0 Jfferlin 's Master Manipulations Jack Merlin Section One of "and a Pack of Cards" Cherished Secrets of a Master Ma
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Jfferlin 's Master Manipulations Jack Merlin
Section One of "and a Pack of Cards"
Cherished Secrets of a Master Maripulator, MERLIN!S MASTER ZAJvIPUI ' .. •.;:. Section One. "and a Pack of Cards." Third Revised Edition* By JACK MERLIN. Edited by A* W. C. Brurafield, Foreword by Charles J. Maly Published 1928. By THE WELWORTH COMPANY. 756 West Pratt Street. Indianapolis Indiana. U, 3. A. Cherished Secrets of a Master Manipulator*
5"c~ c T
COPYRIGHT
1937, 1928
THE WELWORTH COMPANY
FOREWORD. JACK MERLIN. The very name instantly recalls to our minds the unca.nny obedience of the little cardboards to his will and the subtle agility of his fingers. Undoubtedly, he is the master supreme of the pasteboards, and a student of psychology. To have witnessed a card demonstration by Merlin is an event not easily to be forgotten. In his hands, the old card tricks and sleights of yesterday with added Merlinesque touch become the classical masterpieces of today. In the pages of this manuscript '' a has unselfishly revealed, in detail, all the sleights, subterfuges, and clever tricks that have emanated from his own fertile brain; sleights and tricks that have made him stand out above all other card workers as the greatest of this century. He has omitted nothing. It was with the thought in mind of "magic first" that he finally agreed to divulge his cherished secrets to his brother magicians, with the hope that they might play some small part in elevating the art of manipulation. For the newest beginner, or the most seasoned professional, this work will thoroughly and completely furnish sufficient material, with a reasonable amount of practice, to bring yery gratifying results. To me a card worker myself, these pages will be priceless as I can well judge—for I have been privileged ."'to read the advance proofs. CHARLES J. ivIALY.
THEORY. As previous volumes have covered to a great extent, in preliminary chapters, subjects such as Stage Deportment, Dress, Patter, Theory ate., I will merely touch these subjects briefly. Dress according to the times, without exaggeration. Make your stage presence natural. Just be yourself* Patter is sadly missing from this volume; "therels a reason." Patter that is suitable to one personality is hopelessly unsuitable to another; however, if comedy is your goal, create it by natural situations, ^uns become very tiresome. The theorv of magic has been admirably covered in "Our Magic" (Maskelyne & D evant) by Mr. Maskelyne. Many may dis-. agree with the abstract principles he propounds, but eventually in the hard school of experience, the truths of feds theory, like chickens, will come home to roost. So much for the preliminaries, now for the main bout, PRACTICE. Many conjurors merely practice against time; by that, I mean they are "clockwatchers" and often they boast of their hours of practice. Practice to me is something I cannot resist. 1 practice because I enjoy it. When I force myself to practice, I accomplish nothing. Take a sleight and dissect it, that is, take each p&ase of the move and start accomplishing the sleight by as little movement as is absolutely necessary, seeking a plausible explanation to cover it. Do not practice in front of a mirror, but at different stages in the accomplishment of a sleight, try it before a mirror and make cor-r rections. Practicing before a mirror is responsible, I think, for the bad habit some manipulators have of closing the eyes at the psychological moment of accomplishing the sleight. When that moment arrives, let the eyes rest anywhere but on the hands and keep them open, donft wink. Do not grip the pack as though, your life depends on iti- -tHold the cards moderately loose. This eliminates noise. Avoid swinging the arms in an arc to cover a move. Even though familiar with a* move, always practice it as it is applicable to each trick before attempting in public* In regard to effects, always remember that an audience wish to be entertained so never ask them to think or remember to any great extent. What I wish to convey is: do not confuse the audience.by asking them to remember several cards or jnumbers or the positions of several cards. Make your effects direct.
It is essential that you intersperse your tricks depending on purely sleight of hand with effects gained by mechanical or mathematical procedure. This enchances your program and very often the audience give you credit for skill that you do not possess. There are two old rules, in conjuring, First: Never tell what you are going to do before you do it, and Second: Never do the same tricks twice during the same performance. I disagree. I believe in telling what you are going to do. Do it and then add a surprise for good measure. Most of my best effects t find are due to repetition with slight variations. Of course, in some tricks this is impossible aneb not advisable. I have found it beneficial in stage work to eliminate many of the red cards from the pack* This helps as the black cards are more in evidence and they show better from a distance* However, if any of a committee notice their absence and call my attention to the fact, I am prepared, for previously I have placed the separated red cards conveniently in one of my pockets ard I- produce them from the pocket of the member of the committee who complains, remarking something to the effect that he had removed them himself. Then I add them to the pack, and proceed as usual. PASSES. • Methods of bringing a selected card to the top or bottom of a pack are perhaps the basis of all card tricks, hence, a short review is necessary. The Charlier or one hand pass is impossible as there is no way to rny knowledge to cover without excessive movement, which is at all times to be avoided. The two handed or gamblers pass is useful but is perhaps the hardest of all passes to perfect, that is, to accomplish neatly without the fatal arc movements used by most manipulators as a cover. The Hermann pass is natural, easy to cover and .easy to acquire. I have varied the procedure and thei following cowers perfectly and yet at the same time gives a plausible reason for the movement. Improved Hermann* : Cut the pack for return of selected cards, holding the lower portion in the left hand and the upper portion being in the right hand held lengthwise between the first finger and the "base of the thutnb. Return the top portion inserting the little fingerr of the left hand at the break, nhen ready to pass, place the right hand in the original position on the top portion, slightly raise and Imsert the second and third finger in the break, the fourth and first finger below the pack, lift this portion outward to the right under cover of the right hand.
