Sellers-1934-cards Tricks That Work
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The Magic W and Series.
Net.
* CARD TRICKS TH AT
WORK
BY
♦
TOM SELLERS Author o f “ Tricks that W ork," “ S e lle r s ’ S e c r e t s e t c .
♦
LO NDO N:
G E O R G E JO H N SO N , The M agic Wand Office-, 24 , Buckingham Street, S tra n d , W.C.
I
i I
W ILL ALMA M.I.M.C. (LO N D O N )
CARD TRICKS THAT W O R K
BY
TOM SELLERS
Author o f Tricks that W ork” "Sellers Secrets” etc.
LO N D O N G
eorge
J ohnson,
Th e M agic W and Office
24 Buckingham Street, Strand, W .C . 2 1934
WILL ANDRADE Only A ddresses :
52 S W A N S T O N ST., M E L B . and 173 PITT ST., S Y D N E Y
FOREW ORD S o m e t im e s the m o s t s im p le tric k s are the m o s t effective. The I
card
tric ks here d esc ri be d are a ll s im p le
t r u s t y o u M i l l f in d
in
p r in c i p le .
t h e m e n t e r t a i n in,!; a n d effective. T om
S e i .i .k r s .
C O N T EN T S I’AGH A
N ew
St eps A
J u m p in g
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P ocket T r ic k
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Si St e b b in g s
P e r s is t e n t J o k e r
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A n E x c e l l e n t C ard C h a n g e
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L a u c h a i u .e R i s i n g C a r d
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U n iq u e C a rd P r e d ic t io n
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F in d in g a S elect ed C ard at a n y
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P erson T elepathy C ard and
S lates
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The State Library of Victoria ALMA CONJURING COLLECTION”
A N E W JU M P IN G C A RD T RICK Effect. T h e performer requests a spectator to take a card from the pack. A fter the card has been returned and the pack shuffled, the performer holds the pack at arm’s length. Suddenly the selected card is seal to fly high into the air. Requirem ents. A pack of cards. M ethod. H ave a card selected and returned to the pack, bring the card to the top by the pass and false shuflle. N ow palm the card off in the right hand, keeping the palm of the hand towards your body. Place the pack between the two
middle fingers and the first and little fingers of the right hand, the two middle fingers being on top. T h e pack should now be lying above the palmed card gripped by the fingers. Stand with your right side to the spectators. Hold the pack at arm’s length, and bend the palmed card inwards with the thumb, i.e. the edge of the card is pulled back with the thumb tip. Release the thumb and the card w ill fly into the air.
STEPS E ffect. T h e performer has the pack shuffled and returned to him. Holding the pack face down in his left hand, with his right hand he proceeds to make six or seven steps with the pack, each step overlapping about half an inch. T h e spectator is now asked to choose a step and look at the top card of the “ step.” W hen he has done so the performer closes up the pack and hands it to be cut. Nevertheless on the performer running through the pack he locates the chosen card. 3
Requirements.
A pack of cards.
M ethod. Have the pack shuffled and placed face down in your left hand. Now, with your right hand, make several “ steps ” as follows. D raw back most of the pack about half-an-inch for the first step, now a few more for the second, and so 011 until you have made six or seven steps or packets one above the other. H ave a step selected and the top card of the step noted by a spectator lifting the corner and glancing at the index. As you square up the pack, you sight the bottom index of the card above the card selected.. T o sight this card, turn the left hand so that the left thumb is upwards, holding the pack edgeways; as the right hand squares the steps or packets together, you look downwards for an instant. T h e pack being 011 its edge it is quite easy to see the index of the bottom card of any step. T h e cutting of the pack makes no difference, the selected card always being next the one you sighted. A C A R D F R O M P O C K E T T R IC K Effect. T h e performer has a card selected and replaced in the pack. He next shows that the selected card is neither at the top or the bottom of the pack. T he selected card is now produced from the performer’s pocket.
Requirements.
A pack of cards.
M ethod.
H ave a card selected and returned to the pack; as the card is returned to the pack slip one card above it and make the pass, this bringing the selected card second from the top of the pack. Now give the pack a false shuffle. T ak e the top card and show it. Remarking, “ Y ou r card is not at the top,” spin this card in the air which shows you have only one card, as the card returns to you (boomerang fashion, as described in D ow n’s “ A rt of M agic), slip the little finger of your left hand under the top card. Now’, as you square up the pack, palm off the tico top cards in your right hand, at the same time turn the pack over and show the bottom card. Remarking, “ Y ou r card is not at the bottom,” take the pack in your left hand, and placing your right hand in your inside pocket, withdraw the under or selected card, leaving the other card behind. 4
C A R D D IV IN A T IO N E ffect. A fter a freely selected card is returned to the pack, the pack is cut several times and a few cards are dealt off. T h e pack is now handed to a spectator with the request that he places the next four or five cards in different pockets. When he has done so, the performer takes his wand and divines which pocket contains the selected card. Requirem ents. A pack of cards, and the following preparation. Any cards may be used but as an example, place the Ace of Diamonds face up on the table, on this card place any other three cards. F ix these cards in a clip and attach underneath the jacket at the back. You are now ready to perform the trick. M ethod. Hand the pack to be shufHed. Have the pack placed in your hands behind your hack. W hile the cards are thus held, ask the spectator to remove a card. Suddenly turn round to him and remark, “ Have you done so? ” As you do this, remove the cards from 3'our jacket clip and place them 011 the bottom of the pack. T u rn round again and request the spectator to place his card on top of the pack and cut it. B ring the cards round to the front and commence to deal, but stop when you come to the Ace of Diamonds. A t this point hand the spectator the pack and tell him to take one card at a time from the top of the pack and place the various cards in different pockets. A ll you have to do is to watch where he puts the fourth ■card. X ow , for effect, you take your wand and apparently .divine the selected card. ON THE TOP E ffect. A card is selected and returned to the pack. T h e selected card is now caused to appear 011 the top of the pack four times in succession. A different method is used each time, so there is little fear of the spectators detecting the moves. Requirements.
A pack of cards. 5
M ethod. H ave the pack shuffled and returned to you. A card is selected, and as it is returned to the pack run two cards on top of it and make the pass. Th is w ill give you the selected card third from the top. G ive the pack a false shuffle, then riffle the pack and lift the three top cards as one card and show selected card, this having apparently come to the top. Replace the three cards on top of pack again. T ake the top card and without showing it, place it at the bottom of the pack. Riffle the pack again and lift the tivo top cards as one this time and again show the selected card. Still holding the two cards as one, push them into the centre of the pack, but when half way in, push the under card only right home. N ow cut the pack at the protruding card, this card going to the bottom of the pack. Riffle the pack again, lift the top card and show it. Before the spectators have had time to recover from this series of surprises, make the top change and push the changed card into the centre of the pack without showing it; again riffle the pack and show selected card once more on the top. T h is is a favourite trick of mine and it is very effective.
A T R IC K W IT H T H E SI ST EBBIN GS P A C K Effect. T h e performer has a card freely selected. H e now lays two cards on the table. One of these cards denotes the suit and the other the value of the selected card. Requirements. An arranged pack set up in the Si Stebbings order, every card being three spots higher than the card preceding. M ethod. False shuffle, have a card selected, cut the pack at the selected card. N ow deal off the cards till you come to the twelfth card, this card w ill denote the suit and the thirteenth card w ill denote the value of the selected card. When the pack is cut at the place where the selected card is removed, the twelfth and thirteenth card w ill always denote the suit and value. 6
T H E PER SIST E N T J O K E R Effect. T h e performer starts spelling out the cards in the usual manner, but every time he hands them to a spectator to spell he gets the Joker. I can recommend this little effect. Although the cards are arranged there are no duplicates used.
