, who tears it into pieces, which he burns. The magician picks up the glass, drops the prediction into it and hands the glass to another spectainto quarters
tor.
The
first
person names the number he has
mind, say 281. The second person unrolls
in
the
little
ball
and reads the prediction.
He
finds that the magician has written that very
number— 281— on
the
little
that he in-
slip
scribed beforehand!
The
the method:
little
slip
exactly
is
one-quarter the size of the larger square of paper.
You merely
on
unless you
it,
want
to take a
may be
chance that you rolled
pretend to write a number
This
right.
the larger square and folds
paper and tear
You
set fire to the rest.
burning, you secretly
Call the
roll
is
number on
you take the
Within the CirWhile they are
the center portion
dummy
that
glass.
dummy "A"
A Mental
it,
exactly like the
little ball
on the inverted
254
slip
into quarters, secretly retain-
it
ing the center portion, as in
is
1000
"dummy."
After the spectator writes his
into a
in
up and placed on the bottom of the
inverted glass as a
cle.
1
Mysteries
and the duplicate
"B." Hold "B" pressed between the tips of
your
thumb and second
left
"A" with the
finger.
Pick up
thumb and
tips of the left
fore-
while the right hand turns the glass
finger,
mouth up. The left hand seemingly drops "A" into the glass, but actually presses it between the tips of thumb and forefinger, dropping "B" instead.
With
your right hand, pass the glass to a
and have him open the
spectator
read your "prediction/' It
because what he reads that the
the
sure to
be
right
number
the actual
spectator wrote in the center of
first
the larger square.
know
is
is
and
slip
number
You
don't even have to
for your "prediction" to
be
right!
presentation: trick
is
Worked
as
described, the
almost automatic. Emphasize that you
have written your "prediction" or "thought impression" before the spectator wrote his.
Be
deliberate but neat in "switching" the
tle pellets
and the
trick will
prove
itself
lit-
a real
barrier.
THE NINE the effect: nine a
slips, all
name on
a hat.
Now
a
A
SLIPS
sheet of paper
the same
size.
is
torn into
A spectator writes
and drops it into other names on the re-
slip, folds it,
he writes
Nine Slips
A 255
1 I
e 6
1
C
B
j
!
v
j
D
1
f
»AH
j
H
BQ
I
RND SUP WITH ALL ROUGH EDGES SUPS DROPPED
G
IN
HAT
FIG.
70
maining slips, folds them the same way and mixes them in the hat. While the spectator concentrates on the original name, 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; if necessary, 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. 70a).
Do
this neatly, so
the
slips
look
alike,
but
one, the original center of the sheet, will be
256
Jf%
Mental Mysteries
have four rough edges, whereas every other slip will have at least one smooth edge (fig. 70b). Hand the slip with the four rough edges to the person first, or put it on top of the others so that he uses it to write the name he has in mind. More names are written on the remainslightly different. It will
but you can always pick out the right one by its four rough edges.
ing
slips,
presentation: Stress the fact that you are trying to catch
the
that
slips
one thought out of nine and are
merely
through them one by one, then
start over
That makes
it
incidental.
Go
name by name;
and stop on the chosen one. look like real
mind
reading.
MYSTIC BOOK TEST the effect: The performer hands a book to a spectator and tells him to open it to any page. He is to note the number of that page, add its component figures and count to the word at that position. For example, with page 105, the figures 1, o, and 5 total 6, so the person would note the sixth word. While that is being done, the performer turns his back.
When
the spectator concen-
on his word, the performer writes something on a sheet of paper of his own. The two trates
Mystic Book Test
A 257
unfolded: the magician's word
slips are tical
is
iden-
with the word written by the spectator!
the method: This
requires
trick
erable preparation, but the result
is
consid-
worth
it.
Take a suitable book— a paperback novel will do—and go through it, page by page, listing
may be
the words that
chosen, as:
1.
give
121. grim
181. the
2.
letter
122. arrived
182. heard
3-
way
12 3
183. than
4- of 5-
one
.
a
124. in
184. got
125. out
185.
it
These are simply excerpts from a complete list. Thus "grim" was the fourth word on page 121
of a specific book;
"arrived"
the
fifth
word on page 122; "got" the thirteenth word on page 184. Such a list, while long, can be typed on a single page of a large pad, or on a page of a smaller pad, is
if
finely printed
with a pencil. It
placed beneath the top flap of the writing
pad and that
it
is
gummed
will turn over
The magician
along the upper edge, so
with the
uses the
pad
flap.
to obtain a sheet
of paper so the spectator can write his chosen
word. Thus the wizard
when he the
258
list
£fk
is still
holding the pad
turns away, enabling
and
find the correct
Mental Mysteries
him
to consult
word according
named. This is the word that the magician writes on another sheet of paper, as though he read the spectator's mind. presentation: Though simple and direct, this should be well rehearsed to be effective. You have the book lying on the pad and as you hand the book to the spectator, you run through it, mentioning that it has some 200 pages or more. Then you say: "I want you to think of any number within that range, then turn to that page. Then add the figures in the page number and count that many words, beginning with the first word on the page. You have a number in mind? All to the page the spectator
right,
name
it
.