You will note that the upper portion is now held between the thumb and first finger of the left hand which at the same time is holding the lower portion in a semi inverted position extended under the right hand. Simply close the left hand turning it over at the same time releasing trhe hold-of the right and remark, "First, I want you to note on the bottom of the pack I have an ace of clubs and that is the secret, etc." The action of turning the hand covers the pass and the remark concerning the bottom card gives a plausible reason for the doing so. Now a word concerning the spectator. I Lave found that in describing an "impossible" feat the specta-tor invariably says the pack was shuffled. To him it appears that is conclusive. Now as the spect a t o r ^ view is our ultimate goal, I suggest &nd often use the haymow shuffle in connection with the outjog (Erdnase.) The haymow shuffle being the old fashioned method of shuffling with an up and down movement of the left hand depositing the cards held in that hand from top one or more at a time, Outjog Pass. Hold the cards for haymow shuffle, -after running a few into the right hand invite the spectator to return selected card to top of portion held in the right hand, outjog the next card deposited by the left hand, and continue shuffling until there are but a few cards in the left hand. During the up and down movement of shuffling pick up the portion back of the outjog between the base of the thumb and the third finger of the left hand back of the cards already held in the left hand. Make a break with thumb of the left hand and continue shuffling till you come to the break and drop separated portion intact on top. Select&d card is now on top and from appearances the pack has been shuffled thru but once. This sleight is very useful in many effects and is used a great deal by gamblers. Side Slide Palm and Flesh Grip. The side slide in conjunction with the flesh grip, I consider the acme of perfect contrel both as a pass and change. It is the most difficult to acquire and doubly so"to finish, Hold the pack naturally as for dealing from the left hand. Extend the hand inviting spectator to peep at a card by raising the index corner. As he releases, make a break below the chosen card with the flesh of the first finger of the left hand. Pvaise the top portion slightly between .ttae first finger and the thumb of the right hand, the first finger at the far end, the thumb at the rear end: both near the fight upper and right lower corners So as to allow the palm to extend to the right of the pack. Insert the tip of the second finger of the left hand and with a, straightening move outward to the right push the selected card into "the palm of the right hand. A movement as if to square the pack deposits selected card on top or immediately hand pack to be shuffled, ret-aining card in the palm, i-any may find it is more convenient to use first, second and third finger in sliding card into palm, but I find i "t created too much movement.
THE PASS AS A TRICK. The following being a routine I use as a variation of moves to fool those familiar with passes: Top Turnover,,. Hold pack in left hand. Reverse top card of pack by pushing top card with thumfe of left hand so it protrudes sidewise from pack to the right, now strike the protruding edge with an upward movement of the thumb of the right hand keeping fingers together and palm downward (this is important to the moves that follow,) Repeat turning top card, finally leaving it face up on pack, call attention to^bottom card. Have spectator peep at index, use the flesh grip, slide the selected card to the right palm, immediately turn the reversed top card as before, dropping selected card from right palm on top as you execute movement. Have spectator name card and show on top* Pass Using Second Dealing, . Show top card, take second card and insert in pack. Take second and show the card is not on the top. Place this card on top and again take second, showing card which you apparently placed in center* Snap Pass* "Many of you, perhaps, think I do not place the card in the center. This time I shall reverse it then you can see just when it happens," Place the pack in the left hand, back towards spectator, either holdIng below the eyes of the spectators or holding, to the left of the ^ body, back of the pack outward, the tip of the thumb holding one side, the tips of the second, third and fourth fingers the opposite side, the tip of the first finger resting on the top edge of the pack. Ntfw insert top card, reversed, a little way into the pack at the-..upper * edge, the first finger of the left hand being under and resting against the card. Now start tapping card into pack with, the'fingers • of the right hand until card is extending about a half inch out of the pack. Now while tapping card, snap it out of the pack into the palm of the right band by pressing the extended portion of the card against the tip of the first finger of the left hand* with the fingers of the right hand and a side movement to the right. Tap a few more times with right hand holding palmed card securely. This completes the illusion. Snap card to tips of fingers producing saying> "You see, when you do, you don^.11 etc. This; is very deceptive and a move I prize highly. Tip Over Change and Pass. Hold the pack naturally in the left hand. C»ut about half the 7. pack between the thumb and first finger of right hand, the first finger holding the pack at the far end near the Car right corner, the