Requirem ents. Arrange any ten cards as follows. Three, five, Ace, seven, nine, two, Joker, eight, six, four. M ethod. T a k e the cards, one at a time, from the top and place them at the bottom as you spell. N ow spell A -C -E , show the Ace and lay it aside. Spell T -W -O and lay the two aside. Spell T -H -R -E -E and lay the three aside. Now hand the packet to the spectator and tell him to spell F -O -U -R . H e w ill get the Joker. Take the Jo k er from him and place it on top of the pack. (I must here mention that every time the Joker turns up replace it ontop of the packet). N ow the performer spells F -O -U -R . Lay the four aside. Ask the spectator to spell F -I-V -E and he w ill get the Joker. N ow you spell F -I-V -E and lay the five aside. Ask the spectator to spell S -I-X and he w ill again get the Joker. Now you spell S -I-X and lay the six aside, this time you also spell S -E -V -E -N and lay the seven aside. Now ask the spectator to spell E -I-G -H -T and lie again gets the Joker. Y ou spell E -I-G -H -T and lay aside. Ask the spectator to spell N -I-N -E and he gets the Joker once more. Y ou take the two remaining cards and spell N -I-N -E which you obtain. Hand the spectator the last card, the Joker, and remark, “ T h a t’s just your little joke.” Y ou cannot go wrong with this trick if you remember to replace the Joker on top of packet every time it turns up— every time the correct card turns up lay it aside. A N EXCELLENT C A R D C H A N G E E ffect. T h e performer, holding the pack in his left hand, passes his right hand over the face card. W hen he has done so the card is seen to have changed. T h is is a very fine change but requires a little practice to present neatly. Requirem ents.
A pack of cards. 7
M ethod. Hold the pack in your left hand, the thumb covering the face card and the fingers at the back; thumb and fingers should be pointing towards the floor and the edge of the pack should be parallel with the floor. Show your right hand empty. Now take pack with your right hand, gripping it with the thumb at one end and the first finger at the other. A s you do this, with the fingers of the left hand, push the rear card down till the corner conies between the third and little fingers of the right hand. Now, while you show the left hand empty, let this card fall to a horizontal position. T h e position should now be, pack in the right hand and a card gripped between third and little fingers by its edge. T h e pack only is now taken in the left hand and the face card is stroked with the right, leaving the palmed card on the face of the pack. T H E L A U G H A B L E R IS IN G C A R D Effect. A card is selected and returned to the pack. T h e performer holds the pack in front of his face. He has no sooner done so than the selected card is seen to rise right out of the pack. Requirements. A pack of cards.
M ethod. Have a card selected and returned to the pack, bring it to the top by the pass or by your favourite method. Now bring the pack up in front of your face, press the rear card against the tip of your nose and pull the pack down wards. T he selected card will appear to rise right out of the pack. T h is trick always causes a laugh, hence the title. T r y it in front of a mirror and you will see that the illusion is perfect. L IF T A F E W Effect.
Hand a pack of cards to be thoroughly shuffled and placed in your hands behind your back. Now ask a spectator to cut off a few cards, count them, and return them to tile pack. N ext request the spectator to cut the pack any where. Y ou now bring the cards round to the front of the body. On running through the cards you can tell how many cards were cut by your assistant. 3
Requirements. A pack of cards. M ethod. Unobserved, place two cards, which you memorise, up your left sleeve, just above the wrist. Hand the pack to be shuffled and have it returned to your hands which you hold behind your back. Ask a spectator to remove a few cards and count them. N ow turn round to him and say, “ Square your cards up and replace them 011 top of the pack.” W hile you do this, remove the two cards from your sleeve and place one at the top and one at the bottom of the pack. T u rn round again and have cards replaced and cut behind your back. T u rn round once more and run through the pack until you come to one of the cards you know, then count till you come to the next one, the announcement of that particular number concluding the trick.
U N IQ U E C A R D P R E D IC T IO N E ffect. T h e performer hands a sealed envelope to a spectator to keep until the end of the experiment. T he performer now removes two aces from the pack. He next has a card freely selected; this card is placed between the two Aces. Neither the spectator nor the performer knows the name of the selected card. These three cards are now placed in a glass, the backs of the cards being towards the spectators. T h e spectator who has the envelope is now asked to open it and read out what is written on the slip of paper within. He reads, “ T h e selected card will be the Ten of Clubs.” T ile performer turns the glass round so that the face of the cards can now be seen by the spectators. He removes the front Ace and, sure enough, there is seen the Ten of Clubs. Requirem ents. A pack of cards. A glass that will hold a pack of cards. A sealed message stating that the selected card will be the Ten of Clubs— or any other card it is desired to use. M ethod. Hand th e sealed envelope to a spectator, also the pack to be shuffled. Receive the pack and state that you will remove the two Aces. You arrange to get the predicted card at the back of the Ace of spades and remove the two cards as one. Place face down 011 the table as one card. 9
N ow remove the Ace of Clubs and lay this beside the other Ace. H ave a card freely selected but not looked at and lay it face down on top of the double card and on top of this place the Ace of Clubs. Pick up the “ three ” cards (really four cards), and place them in the glass, backs towards the audience. Now ask the spectator to read out the sealed message. A fter he has done so, turn the glass round, remove the Ace of Spades and show the next one to be the predicted card. Remove this card and the one next as one card, showing that the Ace of Clubs is still there as well.
F IN D IN G A SELECT ED C A R D A T A N Y NUM BER CALLED FO R T he average magician knows several methods of presenting this trick; here are three more.
M ethod I A card is selected, returned to the pack and brought to the top by the pass. Remove the two top cards as one card and start tapping the top card of a pack with the card(s) removed. Stand with the right side towards the spectators and with the left thumb push the top card to the right a little. Now ask for a number. Say “ four ” is selected. W ith the double card turn the top card right over and tip it on to the floor. Do the same with number two and three. For number four, hold the double card on top of the pack, face towards spectators, and with the right thumb push the top card of the double card on to the pack a trifle, while the remaining card, which is still between your right thumb and finger, immediately turn the card now at the top right over, showing it to be the selected card.
M ethod II Bring the card to the top again and stand with the right side towards spectator. Palm off the top card in the right hand and hold the pack back outwards with the fingers at one end and the thumb at the other. Now ask for a number. Say “ six ” is given. W ith the right thumb push the top card of the pack right over the top of the left fist and let the 10
card fall to the floor. I f you have done this correctly the palmed card should come just over the top card of the pack. N ow repeat the same movements until you reach card number five. W hen you push this (fifth) card over your
THUMB W H IC H IS
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fist, leave the palmed card on top of the pack. D raw down the right thumb and push this card, the selected one, upwards, but do not drop this card, show it to be the one selected.
M ethod III
Bring the selected card to the top, stand with the right side to audience. Hold the pack in left hand, back towards
spectators, thumb on top, fingers underneath.
Under cover
of the right hand allow’ the top card to drop on to the 11
extended fingers of the left hand. Th is card is gripped at the edge between the little and third fingers of the right hand. W ith the left thumb spring the top card of the pack till it separates a little from the pack. (Suppose number four is selected.) Placc the right forefinger on the top corner of this card and the right second finger tip under this corner. Now straighten the first and second fingers and the card w ill spring into view. Hold the card there for a moment and then let it fall to the floor. Do the same with
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cards two and three and while you are holding card number three at the finger tips press the card which is clipped between the little and third fingers back on to the top of the pack again. Remove this card in the same manner as you removed the others.
A T W O P E R SO N T E L E P A T H Y E FFEC T Effect. T he performer’s lady assistant goes out of the room. Th e performer borrows any small article from a spectator and places it in his (the performer’s) pocket. He now lays several cards on the table, the assistant enters, and as soon as he looks through the cards she names the article borrowed. Requirements. A pack of cards.
M ethod. Th e secret is a novel application of the morse code, the black spot cards being the “ dashes ” and the red spot cards being the “ dots,” while the picture cards are used to denote the end of a letter. 12
W e w ill presume the performer borrows a ring, so he would take the following cards from the pack. Red card, black card, red card, picture card, red card, red card, picture card, black card, red card, picture card, black card, black card, red card, picture card. This, reading from left to right according to the morse code spells, “ ring.” T h e morse code is as follows :
A 15 C I) E F G H
-------------
.— — . . . — .— .
J
— . .
M N O ---------P . ------ . Q ------- . —
. . .— . ------- .
___
K
L
— . — . — . . ------— .
S T
U
V w X Y
Z . . R .— . When the assistant re-enters the room, all she has to do is to pick up the cards and read through them. Perhaps some inventive magician will invent another application of this idea.