.
.
167? All right, turn to
that page and add the figures; that
would be
fourteen, wouldn't it?"
Here, you open the pad, the
along with the
and hand
it
flap.
You
list
sheet going
tear off the next sheet
to the spectator.
Then
continue:
"When
you find the word, write it on this sheet of paper. Fold the paper and hold it. Incidentally, do you want to change the page number? If so, you can name another one. You're satisfied? Very well, turn to your page and count to the fourteenth word while my back is turned." You turn your back, closing the pad as you
Mystic Book Test
A 259
and bend you can spot the "key word"
do, but immediately raise the flap
back alone, so for page 167, which, we will assume, is "another." Fold the list sheet back with the flap, 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: it
"Keep concentrating on the word that you have written
.
.
your mind. ...
.
Say
it
think
I
over a few times in I
have
it."
Here you
word on the pad, tear off your sheet and fold it. "Here is the impression I received, so let someone open both slips and compare write the
them."
That is done, the words prove to be the same, and the book may be checked by members of the audience to
make
sure you selected
the right word. Meanwhile, you keep the pad,
which apparently had nothing to do with the test.
THE REPEAT BOOK TEST While the Mystic Book Test may be repeated, it has "one weakness: the somewhat arbitrary adding of the figures in the page
number
to count
down
natural enough the
first
to the word. This
time, but might
meet
with an objection or suspicion on a second
260
jf$
Mental Mysteries
is
try.
That's
when
alternate
this
comes
trick
in
handy.
the effect: A spectator is given a book and told to call the number of any page, say from 1 to 250, while another spectator calls the number of a word on that page, say from 1
to 50, to keep the counting simple.
The page and word
are looked
ten on a sheet of paper, which
up and
writ-
folded.
The
is
magician leaves the room or goes to an obscure corner while this
is
taking place.
When
he
re-
he writes a word on a slip of paper; it compared with the chosen word and both
turns, is
are the same.
the method: This is bold, but deceptive. In your pocket you have a duplicate copy of the book.
Upon
leaving the
room
or going to
an obscure corner, bring out the book, turn to the stated page and count down to the number given for the word.
In short, you simply duplicate the same operation as the spectators, finding the same
word while they are hunting for it. You then put the book away and return, going through the "concentration" process as though reading their minds.
presentation: This should follow the pattern of the Mystic Book Test quite closely, the one difference being that you must retire
Repeat Book Test
A 261
to sufficient seclusion to consult the duplicate
volume.
The
smaller the book, the better; a
pocket dictionary
is
very good.
With
a large
book, the duplicate should be in another room.
While a good effect in its own right, this test is recommended as a "repeat" because the Mystic Book Test does not require you to from sight and it is obvious that only one book is used. Also, there may be a slight suspicion that you were close enough to note
step
or overhear something.
All this builds to a perfect excuse to go out
of the room.
At the same
time,
it
diverts
suspicion from the simple secret of the extra
book.
A SENSE OF TASTE the effect: The magician hands around some rolls of candy drops: lemon, lime, orange, grape, cherry, or any other flavors. All are exactly alike in size
and general appear-
ance except for their distinctive
While the tors select
wizard's back
is
labels.
turned, specta-
one of the packages and drop
it
in
They hide the rest so the magician cannot see them when he turns to face his audience. Yet within brief moments the magician names the flavor in the package which his hand.
he holds. 262
A Mental
Mysteries
If desired
the trick
one of the other
may be
repeated with
rolls.
the method: The
look
but they are neatly prepared beforehand in an unsuspected way. Use a type of candy package which has a loose label that may be slipped
on and
off,
rolls
alike,
the candy drops being wrapped
within an inner lining of tin
foil.
and break some of the packages, 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 Slide off the labels
Thus
prepared, the packages are given to
When
you receive one behind your back, slide off the label and find the break, or breaks. Slide the label on again and you can name the flavor and hand the candy roll back to your mystified audience. presentation: This is helped by stating that experimenters have learned that there is a close association between telepathy or extrasensory perception, and the sense of taste. Having proven this to your own satisfaction, you are now prepared to demonstrate it publicly. So you say, and so you proceed to do. If you repeat the trick, do not hesitate with the spectators.
A
Sense of Taste
A 263
Work
it.
briskly,
it
and put the packages
your pocket, except for the
final one.
in
Open
that one
and pass the candy around, disposing of the package and the evidence it represents.
By having
duplicate (unprepared) packs in
your pocket, you can later lay them on the table as though they were the originals, just in case
anyone decides to examine them.