thumb holding the pack at the near end close to the near right -corner, push top card of lower portion to the right about one half inch so the edge is clear of tips of the fingnrs of the left hand with the thumb of the left hand. With an upwe,rd mot".o..i turn the top card of lower portion face up on lower portion by striking the extended portion of cards with the edge of upper portion held in right hand.. Re peat several times for effect. With second finger of the right hand slightly separate bottom card of top portion at the corner edge nearest the second finger. In reversing the top card of lower portion from the face up position to the face down drop the separated card of top portion on top of lower portion. Show bottom card of top portion and turn top card of lower portion showing card to have changed. There are many variations. It can be shown as a pass by inserting^ the dropped card without showing into the center of the upper portion then by merely turning the top card of lower portion apparently the card has returned to its original position. asses are merely a matter of taste. Adopt the one most suitable-to your own use. SECONDS AND BOTTOMS. An expert dealer of seconds and bottoms has nothing to fear from the overly wise as there is practically ho limit to the conjuring effects possible with these two moves* They are well worth the time spent in accomplishing. Below is the method I use and will try to make c&rtain points more explicit than previous explanations have been. Seconds. Place the upper left hand edge of pack firmly between the junction of the thumb"and first finger of the left hand, the thumb being parallel to the top edge of pack, all four fir^ors holding the pack* just so as to allow the top card or the second to be taken freely. (This prevents two or three cards coming off together. The feel of the fingers on this edge is very important.) Now practice moving the thumb backward and forward without moving the card. With the thumb of the right hand start towards pack to take top card, thumb of left hand draws back top card and thumb of right hand draws second card sideways from pack, the first and second fingers of right hand grasps the card as it clears the pack. As soon as the right thumb has secured tho card the left thumb moves top card forward to the square position. In taking top card move the left thumb backwards but not the card, in fact if the cards aro in the proper position this will be necessary in order to secure the top card. The moves should' be identical. It is all a question of tempo and properly done it is indetoctablc. There are other methods such as one hand second dealing, etc., but I have found the above the most adaptable.
Bottoms* Place the pack so it is held between the second finger and the heel of the palm of the left hand, the upper right hand corner being held by the second finger and the lower left hand corner being pressed in the heel of the hand, the first finger resting parallel against the top and the third and fourth fingers supporting the bottom, the tips being visible at the upper right side. Practice dealing from this awkward position by moving the top card sideways with left thumb and grasping with the thumb and first finger of the right haad. Continue till it becomes natural to hold a pack in this position. Practice moving top card sidewise and back to square position with the thumb of the left hand. As you push top card sidewise as soon as it coversthe tips of the third and fourth finger'of the left hand draw these under the pack and with the third finger push the bottom card out about half an inch. Right hand approaches to apparently take top card with thumb and forefinger. Thumb of left hand withdraws top card and right hand grasps bottom card. As right hand takes bottom card, immediately extend third and fourth finger of left hand so their position is the same as previous to the move. As with second dealing, it is merely a question of perfect time and coordination of the hands* A second can be dealt from this same position bjz extending top card•sidewisc with thumb and then withdrawing top card slightly beyond edge, (in other words dealing a second from the side edge instead of the top edge.) It is very hard to control but is convenient when you wish to deal seconds and bottoms without changing the position of the pack in the hands, I would like to impress once more the importance of mastering the above. Glide. Place the pack in front of you on the table sidewise facg downwards. With left hand pick up the pack at the sides near the left end between the first and second finger and the thumb, holding the pack face dpwnward. Start taking the bottom cards away one at a time with the right hand, holding the right palm upward and reaching under the pack with the first and second fingers and with-drawing the cards forward from the end. As the chosen card is the third from the botto$t take the first two cards and lay face up on the table. As you reach to take the third card which is the selected card, glide this card back slightly, the end protruding under covor of the left hand and continue taking'th- fourth^-f ifth,, -etc:; Ijwito"spbetatot to .tcll'i yon to stop. When request is made to stop place the little finger of the left hand against the end of the protruding bard. With the palm of tbo right hand push the end of the pack back into the left hand. This movement squares the chosen card on the bottom of the pack.