1
N A M E D C A R D A N D SLATES Effect. The performer asks any spectator to name a card in a pack. When he has decided on a card, the performer takes the pack of cards and removes the selected one, this he hands to spectator for the time being. The performer now shows two slates, these are placed together and put on the table. T ile selected card is now placed in a little box and vanished. On performer separating the slates the selected card is seen adhering to one of the slates. Requirements. T w o packs of cards of the same pattern. 'Fake all the even cards from both packs and set them up in pairs, such as the two fours, two sixes, two Queens, etc. S o w do the same witli the odd cards. Y ou now have two packs of cards made up of odd and even cards. Place them on your table or in your pocket, but remember which is which. Y ou also require two slates and a spot of wax. Place the spot of wax 011 one of the slates and you are ready to perform. 13
M ethod. Ask someone to name any card in a pack of cards. I f it is an odd card, take the odd cards pack, if it is an even card, take the even cards pack. N ow fan the cards in front of yourself and remove the selected card, cut the pack where you remove the card, bringing the duplicate to the top of the pack. .Hand the selected card to a spectator as previously described. Now, with the pack of cards in your left hand, pick up with the right hand the slate with the dab of wax on it and show the slate on both sides. Pass the slate to your left hand, pressing the top card on to the wax. Now, still holding cards and slate in your left hand, pick up the other slate with your right, and show both sides. Tak e both slates in the right hand and lay the pack of cards on the table. N ow place the front slate to the rear, this move bringing the selected card between the slates. Place the slates on your table. N ow have the selected card returned to you and place it in the card box or other apparatus suitable for the evanishinent of a card. It only remains to say the magic word and show that card has gone from the box. A spectator is asked to separate the slates and he finds the selected card between them. H ow you are enabled to get a freely named card between the slates w ill cause no little bewilderment. TH E P A IR E D C A R D Effect. T h e performer introduces a pack of cards with red backs. H e removes a card without looking at it or exhibiting it to the spectators, and places the card in a glass, the back of the card being towards the audience. Th e performer now shows a “ blue ’ pack of cards, this is handed to a spectator to shuffle and cut. T he performer takes the top card of the cut and, without showing it to the spectators, places it in the glass, back outwards, along with the red card. T h e performer now remarks that if the trick has been successful the two selected cards should be the same. The two cards, when shown, are seen to be identical. Requirements. A “ red ” pack of cards, a “ blue ” pack and a duplicate red card, say the K ing of Clubs. A glass, of such a size that it w ill comfortably hold a card. Place 14
the duplicate red card twelfth from the bottom of the red pack, the other one being on top.
Method. Introduce your red pack, fan it and show all cards to be different. Now state that you w ill remove a card at random. Remove the duplicate, which is twelfth from the bottom, and without showing it place it on the top of the pack. Pick up the glass and show it to be empty. Place the glass on the table and removing the two top cards as one place them in the glass, back towards the spectators. N ow hand out the blue pack to be shuffled and cut. You remove the top card of the cut and without showing it place in the glass beside the other cards, back towards spectators. N ow state that if the trick has been successful the two selected cards should be the same. T u rn the glass round and remove the front card, leaving the duplicate in the glass. Show' the one in your hand to be a red backed card and turn the glass round showing the one in the glass to be a blue backed card. I can thoroughly recommend this little trick, as all the moves are clean and to the spectators the cffect is very mystifying. A P R A C T IC A L P R E D IC T IO N E ffect. T he performer gives the pack to a spectator tobe shuffled. T h e conjurer now shows a sealed envelope, this is initialled and given to a spectator. A helper is now asked to insert a knife anywhere in the pack, the pack is divided at this point and laid aside. T h e spectator with the envelope is asked to open it and read the paper slip therein. W e will presume that he reads, “ T h e selected card w ill be the Ace of Clubs.” On the top card of the lower half of the pack being turned over it is seen to be the Ace of Clubs. Requirem ents. A slip of paper, an envelope, a pencil,, a pack of cards and a knife. P reparation. Place the Ace of Clubs face down on the table, on top of this place the envelope which is sealed and contains the prediction. 15
Method. H ave the cards shuffled and returned to you. Pick up the envelope and card, being careful not to reveal the card, and place on top of the pack. Remove the pencil from your pocket and ask for the initials of some spectator. W rite these on the envelope and give to the spectator. Now ask some one to insert the blade of the knife anywhere in the pack while you riffle it. When this has been done, draw the top portion of the pack towards you half-an-inch. Now ask the spectator to withdraw the knife. Here remark, “ No one knows the top card of the lower h alf.” T h is is quite true. A s you say this, you touch the lower half with your right forefinger. N ow you continue, “ It cannot move, as the top portion of the pack keeps it in position.” A s you say this, your right forefinger presses on the top end of the top half of the pack. Keep your forefinger there and turn the packets face upwards, but as you lay them on the table (the end of the pack being towards spectators), you draw the top card of the top half of the pack up half-an-inch. T h is brings this card in line with the top (now) “ face up ” packet. N ext ask the spectator to open the envelope and read the prediction. When he has done so, pick up the two packets in this manner. T h e left hand grips the tinder■ packet, the right hand grips the single card and the top packet, thumb on top and fingers underneath. T h e top packet is now removed, taking the single card, secrctly, with it. Th is packet is now laid face dozen crosswise, on the face up packet which is in your left hand. A spectator is now asked to turn over the top card ; this is seen to be the Ace of Clubs.
U N IQ U E C O N T R O L C A R D Th is control or key card is made by taking such a card as the Nine of Clubs and covering the centre pip with a piece of very thin black rubber. Place this card about halfw ay down the pack and then have a card freely chosen, break the pack at the key card and have the selected card returned on to the lower half of the pack. As you replace the upper half of the pack on top of the selected card, do so with a sliding motion towards 16
yourself, this w ill cause the selected card to project about half-an-inch from the end of the pack which is nearest your body. A s you turn the pack in your hands to square it up, you w ill be able to see the index of the selected card. B y experimenting with this card probably other uses will be found for it.
ST O P! E ffect. T h e performer has a card selected from a shuffled pack. T h e pack is now dropped into a bowler hat. T h e performer now removes the cards one at -a time and asks anyone to call “ Stop.” No matter when the spectator calls, the performer turns round the card he is holding and shows it to be the selected card.
SIDE OF THE HAT. Requirements. T he weak part about this trick is that the bowler hat you use must be your own. Th is has a slot cut in it on one side, over the crown. A pack of cards is the only other accessory. M ethod. H ave a card selected and returned. Bring the selected card fourth from the top of the pack and drop the pack into the hat. Now tell the spectators that you are going to remove one card at a time from the hat (you illustrate this by taking the first three cards and dropping them behind the hat) and that they may call “ Stop ” at any time while you do so. Y ou now take tile fourth card (back outwards, of course) and place it behind the hat, really pushing it through the slit inside the hat again. Keep doing this W’ith the same card till some one calls “ Stop,” you then turn card round and show it to be the selected one. 17
T A K E IT O R L E A V E IT Effect. T h e performer has a card selected and returned to the pack. H e now asks a spectator to hold one end o f the pack tightly. T h e performer now pulls the pack away and leaves the selected card in the hand of the spectator. Requirements.
A pack of cards.
M ethod. H ave a card selected and returned to the pack. Bring it to the top and false shuffle. N ow get the little finger of your left hand under the top card. Encircle the pack with the other three fingers and thumb and turn the hand, knuckles upward and fingers towards the floor. N ow get the spectator to hold the top end of the pack between his forefinger and thumb. A s you tell him to grip the pack tightly, draw the pack away sharply and the selected card w ill remain in the spectator’s hand.
A C O M E D Y C A R D IN T E R L U D E Effect. T h e conjurer changes a few cards by passing his hand across face card of pack. H e now explains that the trick is quite easy, provided you stroke the cards lengthways. “ I f I were to stroke the card sideways,” proceeds the magician, “ the card would not change but the spots would turn round only. T h e performer shows the card at this point with the pips pointing the wrong way. “ N ow ,” proceeds the performer, “ if I only stroke half the card, only half the card w ill change.” Here the performer shows the card with the top half showing the pips the wrong w ay and the bottom half showing an entirely different card. “ N ow ,” continues the performer, “ a pack with cards like this would be useless.” A t this point he strokes the card when it is seen to change to one of the normal variety. T h e only skill necessary to perform this trick is the ability to change the front card of the pack, by slipping one from the top.
18
Requirements. A pack of cards, a duplicate Five of Clubs with the pips turned sideways. A faked card, the top half being the Five of Clubs turned sideways, and the bottom half, the half of a court card. Place the pack face
Fa k e
f iv e : o f c l u
BS.
Do u b l e
headed card.
down 011 the table, and on top place the card with the different halves. On top of this place the Five of Clubs which has the pips turned sideways. Then the Five of Clubs, and on top of this place any two ordinary cards.