THE Cards,
TWO ROWS
coins,
matches,
checkers— almost
any small and handy items may be utilized in this impromptu mental mystery. For simplicity,
we
will
assume that the
trick
is
done
with playing cards.
the effect:
A
two rows of cards, each with the same number, so that he will have it firmly fixed in mind, this being essential with all mental tests. Any number may be used, from three or four to twenty; that is entirely up to the person. While he is arranging the rows, the maperson
is
told to deal
gician turns his back, or can even go into
another room, as long as he
When tells
him
the person
is
is
within earshot.
ready, the magician
away cards from how many cards he
to take
but to state from which row, top or bottom.
either row, takes,
and
That done, the person can take more cards 264
Jf$
Mental Mysteries
from either row; or he may add cards; or he is allowed to transfer them from one row to the other, as long as he tells how many cards were moved and states which row— or rowshappened to be involved. At one juncture, the magician suggests a number for the person to take away; but at no time does the spectator state how many cards either row contains. Then, suddenly, the magician says, "Stop!" With that, he names
number of cards that remain! the method: The number of cards in each
the exact
#
row does not matter, as long as they are equal at the start. For example, assume that the person puts seven cards in each row, thus: rn/\«
n*
BOTTOM
You do a
*r
in
*r
*c
*t*
+n
not see these cards, but you take
own— say 20—and
high number of your
imagine or visualize the rows as containing that
many
cards each.
You then
ask the per-
move
son to take away cards, add them, or
them
he chooses, but to tell you what he does. Thus: He moves 3 cards from the bottom row to the top, and says so. That leaves the rows as
like this: rTI/A'p
«
T*
*¥*
T*
^P
BOTTOM:
*
*
*
*
*«*
*f*
T*
T*
^F*
Two Rows
*•
jfi
265
Working from your "key" number of 20, you mentally move 3 from bottom to top, saying to yourself: "Twenty-three in the top
row; 17 in the bottom row."
Now, suppose
the person takes away two
from the bottom row,
stating that fact.
He
has: »
^p
nr
BOTTOM:
*
*
np/^TO
You
*r
^r
^r
nr
"Two from
say to yourself:
15 in the bottom row, with 23
The person then
v
nr
*n
^r
17 leaves
in the top."
still
decides to add one card
He
announces that fact and performs the action, so that the rows stand: to each row.
rr /™\TTj ,
^r
•
BOTTOM:
^r
^r
*r
^r
^h
^h
^r
^r
*f
*fi
* * *
Mentally, you add one to each of your rows, giving you 24 in the top,
bottom.
You
Now
tell
comes the important
number in his
part:
the person to count the
of cards in the
many from
16 in the
bottom row and
the top row.
He
number
to take that
takes
3
(the
bottom row) from the 11 cards top row, which gives him: in his
rp^yp .
BOTTOM: Meanwhile, you
* * *
are doing the
same with
your imaginary rows, subtracting 16 (bottom)
from 24 (top) so you have 8 cards 266
Jf$
Mental Mysteries
in your
top row.
You then
tell
the person to take
away his bottom row entirely. That leaves him with a single row:
********
You, too, eliminate your imaginary bottom row and that gives you a single row with just 8 cards, identical with the row
now on
the
table!
From then
on, you can let the person add
or subtract cards as he wants, providing he states the exact number in each case. You go
him, for you are both working with the same number. right along with
Assume
He
that
he simply takes away 4
cards.
then has: * * * *
You do total:
the same and announce your final
"Four!"
presentation: Your aim should be to keep
and
same time reasonably simple, in order to avoid any false steps. That is why it has been described in exact detail. In presenting it, remember these this test intriguing
at the
points: First, tell
the person to deal a row of cards;
then another with the same number, so he will have it fixed in mind. As he does so, you add,
be a small number or a large one, anything from two up to twenty, but be sure you "It can
Two Rows
A 267
same number twice—and don't change
deal the
it— at
least
not yet!"
Here, you convey the impression that you are already beginning to grasp his numerical
thought.
"Now
You then
say:
take away or add cards to either row,
me how many
move and what you do with them. You can simply move them from one row to the other if you want."
but
tell
cards you
Then, with that done, you continue. "Now move a few more and tell me again. From these partial thoughts, full
am
I
trying to gain a
impression."
After a few such moves scribed) Just to
you
make
say,
"Stop!
sure our
I
(as
already de-
think
I
have
minds are tuned,
I
it.
want
you to count the cards in the smaller row, without telling me. Take that row entirely away. You've done it? Good. Now, take the same number from the other row, so as to fix it firmly in mind. Add a few more, or take some away if you prefer, but this time, tell me how many. That's enough. I have it!"