TRICKS BASED ON SECOND AND BOTTOM DEALING. Four Ace Trick. Show four aces and twelve indifferent cards. Place aces on top and deal face downwards onttable. Show them to be four aces. Place on top and deal three bottoms and one top. You now have three indifferent cards on table and one ace,x. three aces remaining on top. Deal three bottom cards on the ace, *ick up and show they are indifferent cards and place back on top^of the pack. Deal them back on any pile but the ace; now deal the next three which are aces and three of each of the remaining six cards ofi the two indifferent cards. After usual force of pile arhow aces assembled* A, Sequence Sffect.; Remove the ace, deuce, tray, four ,five, six, setfen, eight, nine, ten, jack, queen, king of indifferent suits and arrange in separate pile as follows from top to bottom face downward. Ace, tray, five, seven, nine, jack, king, queen, ten, eight, six, four, deuce. Show cards in a fan to spectator. (You will note they donot appear at a glance to be prearranged.) Ask spectator if he could name the cards in their order at a glance. Interrupt saying "Wait I'll reverse them.* Place pack in the loft hand in position for bottom deal and start dealing first a top th$n a bottom alternating through out. Pick up pack saying, "Why, you should be able to ae they are in perfect order,* and spread on table. Cards now read ace, deuce, tray, four, five, six, seven, eight, nine, ten, jack, queen, king. It is merely a flourish but very effective. The effect is better if the ear€s are previously arranged on top of the pe;ck with a break between a and cut off at the start in a careless manner. Bottom or Seconds may both be used for stopping at any given place in a pack and producing a chosen card. Unlimited scope is given to the performer who thoroughly masters them. In section two* "Merlin at the Card Table," you will find numerous references to the bottom and second. FALSE SHUFFLES AND CUTS. To accomplish my method of false shuffling it is necessary first that you learn to shuffle differently from the usual methods. Place tho pack on the table the left side towards you. Grasp the pack with both hands, tho thumbs holding the side towards you and the second and third fingers of both hands holding the edge furthest away, t&fl first finger of each hand resting on top of the cards* By*.
drawing the top or bottom portion to the right with right hand square the two portions by tapping the ends together. One tap being all that is usually necessary. Carry the portion hel.d in the right hand in front and parallel to the portion b^. " In the left hand co the sides of the pack arc adjacent, Raise ar edge oi t,Uo left hand pack and riff with second and third fingers, the first finger pressing the top of the pack. At the same time move, the right hand portion towards the left, riffing this portion with thumb of the right hand, the first finger pressing on the top thus accomplishing a dovetail at the sides of the pack instead of the ends which is • usual. When riff is completed reach the second and thirl finger of the left hand and place them on the far edtc of the right hand portion, keeping the thumb of the left hand in the original position at the near edge of the left hand portion. At the sa&a time p&ace the thumb of the right hand on the near edge of the left-hand portion keeping the second and third fingers in the original position on the far edge of the right hand portion, the first fingers of both hands resting lightly on the top of the right hand portion. By squeezing the two portions between the fingers and thumbs the portions are caused to dovetail to the squared position, the little fingers assisting in squaring the ends of the pack. practice in repetition until it becomes natural. So much for the true shuffle. False. Shuffle and Cuts. Plaoe the pack in same position as for the true shuffle but in cutting always take the lower portion of the pack away in the right bind, Now riff as before so the edges are dovetailed. In squeezing to square position make the action of both thumbs to right and the fingers to the left. Y o u w m n O w find the ends of the lower portion protrude at the loft and the ends of the upper portion protrude at the right. Under cover of the second and third fingers of both hands the third fingers of each hanc. r, -aid be retting on the protruding ends. How by a simultaneous pressure of the thumbs_ against the near side and a pulling towards you movement of the third fingers of the protruding ends, the pack will break. This break should be very slight. Now draw the upper portion which is held between the thumb and third finger of right hand out to right and slightly toward you and place on top and square. Immediately cut lower portion and tap ends to square and repeat. This movement^ gives the impression of a double cut if done quickly in repetition. This shuffle will be referred to later in the chapter devoted to Sleights at the Card Table as a Source of Entertainment." A false cut in conjunction with above false shuffle lends to the confusion of the spectators. w
The Laco Thru False Shuffle,. For those who prefer the "lace thru" false shuffle, I have a little i rap rove ment which thoroughly covers up the same.