M ethod. Pick up the pack and make the change twice, by bringing the two cardsfrom thetop of the pack to the face. T e ll the spectatorsthat the cards change provided you stroke them lengthwise. As you say this, bring the Five of Clubs from the back to the front of the pack. Now say, “ If I stroke the card sideways it won’ t change, but for some strange reason the spots alter their position.” M ean while you have obtained the prepared Five of Clubs and placed it on the front of pack, stroking the face card sideways instead of lengthways. N ow secretly obtain the next card, the one which has the two different halves, and place 011 the face of the pack, only shou'ing the half ivith the pips. Ju st stroke the lower half of the card, explaining to the spectators that if you only stroke half the card, onlyhalf the card w ill change. A t this point show the lower half of the card to have changed to the Queen of Hearts. Now bring the routine to a close by bringing an ordinary card from the back to the front of the pack. 19
THE CUTE SPELLER Effect. T he performer removes a few cards from the pack and passes them out to be shuffled. Receiving them back, the performer takes the top card and asks it to whisper the name of a card in his ear, pretending to listen intently to the card’s message. T h e performer apparently hears a whisper which happens to be, say, “ Ace of Diamonds.” Th is card the performer proceeds to spell off the packet, on coming to the last letter of the name the next card is turned over, and it is seen to be the Ace of Diamonds. It does not matter how the cards are shuffled, the per former is always able to spell off a card after the top card has apparently whispered to him.
Requirements. Remove the following cards from the p a ck : 2 -D, 10-D, 6-D, A -D , 3 -S, 7-S, 8-S, Q-S, Q -H , 8-H, 7-H , 3 -H . Crimp the top card of the pack and lay the above set of cards on top of the crimped card. M ethod. T o perform. Pick up the pack and apparently remove a few cards at random, really remove the top twelve, the “ crimp allowing you to do this easily. Pass the twelve cards out to be shuffled. Receive them back and say that you w ill ask the top card to whisper the name of another card to you. As you remove the top card you really lift two cards with the thumb, this allowing you to get a glimpse at the index of the second card from the top; this card you allow to fall back on the pack again and remove the top card only. Now ask this card to whisper the name of a card to you. Actually, you name the card you sighted. Replace the top card again and begin to spell the card you know, removing a card from the top of the packet and placing it at the bottom of the packet for each letter spelled out. W hen you come to the final letter remove the next card, this w ill be the one named. Pass out the packet of cards to be again shuffled and repeat as above.
[T h is booklet as a vchole is copyright.]
20
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E n r.~staining
S IX )\\ SL1 -‘ -M TH, by h. u ria n M acC artiiv. Novei ir >ves 'with b illia rd balls, thimbles, cards, coins, etc. 2/6. Postage l* d . U.S.A. 75 cents. M O D E R N S L E IG H T S , by K. B rian M acC arthy. A companion booklet to “ Slow Sleights.” Copiously illu stra te d . 2/6. Postage lJ d . 75 cents. P U T I T OVER, by J. F. O rrin . D e a ling w ith conceit stage effects and th e ir d e lig h tfu lly humorous presentation, the success of this book is phenomenal. A handsome volum e o f very new magic, copiously illu stra te d . Cloth, 211 pages, 10/6. Postage 4d. $3.00. W A L K E R ’S C A R D M Y S T E R IE S , by Roy W a lke r. A book of really modern card effects. Copiously illustrated. Recommended w ith every confidence. Cr. 8vo, 3/6. Postage 3d. $1.00. N EO M A G IC , by S. II . Sharpe. T he M ag ic o f to-day an' to-m orrow . A n inexhaustible fount o f info rm a tio n in a w< m w ritte n and b e a u tifu lly produced volume. Demy 8vo, 8 r Postage 4d. $2.00. H A P P Y M A G IC , by Chas. W a lle r. Cloth bound (complete). / splendid collection o f humorous effects in M r. W a lle r’s t ‘ . style. T h o ro u gh ly practical. 7 /6 . Postage 3d. P a ri * (wrappers), 4 /6 . P a rt II., 4 /6 . H O F Z IN S E R ’S C A R D C O N JU R IN G , by O tta kar Fischer. T h acknowledged best w o rk on the subject. Cloth, 184 pag® 10/6. Postage 4d. $3.00. “ R IN G U P T H E C U R T A IN ,” by J. F. O rrin . Covers a wwfield o f practical m agic and only submits tricks th a t hu< been successfully presented. Recommended. 3 /-. Postage $ 1. 00 . “ M A G IC F R O M B E L O W ,” by Charles W a lle r. T h e secon p rin tin g o f this most successful book now ready. A ve rita b l gold m ine fo r the practical M ag ician in search o f w orkabl novelties. Cloth. 176 pages. 6 /6 . Postage 3d. $1.60. SE LLER S’ SECRETS, by T om Sellers. A collection o f easj tricks fo r quick presentation. Recommended. 2 /6 . Postagi H d . 75 cents. M O R E SECRETS, by T om Sellers. A companion booklet U “ Sellers’ Secrets.” Cigarette,card and mentaleffects. 2 /6 Postage l* d . 75 cents. T R IC K S T H A T W O R K , by T om Sellers. V e ry good. 2 /6 Postage l^ d . 75 cents. W A L L E R ’S W O N D E R S , by Charles W a lle r. One o f the mos! up-to-date and successful books published. B r illia n tly new. Cloth, 8/6. Postage 3d. $2.60. C O N J U R IN G FOR CO NNO ISSEURS, by Bernard Carton. A b rillia n t booklet subm itting m any novel and easy tricks. W rappers, 1/1. Post free. 40 cents. A F E W J A R D IN E E L L IS SECRETS. “ A n y single item is w o rth more than the price at w h ich the book is published.” W rappers, 1/1. Post free. 40 cents. A R T IN T E N M IN U T E S , by George M un ro . A humorous “ L ig h tn in g Skctch” lecture that is easy to present. W rappers, l / ' l . Post frc»
T H E L IG H T N IN G S K E T C IIE R , by George M un ro . A new edition o f this rem arkably useful and fu n ny book. W rappers, 1/1. Post free. 40 cents. H O F F M A N N . Sundry T ric k s and Sleights devised by C. P. M edrington. W rappers, 1 /-. Postage l i d . 30 cents. L A U G H T E R A N D L E G E R D E M A IN , by Frederic C u lp itt. T he excellent tricks o f this famous m agician, w ith w onderful “ patter.” Cloth, 5/6. Boards, 4 /6 . Postage 3d. $1.50. M A G IC A L S U G G E S T IO N S , by H a rry Latour. A book of co n ju rin g effects on novel lines. Ideas out of the beaten track. Cloth, 3/6. Postage 2d. $1.00. C O N JU R E R S’ T A L E S , by George Johnson. Stories o f the tips and downs o f co n ju rin g life on the road. Cloth, 1/6. Postage 2d. 55 cents. T H E B IB L IO G R A P H Y O F C O N JU R IN G , by Sidney W . Clarke. Invaluable to a ll m agical students and collectors. Boards, 3 /6. Postage 2d. $1.00. M U C H M A G IC . Handsome cloth bound volumes, containing interesting numbers o f the Rfatjic U 'and (quarterly). Series I. over 350 pages, 12/6. Series i l . 400 pages, 12/6. Series I I I . 400 pages, 12/6. Postage 6d. $2.75 and $3.50. M A G IC M A D E M E R R Y , by II. A . Palm er. book. 2 /- . Postage l i d . 75 cents.
T he best patter
C O N J U R IN G T R IC K S . Cloth bound copies o f interestin'?: numbers o f the monthly M agic It'and. (Supply lim ite d .) Price 8 /6 . Postage 6d. $2.60. T H E A N N A L S OF C O N J U R IN G , by Sidney W . Clarke. T o meet a general demand, the M agic Jl'atid, Volumes X I I I . to X V I I I . are now produced as tw o handsomely bound lib ra ry books. T hey present upwards o f 1,000 m agical effects. T he volumes (w hich are quite free from a dvertising m atter and are suitably embossed in gold) include the w hole of “ T he A nnals o f C o n ju rin g ” w ith some hundreds o f illu s trations. C ontaining over 1,350 pages (in the tw o books) exclusive of inset plates, the production is w e ll w o rth y o f inclusion in any lib ra ry . T h e complete indices are bound w ith the books. ,£5. 10/-. Postage 1/6. A broad 2 /6 . T H E M A G IC W A N D A N D M A G IC A L R E V IE W . Famous the w o rld over. A n n u a l Subscription, 10/6. Post free. Specimen Copies, 2 /6 . B y Post 2 /8 . 80 cents.
A new hook hy Tom Sellers w ill he announced in the December, 1934, issue of the “ M agic W and."