NAME THE NUMBER Similar to the
Two
Rows,
this
makes a
good alternate or follow-up to that "test" because there is enough difference between them to throw observers off the trail. 268 Jfk Mental Mysteries
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, equal except for the extra card, which can go in either
row he
prefers.
turned while this
is
The rows might #
The
magician's back
is
being done.
prove to be:
#
# s{t
s£c
The
sk
#
#
# jie
jic
# jjc
name a small number, less than the number of cards in either row. Suppose he says, "Five." The magician tells him to take 5 cards from the long row and lay them aside. The rows will then stand: person
then asked to
is
#
#
Next, the person
#
# is
#
#
told to count the cards
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). That leaves: in
* * * * # *
Reverting to the
row the magician tells away entirely, then to
first
the person to take
it
concentrate upon the
number
of cards in the
one remaining row, namely: #
*
*
*
After due concentration and proper recepName the Number jf$ 269
tion of transmitted "brain waves," the
ma-
names the number: "Four." the method: Follow the routine as given and the trick will work itself, your "key" number for the climax being one less than the random number which the person named at
gician
your request!
and that meant there would be 4 at the finish. If he had taken 3, there would have been 2 left, and so on. In referring to the rows, you can term them In this case, he picked
5,
"long" or "short" as described; or simply
call
them "top" and "bottom," but in that case specify that the long row be at the top to start.
presentation
make
:
A
few
rehearsals
the trick quite clear. Such rehearsals
work
are necessary in order to
and
should
effectively.
every stage.
it
smoothly
Play up the "mental" angle at
When
the person adds the "odd"
card to one row, act as though you were divining the
number
of cards even then.
Have the person choose
number, then go through the next steps with the same prehis
tense of concentration. In telling
move
the
first
him
row, you can say: "Your
to re-
mind
seems to be going from one row to another. Let's take away the first row entirely. You've done that? I thought so. Now, count the .
270 Jk Mental Mysteries
.
.
cards in the one remaining row.
mentally, one by one.
and keep it
it
Count them Fix on the final number
firmly in mind.
am
I
counting to
myself, now. One, two, three, four!
That
is
the number!"
note:
If
a person should remove only one
item as his number, the rows would be equalized. So if he specifies "One," you simply say, "That's too small,
make
let's
larger." Or,
it
you can say, "Name any number above one, but less than the number of cards at the start,
in either row."
CARDS AND SYMBOLS the effect: The mental wizard shows four cards, calls
3X4
each about
inches in
size.
He
attention to the fact that each card bears
a different symbol: a circle, a square, a angle, an X-mark.
With
velope, just large
enough
the cards
is
tri-
an en-
to receive a card
comfortably.
While the magician
turns away,
someone
puts one of the cards into the envelope, seals it,
and hides the other
cards.
given to the magician,
who
The
envelope
holds
it
is
to his
head, concentrates, and names the symbol on
the card.
When
the envelope
is
opened, this
proves to be correct.
This mental
test
can be repeated with the
Cards and Symbols
Jf$
271
same
success. It
can be varied by having four
persons take an envelope from a
different
packet and place a card in
can
name
all
it.
Yet the magician
four cards as easily as one.
The
envelopes can be thoroughly inspected before
and
after the performance, proving that
it is
impossible to see through them.
the method: Although the cards appear be identical
in size, they vary slightly in di-
mensions. Therein
One
trick.
to
card,
lies
the subtle secret of the
which bears the
circle,
is
just the size of the envelope, slipping in easily
but snugly.
The
card with the square
an inch
is
cut i/i6th of
short, too slight a difference to
noticed even
when
be
the cards are handled as
a group.
The
card with the triangle
narrow, which also
is
is
cut slightly
unnoticed. Again, the
about i/i6th of an inch. The card with the "X" is cut both short and narrow; this, too, is normally indetectable
difference
is
After a card ever,
is
sealed in the envelope,
how-
the difference can be checked swiftly
and
secretly
272
Jf$
by holding the opposite edges of the envelope between the thumb and finger and pressing slightly. If there is no "give" in either direction, the
Mental Mysteries
"circle" card
in the envelope. If there
is
is
a
"give" from top to bottom, but not sideways, it is
the "square" card. If the envelope yields
to sideways pressure only,
angle" card.
If pressure
directions, the
"X"
presentation:
it
contains the
shows a slack
card
is
in
"tri-
both
inside.
Attention should be paid
to the handling of the envelopes in a smooth,
casual fashion. In showing the cards, stress the fact that they differ only in their symbols.
Put one, then another, in an envelope and hold it to the light to prove that it is impossible to see
through
Then have
it.
a person put a card in the en-
and concentrate upon its symbol. When you reach for the envelope, take it by the edges, say at top and bottom, pressing it as you do. Transfer the envelope to the other hand, which naturally takes it by the opposite sides, pressing them the same way. The envelope should then be lifted to your forehead, so that you can concentrate upon its contents and pick up a "mental impression." velope, seal
By
then,
it,
little
because you will
concentration
know what
card
is
necessary
is
in the en-
velope.
Cards and Symbols
A 273
COINS AND COLORS the effect: The magician opens an envelope and from it takes three smaller envelopes, each of a different color: one red, one yellow, one blue. He lays them on the table and places five coins beside them, each coin of a different value: penny, nickel, dime, quarter, half dollar.
Now
the magician indicates three persons,
A, B, and C.