Place the pack on the table the left side towards you, cut off the lower portion in the right hand, dovetail the two ends by the thumb riff, push both portions so the ends are three- quarter way into each other, the second finger pushing against the. two corners furthest way from you. At this point increase the pressure on these corners which causes the portions to lace thru each other. Grasp the corners at the side towards you with thumbs of both hands and draw thru until the ends of each portion slightly protrude. Square the pack on the sides, the second and third fingers of each hand covering the ends which protrude. In the act of squaring draw the pack about six inches toward you on the table and withdraw the upper ncrtion with right hand and palco on top. This movement covers the lace thru and appears as tho you merely shuffled the cards and cut them once. The old method was practically impossible to accomplish without detection. False Cut*. Cut lower portion away with right hand and place on top making a break in side towards you by a flesh grip of the ball of the left thumb being careful that the front side remains square. Cut bottom portion at the break and place on top. Fast repetition completes the illusion. TRICKS BASED ON FALSE SHUFFLES AND CUTS. Reds and Blacks* Separate reds from blacks and show them to be separated. Place the reds on the black and do the above false shuffle and cut remarking, that you are able to shuffle1 the cards in any order desired such as alternating a red and black throughout or two reds and one black or two blacks and one red, after this speech, pause and remark, "At least you are assured that tho pack is shuffled." Bridge the cards and place back of you. Hesitate a moment, separate at the bridge and bring red cards fanned in one hand and black cards fanned in the other to the front. This is very effective as a little side flourish, Another Red and Black E.ffect. Having secretly separated the rods and blacks give false shuffle. H>.ve two cards selected" seeing that you force a red card and a black card. Now give the pack a little false shuffle and collect the two cards seeing that the rod card is placed among the Slacks and the black card among the rods. Give the cards one false shuffle and a riff to ascertain the junction of tho reds and blacics. use flesh grip of thumb as used in false cut to hold the break. Ask spectators
to name cards. Cut to break and fan, reds in one hand and blacks in the other and the red selected card Is f^a^j am^ng the black cards and the black selected card is found among the reds. Many elaborations are possible with the separation of rods from blacks in conjunction with, the above false cut rnd shuffle?» Thumb and Finger Counting* Aside from the natural control that the ability to count cards by riffing with either thumbs or fingers gives to the performer, it is possible to accptnplish "oy its aid very perplexing effects. Following are explained the modus operandi of two methods necessary in effects explained later. First Method^ Hold the pack naturally in the left hand, as for dealing. Rest the right hand on the top of the pack the second, third, and fourth fingers at the front and the thumb at the rear, the first finger resting on the top of the pack. By slight pressure of the first fing ger let the card riff singly downward from the thumb counting silently, noting the number. 3 cord Method. Hold the pack naturally in the left hand as for dealing with this exception. Curl the first finger under the pack near the far aiLo Bv pressure of the thumb downwards on the upper left side a?low the cards to riff one at a time being careful to hold the lower left corner tight against the root of the thumb, Jn conjunction with this, practice stopping at a certain number, releasing the pressure at the base of the thumb. Insert the thumb at ".his point and raise the counted portion at the left side allowing the right eitfo to rest against the third, v -•::. "\i =md fi:l:'tt finder:: ' v by draw, v the -ohumb outward to the loi"t ljr;r.g cut zte bottom car,, o, the counted portion. With a closing movement of -uhs hand tur-n ~i'ai & card face up or. the top of the pack allowing the separated portion to drop to the squaro position on the pack. The effect when performer quickly being that the thumb riffs the pack reaches in the center- and fir.ds a ca.rd and turns it over on the top of the pack, the card being face up. TVlCfT DASHD ON THUMB AND FINGER COUNTING. Tp Place A Sheeted Cb-.rd in a Given Position in the Have a spectator select a card. After the card \s returned bring to the to2 by the pass. Hold the pack as for cho fj.'-vt method and immediately count -nine' cards with the thumb making a oreak* Now announce that you will place selected card any numbers from top. -12-
Under cover of this announcement bring the nine counted cards on top of the selected card by the pass, (I suggest the improved Hermann for these moves, as the hands are in a convenient position.) The selected card is now ten from the top. Count five more from bottom and insert little finger at break, This i s a"U accomplished before the number is chosen, I have fo:".nd ''~e fOJ \ * r:.g. to be true; Ask for number desired. If number chosen is throe-?, four, five or six immediately say, "Oh, that's so easy. Give me one better than that, I have found that invariably they will choose ten. If this occurs call attention that you immediately without any movement, hand the pack to the spectator and he counts and discovers card at chosen position. Always have him name card before counting so that the other spectators share the Effect. Now if eight or nine are selected say, "Oh, give me a good number," and very often the choice falls on fifteen as you have five cards already counted, merely pass to top and hand cards to spectator and proceed as before, If over fifteen, count to the desired number and pass. If under fifteen release five counted cards and count desired amount- Often instead of selected card I merely reverse top card saying "I'll place this card at any position in the pack and I have reversed it so you can see it happen." Count nine below as before, execute pass and remark "first, I must make it go" , now proceed as before. Vibrating Cards. Tho following is very effective, Three selected cards being returned to pack and shuffled are found by riffing the thumb down the edge of pack and turned face up on the pack as they are named 'by spectators. First, count twelve by the first method of counting and bring to the top making a break with the little finger. Now have three cards selected being careful to have them selected below the separated portion. Collect the three cards, cutting the pack at the break. The selected cards are now the thirteenth, fourteenth and fiftbenth cards, Call attention to the fe.ct that the cards are carefully squared and th.\t none of tne selec:- .. cards are or: the : bottom or top. Now, explain as follows, c;i aave found that each card has a peculiar vibration and by longpractice I have trained my thumb to distinguish the different vibrations- Of course you believe this or not just as you please,« During the above you hase the cards in the left hand and are riffing them with the thumb^as explained in the second method of counting. Ho count totthe fif-6 teenth card, insert the thumb. x"oint to the spectator who returned the first card, and say, "Name your Card." Reverse first card and continue saying, "Some might think I looked byt I dorJt. Sometimes I listen." Place pack at left ear and. run fifteen and turn second selected card. "Now to make it more difficult I will place the pack back of my back." Run fifteen, insert ttwmb, ask for name of last card and turn reversed on top of pack. If you wish to make it more effective use sfalse shuffle and cut after you. collected the chosen cards, this is not essential, however.