GEORGE
JOHNSON
Publisher and M agical Bookseller THE
“ M AGIC W A N D ” O F F I C E
24 Buckingham S tre e tj S t r a n d , London, W.C.2
Net.
* CARD TRICKS TH AT
WORK
BY
♦
TOM SELLERS Author o f “ Tricks that W ork," “ S e lle r s ’ S e c r e t s e t c .
♦
LO NDO N:
G E O R G E JO H N SO N , The M agic Wand Office-, 24 , Buckingham Street, S tra n d , W.C.
I
i I
W ILL ALMA M.I.M.C. (LO N D O N )
CARD TRICKS THAT W O R K
BY
TOM SELLERS
Author o f Tricks that W ork” "Sellers Secrets” etc.
LO N D O N G
eorge
J ohnson,
Th e M agic W and Office
24 Buckingham Street, Strand, W .C . 2 1934
WILL ANDRADE Only A ddresses :
52 S W A N S T O N ST., M E L B . and 173 PITT ST., S Y D N E Y
FOREW ORD S o m e t im e s the m o s t s im p le tric k s are the m o s t effective. The I
card
tric ks here d esc ri be d are a ll s im p le
t r u s t y o u M i l l f in d
in
p r in c i p le .
t h e m e n t e r t a i n in,!; a n d effective. T om
S e i .i .k r s .
C O N T EN T S I’AGH A
N ew
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The State Library of Victoria ALMA CONJURING COLLECTION”
A N E W JU M P IN G C A RD T RICK Effect. T h e performer requests a spectator to take a card from the pack. A fter the card has been returned and the pack shuffled, the performer holds the pack at arm’s length. Suddenly the selected card is seal to fly high into the air. Requirem ents. A pack of cards. M ethod. H ave a card selected and returned to the pack, bring the card to the top by the pass and false shuflle. N ow palm the card off in the right hand, keeping the palm of the hand towards your body. Place the pack between the two
middle fingers and the first and little fingers of the right hand, the two middle fingers being on top. T h e pack should now be lying above the palmed card gripped by the fingers. Stand with your right side to the spectators. Hold the pack at arm’s length, and bend the palmed card inwards with the thumb, i.e. the edge of the card is pulled back with the thumb tip. Release the thumb and the card w ill fly into the air.
STEPS E ffect. T h e performer has the pack shuffled and returned to him. Holding the pack face down in his left hand, with his right hand he proceeds to make six or seven steps with the pack, each step overlapping about half an inch. T h e spectator is now asked to choose a step and look at the top card of the “ step.” W hen he has done so the performer closes up the pack and hands it to be cut. Nevertheless on the performer running through the pack he locates the chosen card. 3
Requirements.
A pack of cards.
M ethod. Have the pack shuffled and placed face down in your left hand. Now, with your right hand, make several “ steps ” as follows. D raw back most of the pack about half-an-inch for the first step, now a few more for the second, and so 011 until you have made six or seven steps or packets one above the other. H ave a step selected and the top card of the step noted by a spectator lifting the corner and glancing at the index. As you square up the pack, you sight the bottom index of the card above the card selected.. T o sight this card, turn the left hand so that the left thumb is upwards, holding the pack edgeways; as the right hand squares the steps or packets together, you look downwards for an instant. T h e pack being 011 its edge it is quite easy to see the index of the bottom card of any step. T h e cutting of the pack makes no difference, the selected card always being next the one you sighted. A C A R D F R O M P O C K E T T R IC K Effect. T h e performer has a card selected and replaced in the pack. He next shows that the selected card is neither at the top or the bottom of the pack. T he selected card is now produced from the performer’s pocket.
Requirements.
A pack of cards.
M ethod.
H ave a card selected and returned to the pack; as the card is returned to the pack slip one card above it and make the pass, this bringing the selected card second from the top of the pack. Now give the pack a false shuffle. T ak e the top card and show it. Remarking, “ Y ou r card is not at the top,” spin this card in the air which shows you have only one card, as the card returns to you (boomerang fashion, as described in D ow n’s “ A rt of M agic), slip the little finger of your left hand under the top card. Now’, as you square up the pack, palm off the tico top cards in your right hand, at the same time turn the pack over and show the bottom card. Remarking, “ Y ou r card is not at the bottom,” take the pack in your left hand, and placing your right hand in your inside pocket, withdraw the under or selected card, leaving the other card behind. 4
C A R D D IV IN A T IO N E ffect. A fter a freely selected card is returned to the pack, the pack is cut several times and a few cards are dealt off. T h e pack is now handed to a spectator with the request that he places the next four or five cards in different pockets. When he has done so, the performer takes his wand and divines which pocket contains the selected card. Requirem ents. A pack of cards, and the following preparation. Any cards may be used but as an example, place the Ace of Diamonds face up on the table, on this card place any other three cards. F ix these cards in a clip and attach underneath the jacket at the back. You are now ready to perform the trick. M ethod. Hand the pack to be shufHed. Have the pack placed in your hands behind your hack. W hile the cards are thus held, ask the spectator to remove a card. Suddenly turn round to him and remark, “ Have you done so? ” As you do this, remove the cards from 3'our jacket clip and place them 011 the bottom of the pack. T u rn round again and request the spectator to place his card on top of the pack and cut it. B ring the cards round to the front and commence to deal, but stop when you come to the Ace of Diamonds. A t this point hand the spectator the pack and tell him to take one card at a time from the top of the pack and place the various cards in different pockets. A ll you have to do is to watch where he puts the fourth ■card. X ow , for effect, you take your wand and apparently .divine the selected card. ON THE TOP E ffect. A card is selected and returned to the pack. T h e selected card is now caused to appear 011 the top of the pack four times in succession. A different method is used each time, so there is little fear of the spectators detecting the moves. Requirements.
A pack of cards. 5
M ethod. H ave the pack shuffled and returned to you. A card is selected, and as it is returned to the pack run two cards on top of it and make the pass. Th is w ill give you the selected card third from the top. G ive the pack a false shuffle, then riffle the pack and lift the three top cards as one card and show selected card, this having apparently come to the top. Replace the three cards on top of pack again. T ake the top card and without showing it, place it at the bottom of the pack. Riffle the pack again and lift the tivo top cards as one this time and again show the selected card. Still holding the two cards as one, push them into the centre of the pack, but when half way in, push the under card only right home. N ow cut the pack at the protruding card, this card going to the bottom of the pack. Riffle the pack again, lift the top card and show it. Before the spectators have had time to recover from this series of surprises, make the top change and push the changed card into the centre of the pack without showing it; again riffle the pack and show selected card once more on the top. T h is is a favourite trick of mine and it is very effective.
A T R IC K W IT H T H E SI ST EBBIN GS P A C K Effect. T h e performer has a card freely selected. H e now lays two cards on the table. One of these cards denotes the suit and the other the value of the selected card. Requirements. An arranged pack set up in the Si Stebbings order, every card being three spots higher than the card preceding. M ethod. False shuffle, have a card selected, cut the pack at the selected card. N ow deal off the cards till you come to the twelfth card, this card w ill denote the suit and the thirteenth card w ill denote the value of the selected card. When the pack is cut at the place where the selected card is removed, the twelfth and thirteenth card w ill always denote the suit and value. 6
T H E PER SIST E N T J O K E R Effect. T h e performer starts spelling out the cards in the usual manner, but every time he hands them to a spectator to spell he gets the Joker. I can recommend this little effect. Although the cards are arranged there are no duplicates used.
Requirem ents. Arrange any ten cards as follows. Three, five, Ace, seven, nine, two, Joker, eight, six, four. M ethod. T a k e the cards, one at a time, from the top and place them at the bottom as you spell. N ow spell A -C -E , show the Ace and lay it aside. Spell T -W -O and lay the two aside. Spell T -H -R -E -E and lay the three aside. Now hand the packet to the spectator and tell him to spell F -O -U -R . H e w ill get the Joker. Take the Jo k er from him and place it on top of the pack. (I must here mention that every time the Joker turns up replace it ontop of the packet). N ow the performer spells F -O -U -R . Lay the four aside. Ask the spectator to spell F -I-V -E and he w ill get the Joker. N ow you spell F -I-V -E and lay the five aside. Ask the spectator to spell S -I-X and he w ill again get the Joker. Now you spell S -I-X and lay the six aside, this time you also spell S -E -V -E -N and lay the seven aside. Now ask the spectator to spell E -I-G -H -T and lie again gets the Joker. Y ou spell E -I-G -H -T and lay aside. Ask the spectator to spell N -I-N -E and he gets the Joker once more. Y ou take the two remaining cards and spell N -I-N -E which you obtain. Hand the spectator the last card, the Joker, and remark, “ T h a t’s just your little joke.” Y ou cannot go wrong with this trick if you remember to replace the Joker on top of packet every time it turns up— every time the correct card turns up lay it aside. A N EXCELLENT C A R D C H A N G E E ffect. T h e performer, holding the pack in his left hand, passes his right hand over the face card. W hen he has done so the card is seen to have changed. T h is is a very fine change but requires a little practice to present neatly. Requirem ents.