He
turns his back
and
tells
each
person to take an envelope, without letting
him know who has taken which. That done, the magician concentrates with his back
still
turned and gives the following instructions:
He
A
he took the red envelope, he is to put the penny in it; if he took the yellow envelope, he is to put the nickel in it; if he took the blue envelope, he is to put the dime in it. Next he tells B that if he took the red envelope, he can put in either the dime or the half dollar. If he took the yellow envelope, he must put in the coin of lowest value that is still on the table. If he took the blue envelope, he can put in either the penny or dime. Finally he tells C that if he took the red envelope, he can put in the nickel or the half dollar. If he took the yellow envelope, he can put in the dime or quarter. If he took the blue 274
tells
that
A Mental
if
Mysteries
envelope, he can put in either the nickel or quarter.
done rather rapidly, as each person really has but one choice, because he has only one envelope and already knows its color. But the magician, being in ignorance of how the envelopes are distributed, must specify This
is all
each in turn.
As an afterthought, the magician tells B that if he took the dime, and if the half dollar is still on the table, he can put back the dime and place the half dollar in the envelope instead. The magician allows due time for that; then tells all three persons, A, B, and C, to put their envelopes in their pockets.
That done, the magician turns around, picks up the two coins still on the table— say the dime and quarter—and drops them in his own large envelope.
He
then proceeds to
tell
each
person what color envelope he has in his pocket; and also the coin that he has in that envelope.
envelopes are brought out; and the magician's statements are correct: In this
The
case, is
in
is
in
A has it;
B
it;
dollar
is
the yellow envelope and the nickel
has the blue envelope and the penny
C in
has the red envelope and the half it!
the method: Remarkable though the Coins and Colors
if$
ef-
275
feet
may
sound, this trick
is
self-working from
you need in order to perform it are the envelopes and the coins, plus the proper instructions to A, B, and C who can be our old friends, Andy, Ben, and
start to finish. All
Nor
Charles.
You have
is
this too difficult, because:
those instructions written on the
which you retain, so you can check them while your back is turned. They
large envelope
are listed thus:
y— 5^; b— io^f. B: r— 10^ or 50^; y— Lowest; b— 1^ or C: r— 5^ or 50^; y— 10^ or 25^; b— 5^
A: r— 1#;
10^.
or 25^.
But that is only half the story. The rest is also told on the envelope in a slightly more elaborate chart which you must prepare as follows:
1* #
St
* *
*
A-r B-y A-r B-bl
A-r B-y 276
£f$
10^
25<*
50^
B-y
C-r
#
A-bl
A-y A-y A-y
*
C-bl
B-r
B-bl
*
C-r
B-r
C-bl
*
*
*
C-y
B-bl
A-bl B-bl
#
C-r
C-y
#
A-y B-y
*
*
C-r
*
C-bl
*
C-r
A-bl
*
*
*
*
Mental Mysteries
In the chart, the capital represent the three persons. r,
y, bl, are
this
letters,
The
A, B, C,
small letters,
the colors: red, yellow, blue. But
can be simplified by marking the
with colored crayons, so that in the
A
will
B
appear in blue;
and the
later
in yellow;
letters
first
C
row,
in red;
rows will be treated in the same
fashion.
The
stars
(
*
)
signify the coins that
you pick
up from the table. So the moment you gather the dime and the quarter, you note from your (on the back of your big envelope)
chart
B
is
in blue;
A
is
in yellow;
and
C
is
in red.
This means, quite obviously, that Ben has
Andy the yellow one, and one. You see 1^ at the top
the blue envelope,
Charles the red
of B's column, telling you that Ben's blue en-
velope contains the penny; you see 5^ at the top of A's, so Andy has the nickel in his yellow envelope; and you see 50^ at the top of C's, so Charles has the half dollar in his red envelope.
presentation: this trick
is
Far from being complex,
simplicity
itself, if
you follow the
routine as given. Tests with actual envelopes
and coins iarity
will
with the
prove helpful by creating famileffect.
Once you turn your
back, you should give
the details carefully to your three assistants,
Coins and Colors
Jf%
111
avoiding any indication that you are reading
them from your envelope. Instead, act as though you were reading minds from the very start.
on the color of his envelope, then to pick a coin as you specify and concentrate on it, too. The little touch of reverting to Ben's choice and telling him he can put back the dime and take the half dollar, if it is still there, makes it seem almost as though you had visualized all that had happened up until that point. Tell each person to concentrate
The
climax of the trick can be dramatically
handled.
You
tell
each person the color of his
envelope and immediately add the the coin that
it
contains.
To
name
of
vary this, you
can say to Ben, "And you have the penny— in the blue envelope!" After the envelopes are opened coins removed), put
velope and place
one
278
it
sees the chart
A Mental
them
(and the
into the large en-
in your pocket so that
you used
Mysteries
in the trick.
no
11.