Throwing a Card in the M r and Cdtching in tho Pack at, ..a Chosen Number, Performer reverses the top card, takea it in the right hand, throws it in the air and catches it in the pack at chosen number down. Hold the pack in the left hand as for second method of counting. Reverse the top card. Take in the right hand and throw in the air perpendicularly with a spinning motion and catch in the pack by riff ing the edge as in counting. Repeat this several times explaining that you are able to catch a card in any position in the pack, ""ause with card in the right hand and ask someone to suggest a nun/bor. Turn the hand over, holding the pack so the back of the hfxiin is up and carry towards the body. Ask someone to suggest a iniuoor. Count one less than number chosen with the thumb and take a slight flesh grip with thumb of left hand. Throw card in the air, ::.t the break, about half inch, catch the card in break, immediately releasing the thumb and riffing the portion of the cards below to givo the effect of no preparation. Selected card is now protruding. Do not square the pack, but count down showing card has been caught at suggested number. This is rather difficult but really worth while. Ink Card Used in Conjunction V/ith Count Tricks. After using the above methods in sequence spectators are apt to suspect you are counting. I always believe in inspiring a solution then utterly confusing the spectator by disprovement. My most valuable asset I have found to be an inked card, that is, a known card inked on the sides near the corners. Take a card and ink the side edges for about half an inch at the corners which are not indexed. At any time in the course of performing counting tricks where I am enabled to force the inked card without the spectator's suspicion I immediately take the following advantage, "I know some of you think it merely the skill of my fingers. * am going to disprove this. Now you have selected a card, would you mind showing it and returning it to the pack? Shuffle the pack yourself." After spectator has completed shuffling, take pack and cut so as to place inked card in the center. Hold in left hand as in second method. Count position, riff until you come to inked card, pass to bottom - V oi1 X'- :i"(l place at given number as in first count method. The r:ic:.:cv:x I ions * leave to you. There are no limits to its possibilities* Vu t>er uses of the inked card will be covered in the Third Section 17 ::" so. ••• Mr/: G O us
tricks.
As previously stated I consider the side slide described in the chapter on Passes the most useful and natural as a change.
Very often after changing a card, say from the c.ce of Spades to the four of Hearts, I have been interrupted by spectator saying, "Now let's see you change it b&ck to the ace of Spades." A difficult problem you'll admit without manuvering suspiciously. To overcone this, I use what I term the slip-slide change. Tfte •'olip-Slide Change. Place the pack in the left hand horizontally outward, holding it between the tips of the thumb and fingers, the thumb holding the pack on the upper side near the further end, the second, third^and fourth fingers holding the pack on the lower uide, the first finger resting against the far end. Now with the right hand palm, start tapping' with a drumming movement the face of the card exposed near the"far end keeping the fingers slightly apart. Carry the first finger of the left hand a short distance away from the end of the pack in the course of tapping. With the third finger of the right hand, glide the exposed card forward till it touches the first finger and protrudes over the far end of the pack. Immediately bring the fingers of the right hand together and"bring the right hand quickly towards you pressing down on the second card, which is uncovered at the near end, with that portion of the palm below the junction of the fingers, and withdraw the second card till the far end clears the near end of the extended card. Push the card in the right hand forward on top of the extended card at the same time with the first finger of the left hand push extended card back to the square position immediately spreading the fingers of the right hand and continue the tapping* The effect being that the card was changed with fingers wide apart* This move can be used to advantage in changing tae top card of a pack to the second when the pack is in the face down position, of course eliminating the tapping. Change Over ffalm Change. Hold the pack face outward in the left hand as for side-glide. Slide the bottom card into the palmed position in the right hand. Now move the right hand towards the pack to deposit the palmed card. As the right hand covers the face of the pack deposit the card inserting the little finger of the keft hand between the card and the pack. Just as the right deposits the card and while it is still covering the fac§ of the pack, "hesitate and pretend someone suspected you had a card palmed saying, "In this hand?" ttNo." Turn over the right hand showing it empty at the same time under cover of turning right hand turn the hand holding the pack and point at the empty right hand. Now reverse the move again turning the padk under the palm of the right hand. Now reverse the move again turning the pack under the palm of the right hand. This should be accomplished without allowing the spectators a glimpse of the deposited card held at the break on the face of the pack. r alm the card again in the right hand and expose the face of the.original card about three-quarters showing it to be the same, and witha quick movement