A pack of cards. 7
M ethod. Hold the pack in your left hand, the thumb covering the face card and the fingers at the back; thumb and fingers should be pointing towards the floor and the edge of the pack should be parallel with the floor. Show your right hand empty. Now take pack with your right hand, gripping it with the thumb at one end and the first finger at the other. A s you do this, with the fingers of the left hand, push the rear card down till the corner conies between the third and little fingers of the right hand. Now, while you show the left hand empty, let this card fall to a horizontal position. T h e position should now be, pack in the right hand and a card gripped between third and little fingers by its edge. T h e pack only is now taken in the left hand and the face card is stroked with the right, leaving the palmed card on the face of the pack. T H E L A U G H A B L E R IS IN G C A R D Effect. A card is selected and returned to the pack. T h e performer holds the pack in front of his face. He has no sooner done so than the selected card is seen to rise right out of the pack. Requirements. A pack of cards.
M ethod. Have a card selected and returned to the pack, bring it to the top by the pass or by your favourite method. Now bring the pack up in front of your face, press the rear card against the tip of your nose and pull the pack down wards. T he selected card will appear to rise right out of the pack. T h is trick always causes a laugh, hence the title. T r y it in front of a mirror and you will see that the illusion is perfect. L IF T A F E W Effect.
Hand a pack of cards to be thoroughly shuffled and placed in your hands behind your back. Now ask a spectator to cut off a few cards, count them, and return them to tile pack. N ext request the spectator to cut the pack any where. Y ou now bring the cards round to the front of the body. On running through the cards you can tell how many cards were cut by your assistant. 3
Requirements. A pack of cards. M ethod. Unobserved, place two cards, which you memorise, up your left sleeve, just above the wrist. Hand the pack to be shuffled and have it returned to your hands which you hold behind your back. Ask a spectator to remove a few cards and count them. N ow turn round to him and say, “ Square your cards up and replace them 011 top of the pack.” W hile you do this, remove the two cards from your sleeve and place one at the top and one at the bottom of the pack. T u rn round again and have cards replaced and cut behind your back. T u rn round once more and run through the pack until you come to one of the cards you know, then count till you come to the next one, the announcement of that particular number concluding the trick.
U N IQ U E C A R D P R E D IC T IO N E ffect. T h e performer hands a sealed envelope to a spectator to keep until the end of the experiment. T he performer now removes two aces from the pack. He next has a card freely selected; this card is placed between the two Aces. Neither the spectator nor the performer knows the name of the selected card. These three cards are now placed in a glass, the backs of the cards being towards the spectators. T h e spectator who has the envelope is now asked to open it and read out what is written on the slip of paper within. He reads, “ T h e selected card will be the Ten of Clubs.” T ile performer turns the glass round so that the face of the cards can now be seen by the spectators. He removes the front Ace and, sure enough, there is seen the Ten of Clubs. Requirem ents. A pack of cards. A glass that will hold a pack of cards. A sealed message stating that the selected card will be the Ten of Clubs— or any other card it is desired to use. M ethod. Hand th e sealed envelope to a spectator, also the pack to be shuffled. Receive the pack and state that you will remove the two Aces. You arrange to get the predicted card at the back of the Ace of spades and remove the two cards as one. Place face down 011 the table as one card. 9
N ow remove the Ace of Clubs and lay this beside the other Ace. H ave a card freely selected but not looked at and lay it face down on top of the double card and on top of this place the Ace of Clubs. Pick up the “ three ” cards (really four cards), and place them in the glass, backs towards the audience. Now ask the spectator to read out the sealed message. A fter he has done so, turn the glass round, remove the Ace of Spades and show the next one to be the predicted card. Remove this card and the one next as one card, showing that the Ace of Clubs is still there as well.
F IN D IN G A SELECT ED C A R D A T A N Y NUM BER CALLED FO R T he average magician knows several methods of presenting this trick; here are three more.
M ethod I A card is selected, returned to the pack and brought to the top by the pass. Remove the two top cards as one card and start tapping the top card of a pack with the card(s) removed. Stand with the right side towards the spectators and with the left thumb push the top card to the right a little. Now ask for a number. Say “ four ” is selected. W ith the double card turn the top card right over and tip it on to the floor. Do the same with number two and three. For number four, hold the double card on top of the pack, face towards spectators, and with the right thumb push the top card of the double card on to the pack a trifle, while the remaining card, which is still between your right thumb and finger, immediately turn the card now at the top right over, showing it to be the selected card.
M ethod II Bring the card to the top again and stand with the right side towards spectator. Palm off the top card in the right hand and hold the pack back outwards with the fingers at one end and the thumb at the other. Now ask for a number. Say “ six ” is given. W ith the right thumb push the top card of the pack right over the top of the left fist and let the 10
card fall to the floor. I f you have done this correctly the palmed card should come just over the top card of the pack. N ow repeat the same movements until you reach card number five. W hen you push this (fifth) card over your
THUMB W H IC H IS
O f R [ 6 H T H A IS O CHOSEN
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fist, leave the palmed card on top of the pack. D raw down the right thumb and push this card, the selected one, upwards, but do not drop this card, show it to be the one selected.
M ethod III
Bring the selected card to the top, stand with the right side to audience. Hold the pack in left hand, back towards
spectators, thumb on top, fingers underneath.
Under cover
of the right hand allow’ the top card to drop on to the 11
extended fingers of the left hand. Th is card is gripped at the edge between the little and third fingers of the right hand. W ith the left thumb spring the top card of the pack till it separates a little from the pack. (Suppose number four is selected.) Placc the right forefinger on the top corner of this card and the right second finger tip under this corner. Now straighten the first and second fingers and the card w ill spring into view. Hold the card there for a moment and then let it fall to the floor. Do the same with
Pe
r f o r m e r
WHEN
's
F IR S T
v ie w
CARO
SP R IN G S INTO VIEW a t
THE
"m e t ip s o F IN G E R S .
f
cards two and three and while you are holding card number three at the finger tips press the card which is clipped between the little and third fingers back on to the top of the pack again. Remove this card in the same manner as you removed the others.
A T W O P E R SO N T E L E P A T H Y E FFEC T Effect. T he performer’s lady assistant goes out of the room. Th e performer borrows any small article from a spectator and places it in his (the performer’s) pocket. He now lays several cards on the table, the assistant enters, and as soon as he looks through the cards she names the article borrowed. Requirements. A pack of cards.
M ethod. Th e secret is a novel application of the morse code, the black spot cards being the “ dashes ” and the red spot cards being the “ dots,” while the picture cards are used to denote the end of a letter. 12
W e w ill presume the performer borrows a ring, so he would take the following cards from the pack. Red card, black card, red card, picture card, red card, red card, picture card, black card, red card, picture card, black card, black card, red card, picture card. This, reading from left to right according to the morse code spells, “ ring.” T h e morse code is as follows :
A 15 C I) E F G H
-------------
.— — . . . — .— .
J
— . .
M N O ---------P . ------ . Q ------- . —
. . .— . ------- .
___
K
L
— . — . — . . ------— .
S T
U
V w X Y
Z . . R .— . When the assistant re-enters the room, all she has to do is to pick up the cards and read through them. Perhaps some inventive magician will invent another application of this idea.