Planning
Show
a Magic
Now that you have a large stock of tricks, how do you go about selecting some for a performance? Listed below you will find some suggestions for different kinds of programs.
PROGRAM Instant
Ring
1
Cut and Restored
String (p. 19)
Off! (p. 43)
The Climbing Ring (p. 22) The Rising Pencil (p. 24) The Nine Slips (p. 255) Tap the Numbers (p. 232) Paired Thoughts (p. 234) Cup, Dish and Saucer (p. 244) or The Ten Pairs (p. 241)
In this program, Instant String leads into
Ring
Cut and Restored
Off! while the
Climb-
Ring and the Rising Pencil follow in natural sequence. Since you have the pencil available, you can do the Nine Slips next. This changes the pattern of Program 1 into a series of mental effects, but since all are of ing
Planning a Magic Show
Jfk
279
a close-up or
impromptu
variety, they are in
keeping with the occasion.
PROGRAM
2
The Matchless Match Pack (p- 33) The Hypnotized Match Box (p. 26) Vanishing Match Box (p. 31) The Restored Match (p. 36) The Rapid Knot (p. is) The Suction Cup (p. 79) Silk
Through
From Hand
Wand
to
Hand
(p.
97) (p. 200)
Here you appear to be dealing with seemingly impromptu tricks, no mental effects being involved. This program is especially suited for working at a table. It allows opportunities for repeats; for example, you can follow the Matchless Match Pack with Improved Matchless Match Pack (p. 34), if you desire. Also, you can start with the mechanical version of the Hypnotized Match Box and add the impromptu method after you vanish the box. the Restored Match can be followed by the "Repeat" Restoration (p. 39).
A
table knife can be used instead of the
wand
in Silk
Through Wand, and
a handker-
chief can be borrowed for the trick, strictly
280
Jf$
impromptu. Planning a Magic Show
making
it
Index aces, assembled, 179-181
controls 133-134, 135, 147,
alphabet cards, 248, 249 Alternating False Shuffle or Packet Shuffle, 113-115
152-155, 160, count-down 49-50, cuts 100, 100-102, 129-134, 151-152, cuts, false 107-110, deals 47-49,
Any Number Down,
156-157
Assembled Aces, 179-181 Automatic Reverse, 153-154 beginners, 13-16
Behind Your Back, 72-74 blacks and reds (cards), 140 book test, mystical, 257-260, repeat, 260-265 bottle, 25 Bottom Card Location, 144 Bottom Glimpse, 122, 131 Bottom to Top shuffle, 1 12 "breaks" (cards), 133, 147-148 candy, 262-264 card alphabet 248, 249, bottom 144, chosen 135-155, 156-181, coins 65-67, colored 57-60, 89-92,
104-105, 105-106, 106-107, 176-178, "discovery" 148, 152-154, 154-155, 156-157, 158-159, "divider" 139, hair 164, hat 171, locating 135, location 132-133, 144-145, magic 101-134,
magnetized 162-163, pack 47, 112, 121, 139, 140, 141, 142, 143,
palming
125-126, pointers 142-143, red 57-60, reds and blacks 140, revelations 156-181, self-finding 172-174, self-turning 158-159, seventeen 168-171, sleights 115-134, symbols 271-274,
46-74, word 248-250 Card Controls, 147 tricks
Index
A 281
Card from a Hat, 171 Card on the Wall, 172 Card That Finds Itself, 172-174
Cut and Restored Rope, 85-88 cut and restored string, 19-22 Cuts, 100-102
Card Turns Up, 158-159 Cards and Symbols, 271-274
cuts
Climbing Ring, 22-24
cuts, false,
Close-up Tricks, 17-45 coin card coincidence 65-67, colors 274-278, from hand to hand 200-203, magic 182-207, palming 183-187, productions 198-207, vanishes 187-198 coincidence, coin
and card,
65-67 Coin from Wand, 205-206 Coins and Cards, 65-67 Coins and Colors, 274-278 Coin Vanishes, 187-198 Color-Changing Thimble, 227-230 color-guessing (cards),
53-56 colors
and
coins,
274-278
Controlling the Card, 135 controls, card, 133-134, 135, 147, 152-155, 160
cord
elastic, 39,
41
Count-Down Cards, 49-50 Count-Down Location, 145-146
107-110
Dealing Cards, 104—107 deals, 47-49, 50-53, 104-107, 176-178 Delayed Cut, 151-152 dimes, 204-205 "discovery," card, 148, 152-159, 160
cup and saucer telepathy, 244-247
dish,
Divided Pack, 139-142, 175 "divider," card, 139
Double Choice, 160-161 Double Coin Production, 207 Double Deal, 47-49 Doubled Thought, 175-176 Double Lift, 123-125 Double Reverse, 154-155 Dovetail or Riffle Shuffle,