bring the right hand over the face of the p::,cL depositing the card and accomplishing the change, flfany, no doubt, will proclaim tne above to be useless as there should exist no suspicion of palming if the performer's work is finished. However, at times it is useful to be prepared in dealing with the' bothersome sceptic who is so much in evidence in late years* A Double Change. Place the pack in the left hand face outwarci, horizontally, between the tip of thumb and the tips of the second, third and fourth fingers. The thumb holding the upper side near the near end, the second, third and fourth finger holding the lower side near the near end. The first finger resting on the edge of the far end. With first finger separate about half the back portion and pull it towards you about two inches causing the pack to have two cards exposed the outward card being fully exposed and the card at the step in the pack being half exposed, the thumb holding the pack at the . junction of the two portions of the upper side and the second and third finger at.the junction of the two portions on the lower side, the first finger being curled at the back of pack. Tap the far end of the outward portion by the first finger, pushing the card for~ •/c.rd and pressing it against the palm in a forward movement bpr the right hand. Carry the right!:hand way with the card palmed. Now C3.ll attention to the half exposed card of the back portion. By reaching forward with the first finger, pulling the back card of the front portion towards you, you cause the half exposed card of the back portion to change. To cover, turn the face of the pack quickly away and back, repeat once, then carry the right hand containing palmed card over causing it to change, at the same time changing again the half exposed card of the back portion without necessating the turning of the pack as the right hand covers the movement. Change a la Erdnase Bottom First, I will explain the "Erdnase" bottom palm. Place the pafek in left hand at the near end, the right side resting in the ro.ot of the thumb, the thumb resting on the top parallel to the near end, the loft side held between the first and second f£nger, the fingers of the loft hand resting on the thumb on the near end. Riff the cards at the front end with fingers of the left hand. With the second finger of the right hand separate card or a few cards from the bottom of the pack by bending the corner of the card or cards at the corner near the second finger. Carry the bent corner backwards slightly, the card or cards turning on the corner held in the root of the thumb as an axis. This causes the far left corner to protrude slightly from the left side of the pab^c, under the tip c.7 the fourth finger of the left hand which is partially covering Lb.c top of the pack. With a straight backward pressure of the tip of the fourth finger against the corner of the protruding card or cards, at the same time releasing the hold of the second finger of -16-
the right hand on the near left corner, the cards will rotate into the palm of the right hand. Now for a caution. Move only the little finger of the left hand and do not anticipate the approach of the card or cards to the right hand by a forward move by this hand. Riff cards with left hand again to cover, carry the pack away in the left hand turning and dropping the right hand. Hold palmed card or cards to the side naturally. This palm is very Useful in conjunction with the bottom count in the trick of passing a number of cards from a Portion of the pack held by one spectator to the portion he 111 by another. "(Bertram*-a Thirty Card Trick by Neil,) Hold the thirty cards before being cut and count five from the bottom palm as explained. After cards are cut, restore palmed five to the bottom of the counted portion and with an upward move with right hand sweep the counted portion off the table with the left hand into the right, Im proved C hange. Hold the pack in the right hand in position for bottom palm being careful not to show the bottom card. With the left hand remove the top card and show to spectators calling no particular attention to it as this is only misdirection. Replace top card and palm off bottom card as explained. You now hold the pack in left hand face downward, the right hand hanging naturally at the side containing the palmed card. Turn pack in left hand and call particular attention to the bottom card. Now turn the card slowly face downward dropping the left hand and at the same time start bringing the right hand upwards toward the pack of cards held in the left hand. Just as the right hand is adjacent to the pack held in the left hand with a quick move turn the palm upwards and deposit palmed card on the bottom. Immediately start sliding the pack away from you off the now extended palm of the right hand. Slowly turn pack and change is apparent. Under the Thumb Change. Hold the pack in left hand face up, the thumb placed parallel across the face of card and if possible touching the fingers holding the left side of the pack. Let the right hand rest on the pack, palm bottom card by the use of the Side-Slide. The left hand assumes the described position again. By a pressure of the right hand at the base of the thumb cause the palmed card to bend outward from the ends away from the palm. Bring the right r.and over the face of the patek slipping the card under the left thumb which is resting lightly on the. face of the pack. Release card with right hand when square and effect is that you have changed the card with no possibility of depositing or palming a card as the thumb apparently holds the face of the pack secure. Pace to Face Change. The effect is that you cut the pack and rub the faced portions