1
N A M E D C A R D A N D SLATES Effect. The performer asks any spectator to name a card in a pack. When he has decided on a card, the performer takes the pack of cards and removes the selected one, this he hands to spectator for the time being. The performer now shows two slates, these are placed together and put on the table. T ile selected card is now placed in a little box and vanished. On performer separating the slates the selected card is seen adhering to one of the slates. Requirements. T w o packs of cards of the same pattern. 'Fake all the even cards from both packs and set them up in pairs, such as the two fours, two sixes, two Queens, etc. S o w do the same witli the odd cards. Y ou now have two packs of cards made up of odd and even cards. Place them on your table or in your pocket, but remember which is which. Y ou also require two slates and a spot of wax. Place the spot of wax 011 one of the slates and you are ready to perform. 13
M ethod. Ask someone to name any card in a pack of cards. I f it is an odd card, take the odd cards pack, if it is an even card, take the even cards pack. N ow fan the cards in front of yourself and remove the selected card, cut the pack where you remove the card, bringing the duplicate to the top of the pack. .Hand the selected card to a spectator as previously described. Now, with the pack of cards in your left hand, pick up with the right hand the slate with the dab of wax on it and show the slate on both sides. Pass the slate to your left hand, pressing the top card on to the wax. Now, still holding cards and slate in your left hand, pick up the other slate with your right, and show both sides. Tak e both slates in the right hand and lay the pack of cards on the table. N ow place the front slate to the rear, this move bringing the selected card between the slates. Place the slates on your table. N ow have the selected card returned to you and place it in the card box or other apparatus suitable for the evanishinent of a card. It only remains to say the magic word and show that card has gone from the box. A spectator is asked to separate the slates and he finds the selected card between them. H ow you are enabled to get a freely named card between the slates w ill cause no little bewilderment. TH E P A IR E D C A R D Effect. T h e performer introduces a pack of cards with red backs. H e removes a card without looking at it or exhibiting it to the spectators, and places the card in a glass, the back of the card being towards the audience. Th e performer now shows a “ blue ’ pack of cards, this is handed to a spectator to shuffle and cut. T he performer takes the top card of the cut and, without showing it to the spectators, places it in the glass, back outwards, along with the red card. T h e performer now remarks that if the trick has been successful the two selected cards should be the same. The two cards, when shown, are seen to be identical. Requirements. A “ red ” pack of cards, a “ blue ” pack and a duplicate red card, say the K ing of Clubs. A glass, of such a size that it w ill comfortably hold a card. Place 14
the duplicate red card twelfth from the bottom of the red pack, the other one being on top.
Method. Introduce your red pack, fan it and show all cards to be different. Now state that you w ill remove a card at random. Remove the duplicate, which is twelfth from the bottom, and without showing it place it on the top of the pack. Pick up the glass and show it to be empty. Place the glass on the table and removing the two top cards as one place them in the glass, back towards the spectators. N ow hand out the blue pack to be shuffled and cut. You remove the top card of the cut and without showing it place in the glass beside the other cards, back towards spectators. N ow state that if the trick has been successful the two selected cards should be the same. T u rn the glass round and remove the front card, leaving the duplicate in the glass. Show' the one in your hand to be a red backed card and turn the glass round showing the one in the glass to be a blue backed card. I can thoroughly recommend this little trick, as all the moves are clean and to the spectators the cffect is very mystifying. A P R A C T IC A L P R E D IC T IO N E ffect. T he performer gives the pack to a spectator tobe shuffled. T h e conjurer now shows a sealed envelope, this is initialled and given to a spectator. A helper is now asked to insert a knife anywhere in the pack, the pack is divided at this point and laid aside. T h e spectator with the envelope is asked to open it and read the paper slip therein. W e will presume that he reads, “ T h e selected card w ill be the Ace of Clubs.” On the top card of the lower half of the pack being turned over it is seen to be the Ace of Clubs. Requirem ents. A slip of paper, an envelope, a pencil,, a pack of cards and a knife. P reparation. Place the Ace of Clubs face down on the table, on top of this place the envelope which is sealed and contains the prediction. 15
Method. H ave the cards shuffled and returned to you. Pick up the envelope and card, being careful not to reveal the card, and place on top of the pack. Remove the pencil from your pocket and ask for the initials of some spectator. W rite these on the envelope and give to the spectator. Now ask some one to insert the blade of the knife anywhere in the pack while you riffle it. When this has been done, draw the top portion of the pack towards you half-an-inch. Now ask the spectator to withdraw the knife. Here remark, “ No one knows the top card of the lower h alf.” T h is is quite true. A s you say this, you touch the lower half with your right forefinger. N ow you continue, “ It cannot move, as the top portion of the pack keeps it in position.” A s you say this, your right forefinger presses on the top end of the top half of the pack. Keep your forefinger there and turn the packets face upwards, but as you lay them on the table (the end of the pack being towards spectators), you draw the top card of the top half of the pack up half-an-inch. T h is brings this card in line with the top (now) “ face up ” packet. N ext ask the spectator to open the envelope and read the prediction. When he has done so, pick up the two packets in this manner. T h e left hand grips the tinder■ packet, the right hand grips the single card and the top packet, thumb on top and fingers underneath. T h e top packet is now removed, taking the single card, secrctly, with it. Th is packet is now laid face dozen crosswise, on the face up packet which is in your left hand. A spectator is now asked to turn over the top card ; this is seen to be the Ace of Clubs.
U N IQ U E C O N T R O L C A R D Th is control or key card is made by taking such a card as the Nine of Clubs and covering the centre pip with a piece of very thin black rubber. Place this card about halfw ay down the pack and then have a card freely chosen, break the pack at the key card and have the selected card returned on to the lower half of the pack. As you replace the upper half of the pack on top of the selected card, do so with a sliding motion towards 16
yourself, this w ill cause the selected card to project about half-an-inch from the end of the pack which is nearest your body. A s you turn the pack in your hands to square it up, you w ill be able to see the index of the selected card. B y experimenting with this card probably other uses will be found for it.
ST O P! E ffect. T h e performer has a card selected from a shuffled pack. T h e pack is now dropped into a bowler hat. T h e performer now removes the cards one at -a time and asks anyone to call “ Stop.” No matter when the spectator calls, the performer turns round the card he is holding and shows it to be the selected card.
SIDE OF THE HAT. Requirements. T he weak part about this trick is that the bowler hat you use must be your own. Th is has a slot cut in it on one side, over the crown. A pack of cards is the only other accessory. M ethod. H ave a card selected and returned. Bring the selected card fourth from the top of the pack and drop the pack into the hat. Now tell the spectators that you are going to remove one card at a time from the hat (you illustrate this by taking the first three cards and dropping them behind the hat) and that they may call “ Stop ” at any time while you do so. Y ou now take tile fourth card (back outwards, of course) and place it behind the hat, really pushing it through the slit inside the hat again. Keep doing this W’ith the same card till some one calls “ Stop,” you then turn card round and show it to be the selected one. 17
T A K E IT O R L E A V E IT Effect. T h e performer has a card selected and returned to the pack. H e now asks a spectator to hold one end o f the pack tightly. T h e performer now pulls the pack away and leaves the selected card in the hand of the spectator. Requirements.
A pack of cards.
M ethod. H ave a card selected and returned to the pack. Bring it to the top and false shuffle. N ow get the little finger of your left hand under the top card. Encircle the pack with the other three fingers and thumb and turn the hand, knuckles upward and fingers towards the floor. N ow get the spectator to hold the top end of the pack between his forefinger and thumb. A s you tell him to grip the pack tightly, draw the pack away sharply and the selected card w ill remain in the spectator’s hand.
A C O M E D Y C A R D IN T E R L U D E Effect. T h e conjurer changes a few cards by passing his hand across face card of pack. H e now explains that the trick is quite easy, provided you stroke the cards lengthways. “ I f I were to stroke the card sideways,” proceeds the magician, “ the card would not change but the spots would turn round only. T h e performer shows the card at this point with the pips pointing the wrong way. “ N ow ,” proceeds the performer, “ if I only stroke half the card, only half the card w ill change.” Here the performer shows the card with the top half showing the pips the wrong w ay and the bottom half showing an entirely different card. “ N ow ,” continues the performer, “ a pack with cards like this would be useless.” A t this point he strokes the card when it is seen to change to one of the normal variety. T h e only skill necessary to perform this trick is the ability to change the front card of the pack, by slipping one from the top.
18
Requirements. A pack of cards, a duplicate Five of Clubs with the pips turned sideways. A faked card, the top half being the Five of Clubs turned sideways, and the bottom half, the half of a court card. Place the pack face
Fa k e
f iv e : o f c l u
BS.
Do u b l e
headed card.
down 011 the table, and on top place the card with the different halves. On top of this place the Five of Clubs which has the pips turned sideways. Then the Five of Clubs, and on top of this place any two ordinary cards.