102-103,
Draw Draw Draw
false,
Shuffle,
110
129-134
Shuffle Control,
133-134
Shuffle Location,
132-133 drop,
false,
191-194, French,
190-191
Count Off deal, 104-105 Cup, Dish and Saucer, 244-247
Easy Card Tricks, 46-74 effect, 13
cup, paper, 76-78, 79-81 cup, suction, 79-81
282
and shuffles, 100-102, 129-134, 151-152
A Index
Eight
Thimble
220-227
Production,
,
elbow, thimble trick, 211-212 elimination process, 160-161 evens and odds, 141
Glide, 115-118
Glimpse, 121 glimpse, bottom,
136-137,
Face-Card Fantasy, 237-240, alternate routine, 239-240 Face Up-Face Down, 56-57 False Cuts and Shuffles, 107-
122,
top,
riffle,
122,
wrist,
137-139 glimpsing the card, 135 Group Deal, 104-105
110 False Dovetail Shuffle, 110
Overhand
False
Shuffle, 110-
handkerchief,
111
False Single Cut, 107-108 False
and card trick, 164 Hair Raiser, 164 hair
Three-Heap Cut, 108
False Triple Cut, 109-110 False Drop, 191-194
Fan Force, 127-129 fantasy, with face cards, 237-
240 Finding a Chosen Card, 135— 155 Finger Bend, 183-184 Finger Switch, 214-216 Flash Force, 131-132 Fooled-and Fooled Again,
89-92,
Handling the Pack, 141-142 to Hand, 200-203 hat, 89-92, 92-97, 171, 255256
Hand
Hindu hits,
Farmer and Sheep, 92-97
36-42,
with wand, 97-99
Shuffle,
129-134
146
hokum, 80
How How
to Mystify, 13-16 to
Palm a Coin, 183-
187
Hypnotized Match Box (Impromptu) ,26, (Mechanical) 27-31
89-92 force,
fan,
127-129,
flash,
131-132, single cut, 126127 Four- Ace Deal, 176-178 Four-Heap Deal, 50-53 French Drop, 190-191, in multiple coin vanish, 194 Front and Back Cut Shuffle, 113 Front and Back Shuffle, 104
identical choice trick, 60-63,
new, 63-65 illusion, optical,
45
Improved Matchless Match Pack 34-36 Instant Cut and Restored String, 19-22
Joker, turned-up, 149
Index
A 283
Say
Just
"Stop"
scenario,
knee, thimble trick, 211-212 knife,
79-81
Knockout, 159-160 knot,
18-19,
instant,
knots, vanishing, 42-44
Face
with
simple
finger-
It!,
vanish, 195-196 Multiple Cut, 100-101 Mystic Book Test, 257260, repeat, 260-265 mystify, how to, 13-16
slide-
along, 81-85
Let's
194,
palm
166-167
53-56
locating the card, 135
Name the Number, 268-271 New Do as I Do, 63-65 Nine Slips, 255-257 number, naming, 268-271, tapping, 232-234
location, 132-133, 144-145
Odds and Evens, 141 magic show, planning, 279- One out of Three, 76-78 280 optical illusion, 45 Magic with Cards, 101-134 Magic with Coins, 182-207
ordinary objects, tricks with,
75-97 magnet, 79-81 Overhand Cut Shuffle, 112 Magnetized Card, 162-163 Overhand Shuffle, 103, false, 110-112 March of Dimes, 204-205 marked paper cup, 76-78 match box, hypnotized (im- pack, 47, 112, 121, 139, 140, promptu), 26, mechanical 141, 142, 143 Packet Shuffle, 113-115 version, 27 match box, vanishing, 31-32 pack, match, 33-34, 34-36 match, broken then restored, pack, squaring, 47 36-39, repeat, 39-42 Paired Thoughts, 234-237 Matchless Match Pack, 33- Palming a Card, 125-126 34, improved version, 34- palming, card, 125-126, coin, 36 183-187, thimble thumb match pack, tumbling, 33-34, palm, 209-210 improved version, 34-36 palm, standard, 185-187, 199 Mental Mysteries, 231-278 palm, thumb, 184-185, 198method, 13 199,209-210 misdirection, concept of, 14 paper cups, 76-78, 79-81 194Multiple Coin Vanish, paper, sheet and slips, 255196, with French Drop, 257, 257-262
284
J/k
Index
pass,
push away, 147-148
150-151,
shuffle,
"patter," 16
Ring
pencil, 22-23, 24-26, 45
Planning a Magic Show, 279280 pointer cards, 142-143 Pointer Pack, 142-143 Predicted Thoughts, 253-255 presentation,
14
process of elimination,
43-44, jumping, 24, magnetized, 23, under a cup, 76-78 ing,
160—
43-44 Rising Pencil, 24-26 Off!,
rope, cut
and
knotted,
restored, 85-88,
42-43,
81-85,
ringed 43-44
rubber-cap eraser, 22-26 Rubbery Pencil, 45 Running Cut, 129-134
161
Production at Knee or Elbow (thimble), 211-212 productions, double coin, 207, simple coin, 198-206, thimble, 210-211,211-212,
220-227
Away, 111-112 Push- Away Pass, 150-151 Pull
Quick-Count Trick, 157-158
Rapid Knot, 18-19
Red Card, 57-60 Reds and Blacks, 140 Repeat Book Test, 260-262 "Repeat" Restoration, 39-42 repeats, 15
restored match, 36-39 Revealing a Chosen Card, 156-181 revelations, card, 156-181 Reverse Deal, 105-106 Riffle Glimpse, 136-137 riffle or dovetail shuffle, 102-
103 ring, climbing, 22-24, escap-
saucer,
cup and dish
tele-
pathy, 244-247 self-finding cards,
172-174
self-turning cards, 158-159
Sense of Taste, 262-264 setup, two-suit, 140-141 Seventeen Cards, 168-171
show, magic, 279-280 Shuffle Pass, 147-148 shuffles, 102-104, 129-134, false, 110-115 Silk Through Wand, 97-99 Simple Card Sleights, 115132
Productions, Coin Simple 198-206 Simple Thimble Vanish, 212213 Simple Vanish (coin), 187-
189 single cut, 100, false, 107-108
Single
Cut Force, 126-127
Sleeve Vanish, 196-197 sleights, card, 115-134 Slide,
119-120
Slide-Along Knot, 81-85
Index
A 285
118-119 Spell It Out, 161-162 Spin Vanish, 197-198
thoughts,
Slip,
paired,
thread, 22-26
spotting the card, 135
three-heap cut,
square knot, vanishing, 42-44 squaring the pack, 47 Stacked Pack Shuffle, 112 Standard Palm, 185-187 string, cut and restored, 19-
Three
doubled, 21, knotted, 42-43, ringed, 42-43 Suction Cup, 79-81 22,
surprise, 15
Swallow Vanish (thimble), 213-214 switch, finger, 214-216 symbols and cards, 271-274
Take- A way Vanish (thimble), 216-218 "talk," 16
Numbers, 232-234 264 telepathy, cup, dish and the
taste trick, 262,
saucer, 244-247, nine slips
of paper, 255-257, two rows of objects, 264—268,
word
Ten test,
248-250 241-244
108
167-168
Three Vanishing Knots, 4243
Throw Vanish, 189-190 thumb palm, coin, 184-185, 198-199, thimble, 209-210 Glimpse, 122 To Produce a Thimble, 2 10—
Top
211
Top
Bottom shuffle, 1 12 Tricks with Ordinary Objects, 75-99 to
109-110
Turned- Up Joker, 149 Turning the Pack, 121
Turn
Over, 165 Turnover, 120-121 Turnup Deal, 106-107 Twist- Away Vanish (thimit
218-220 Rows, 264-268 Two-Suit Setup, 140-141 "two-way" discovery, 160 ble),
Two
cards,
Pairs,
mystical,
peat,
false,
Heaps-Three Cards,
triple cut, false,
table knife, 79-81
Tap
234-237,
predicted, 253-255
257-260,
Undercut, 101-102 re-
260-265
"up the sleeve," 14, 196 Ups and Downs, 67-71
thimble, color change, 227— 230, production, 210-211, 211-212, 227-230, vanish,
212-220
Thimble
286
Tricks, 208-230
A Index
vanishing acts, coin, 187-198, knots, 42-44, match box, 31-33, thimble, 212-220
Vanishing Match Box, 31-33
wall, with card, 172
X-ray "vision," 245
wand, 97-99, 205-206 Within the Circle, 250-253 Word-Cards, 248-250
You Can't Get It, 162 You Do As I Do, 60-63
Wrist Glimpse, 137-139
Walter B.
ABOUT THE AUTHOR Gibson is a renowned magician and
the
author of many books on magic. A personal friend of the legendary Harry Houdini, he compiled The Original
Houdini Scrapbook>
and has published the
only authorized explanations for
many
of Houdini's
famous tricks and escapes. Under the pseudonym of Maxwell Grant, he created the celebrated radio character, The Shadow, for which he wrote all the radio scripts.
New
He now
lives
with
his wife in upstate
York.
Index
A 287
Cut a string in two and heal it into one piece right before your friends' eyes! Watch them gasp as you hypnotize a match or pluck a coin from thin air box predict their thoughts. You'll be amazed at what you can do once you find the key to magic's door. Where's that key? It's right
—
.
.
.
.
.
.
here in this book! "Junior Magic" shows you over 175 different tricks that require no special equipment. Most can be performed at the drop of a hat. The more spellbinding need only a few minutes' preparation with ordinary objects such as cups, cards and rings. Step-by-step instructions along with countless easy-tofollow 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. In addition, you'll learn how to "control" the minds of your spectators, and plan a magic show. Let Walter B. Gibson, an accomplished magician, take you to the dark realm of magic and show you how simple it •
really all
s
is!
STERLING PUBLISHING NEW YORK
<^ ^* CO., INC.
?Ze** C&.,
U4.
London
&
Sydney
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