M ethod. Pick up the pack and make the change twice, by bringing the two cardsfrom thetop of the pack to the face. T e ll the spectatorsthat the cards change provided you stroke them lengthwise. As you say this, bring the Five of Clubs from the back to the front of the pack. Now say, “ If I stroke the card sideways it won’ t change, but for some strange reason the spots alter their position.” M ean while you have obtained the prepared Five of Clubs and placed it on the front of pack, stroking the face card sideways instead of lengthways. N ow secretly obtain the next card, the one which has the two different halves, and place 011 the face of the pack, only shou'ing the half ivith the pips. Ju st stroke the lower half of the card, explaining to the spectators that if you only stroke half the card, onlyhalf the card w ill change. A t this point show the lower half of the card to have changed to the Queen of Hearts. Now bring the routine to a close by bringing an ordinary card from the back to the front of the pack. 19
THE CUTE SPELLER Effect. T he performer removes a few cards from the pack and passes them out to be shuffled. Receiving them back, the performer takes the top card and asks it to whisper the name of a card in his ear, pretending to listen intently to the card’s message. T h e performer apparently hears a whisper which happens to be, say, “ Ace of Diamonds.” Th is card the performer proceeds to spell off the packet, on coming to the last letter of the name the next card is turned over, and it is seen to be the Ace of Diamonds. It does not matter how the cards are shuffled, the per former is always able to spell off a card after the top card has apparently whispered to him.
Requirements. Remove the following cards from the p a ck : 2 -D, 10-D, 6-D, A -D , 3 -S, 7-S, 8-S, Q-S, Q -H , 8-H, 7-H , 3 -H . Crimp the top card of the pack and lay the above set of cards on top of the crimped card. M ethod. T o perform. Pick up the pack and apparently remove a few cards at random, really remove the top twelve, the “ crimp allowing you to do this easily. Pass the twelve cards out to be shuffled. Receive them back and say that you w ill ask the top card to whisper the name of another card to you. As you remove the top card you really lift two cards with the thumb, this allowing you to get a glimpse at the index of the second card from the top; this card you allow to fall back on the pack again and remove the top card only. Now ask this card to whisper the name of a card to you. Actually, you name the card you sighted. Replace the top card again and begin to spell the card you know, removing a card from the top of the packet and placing it at the bottom of the packet for each letter spelled out. W hen you come to the final letter remove the next card, this w ill be the one named. Pass out the packet of cards to be again shuffled and repeat as above.
[T h is booklet as a vchole is copyright.]
20
\v
;r»g
E n r.~staining
S IX )\\ SL1 -‘ -M TH, by h. u ria n M acC artiiv. Novei ir >ves 'with b illia rd balls, thimbles, cards, coins, etc. 2/6. Postage l* d . U.S.A. 75 cents. M O D E R N S L E IG H T S , by K. B rian M acC arthy. A companion booklet to “ Slow Sleights.” Copiously illu stra te d . 2/6. Postage lJ d . 75 cents. P U T I T OVER, by J. F. O rrin . D e a ling w ith conceit stage effects and th e ir d e lig h tfu lly humorous presentation, the success of this book is phenomenal. A handsome volum e o f very new magic, copiously illu stra te d . Cloth, 211 pages, 10/6. Postage 4d. $3.00. W A L K E R ’S C A R D M Y S T E R IE S , by Roy W a lke r. A book of really modern card effects. Copiously illustrated. Recommended w ith every confidence. Cr. 8vo, 3/6. Postage 3d. $1.00. N EO M A G IC , by S. II . Sharpe. T he M ag ic o f to-day an' to-m orrow . A n inexhaustible fount o f info rm a tio n in a w< m w ritte n and b e a u tifu lly produced volume. Demy 8vo, 8 r Postage 4d. $2.00. H A P P Y M A G IC , by Chas. W a lle r. Cloth bound (complete). / splendid collection o f humorous effects in M r. W a lle r’s t ‘ . style. T h o ro u gh ly practical. 7 /6 . Postage 3d. P a ri * (wrappers), 4 /6 . P a rt II., 4 /6 . H O F Z IN S E R ’S C A R D C O N JU R IN G , by O tta kar Fischer. T h acknowledged best w o rk on the subject. Cloth, 184 pag® 10/6. Postage 4d. $3.00. “ R IN G U P T H E C U R T A IN ,” by J. F. O rrin . Covers a wwfield o f practical m agic and only submits tricks th a t hu< been successfully presented. Recommended. 3 /-. Postage $ 1. 00 . “ M A G IC F R O M B E L O W ,” by Charles W a lle r. T h e secon p rin tin g o f this most successful book now ready. A ve rita b l gold m ine fo r the practical M ag ician in search o f w orkabl novelties. Cloth. 176 pages. 6 /6 . Postage 3d. $1.60. SE LLER S’ SECRETS, by T om Sellers. A collection o f easj tricks fo r quick presentation. Recommended. 2 /6 . Postagi H d . 75 cents. M O R E SECRETS, by T om Sellers. A companion booklet U “ Sellers’ Secrets.” Cigarette,card and mentaleffects. 2 /6 Postage l* d . 75 cents. T R IC K S T H A T W O R K , by T om Sellers. V e ry good. 2 /6 Postage l^ d . 75 cents. W A L L E R ’S W O N D E R S , by Charles W a lle r. One o f the mos! up-to-date and successful books published. B r illia n tly new. Cloth, 8/6. Postage 3d. $2.60. C O N J U R IN G FOR CO NNO ISSEURS, by Bernard Carton. A b rillia n t booklet subm itting m any novel and easy tricks. W rappers, 1/1. Post free. 40 cents. A F E W J A R D IN E E L L IS SECRETS. “ A n y single item is w o rth more than the price at w h ich the book is published.” W rappers, 1/1. Post free. 40 cents. A R T IN T E N M IN U T E S , by George M un ro . A humorous “ L ig h tn in g Skctch” lecture that is easy to present. W rappers, l / ' l . Post frc»
T H E L IG H T N IN G S K E T C IIE R , by George M un ro . A new edition o f this rem arkably useful and fu n ny book. W rappers, 1/1. Post free. 40 cents. H O F F M A N N . Sundry T ric k s and Sleights devised by C. P. M edrington. W rappers, 1 /-. Postage l i d . 30 cents. L A U G H T E R A N D L E G E R D E M A IN , by Frederic C u lp itt. T he excellent tricks o f this famous m agician, w ith w onderful “ patter.” Cloth, 5/6. Boards, 4 /6 . Postage 3d. $1.50. M A G IC A L S U G G E S T IO N S , by H a rry Latour. A book of co n ju rin g effects on novel lines. Ideas out of the beaten track. Cloth, 3/6. Postage 2d. $1.00. C O N JU R E R S’ T A L E S , by George Johnson. Stories o f the tips and downs o f co n ju rin g life on the road. Cloth, 1/6. Postage 2d. 55 cents. T H E B IB L IO G R A P H Y O F C O N JU R IN G , by Sidney W . Clarke. Invaluable to a ll m agical students and collectors. Boards, 3 /6. Postage 2d. $1.00. M U C H M A G IC . Handsome cloth bound volumes, containing interesting numbers o f the Rfatjic U 'and (quarterly). Series I. over 350 pages, 12/6. Series i l . 400 pages, 12/6. Series I I I . 400 pages, 12/6. Postage 6d. $2.75 and $3.50. M A G IC M A D E M E R R Y , by II. A . Palm er. book. 2 /- . Postage l i d . 75 cents.
T he best patter
C O N J U R IN G T R IC K S . Cloth bound copies o f interestin'?: numbers o f the monthly M agic It'and. (Supply lim ite d .) Price 8 /6 . Postage 6d. $2.60. T H E A N N A L S OF C O N J U R IN G , by Sidney W . Clarke. T o meet a general demand, the M agic Jl'atid, Volumes X I I I . to X V I I I . are now produced as tw o handsomely bound lib ra ry books. T hey present upwards o f 1,000 m agical effects. T he volumes (w hich are quite free from a dvertising m atter and are suitably embossed in gold) include the w hole of “ T he A nnals o f C o n ju rin g ” w ith some hundreds o f illu s trations. C ontaining over 1,350 pages (in the tw o books) exclusive of inset plates, the production is w e ll w o rth y o f inclusion in any lib ra ry . T h e complete indices are bound w ith the books. ,£5. 10/-. Postage 1/6. A broad 2 /6 . T H E M A G IC W A N D A N D M A G IC A L R E V IE W . Famous the w o rld over. A n n u a l Subscription, 10/6. Post free. Specimen Copies, 2 /6 . B y Post 2 /8 . 80 cents.
A new hook hy Tom Sellers w ill he announced in the December, 1934, issue of the “ M agic W and."
GEORGE
JOHNSON
Publisher and M agical Bookseller THE
“ M AGIC W A N D ” O F F I C E
24 Buckingham S tre e tj S t r a n d , London, W.C.2
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