together and change both faced cards. Hold the pack in front of you horizontally, faco downwards, between t/.-. ' ;" p of the th'.iQib and tips of the second and third fingers of the ri o at hand near the right end, first having reversed the second card from the bottom. Grasping the top of the pack near the left end,, cut off the top portion in the left hand turning it over to the left, show bottom cards of both portions. Now turn the portion held in the right hand which is the bottom portion of the- pack and rub the faced portions together. As a portion in right hand is rubbed against the portion in the left hand deposit the bottom card and reversed card ocf this portion and leave on the left hand portion by counting two bottom cards of right portion at side with right thumb. Turn and show both cards to have changed. Change Making: Palmed Cards Disappear* Place the pack in the left hand face outward holding horizont a l s to left of the body between the tips of the thumb on the upper sic1.-., the tips of the second, third and fourth fingers on the lower side, the first Singer resting on the far end. Say for illustration the card shown on the bottom towards the spectator is the nine of clubs, proceed as follows. "Now first, I want you to note that I have the nine of clubs and by simply passing my right hand over the face of the card it changes to the Jack of Hearts." As you pass the right hand over the cards, palm and take a few away, continuing say, "But the trouble is you have the cards in this hand," fan and show and replace back in original position on the pack. Repeat once or twice fanning cards in the right hand each time. As )^ou replace the fanned cards the last time snap the bottom card of the pas^i held in the left hand against the fingers of the right hand, (a la 'Snap Pass) and drop the right hand containing the palmed card to the side* Continue patter. "Now I have found the difficult part is to change the card," (Pass the right hand over the face of the nine of clubs depositing the palmed card causing the card to change. Drop right hand to your side, keep back of hand towards audience and hold in a slightly cramped position as though you were palming a few cards) continue saying, "and then by rubbing your fingers together make the cards disappear." Start rubbing the fingers of the right hand together and tur& slowly and show empty. CRIMPS* I have found that very few if any manipulators appreciate the value of the crimp. I prefer it to a bridge as the bridge is universally known. The following is my method of crimping and is indetectable. ICingor Crimp From the Side. Hold the pack naturally as for dealing in the left hand,
In
collecting a selected card, instea-d of cutting as is usual, hold the pack and ask the spectator to return the chosen card any place in the pack, being careful to make the far end the only possible place he can insert it. Afterfee-has inserted the card about an inch, by bending the wrist quickly to the right you will find that the card which the spectator is in the act of inserting will be carried to the left, causing the near right corner to protrude from the right side of the pack at about the position of the second finger of the left hand which is holding the pack. Immediately crimp this corner by bending it down on the side of the peck with the tip of the second finger of the left hand, when you have the card in the favorable position for this crimp squeeze down on the top of the pack with the left thumb. This prevents the spectator from inserting the card or in fact from moving it at all. When he remonstrates and you have crimped the corner, say "But, I meant you to take the pack and place the card wherever you please, in fact I don*t want to touch the pack at all." Push the pack in his hand and even if he removes the card and palces it in a different position you have it marked. Ask, Are you satisfied? Well, shuffle them for good u.ensure." After Cards arefcspturnedto you it is easy to locate the chosen card by the crimp in the corner. In crimping be sure to tend the corner but slightly so as to make it unnoticable to the spectator. By experiment and practice you can easily ascertain the bend required to distinguish the card. If performing two or three tricks using the crimp always be careful after each trick to bend the corner of the card back to the original position so it will not confuse you in later experiments. Finger Crimp From the End. In some cases I have found it impossible to turn the card in ' •;: the pack to the left so as to crimp with second finger due to the spectator grasping your left hand, when he is inserting the card, I overcome this as follows: After he has inserted the card about three-quarters into the pack, squeeze down with the thumb of the left hand so as to prevent him inserting it further and pull your left hand containing the pack out of his grasp, towards you, asking "What is wrong? Won't it go in?" Immediately place the first finger of the left hand under the middle of the protruding end of the inserted card. Now, with the right hand pretend to attempt to drive the chosen card into the back, but what you really do is this: With tin? first and second fingers of the right hand press down on the extmcled card the second finger pressing at the right corner and f;;:~ first finger pressing at the left corner. This causes the corners ::o bend down, the first finger of the left hand pressing r,:r..rd :vx.inst the middle of the extended end. Tihis causes a crimp 1 i "oho middle of the end of the card where the "wise" ones can!t rlircover it. After the crimp push the card into the pack and hand it to be shuffled. In operation it merely appears .you tried to drive the extended card into the pack but that the i'irst attempt w a s unsuccessful. -19-
TRICK BASED ON THE CRIIuP. £he. Roval Finders. Performer first removes two like cards of either a red suit or a black suit, for example say the King of Clubs and the King of SBa&es, and shows them to the spectator, laving them face up on the .table. Performer now hands the pack to a spectator asking aim to shuffle the pack and to take, out any card he desires and remember it. Spectator returns the card and shuffles the pack. Performer new takes the pack and without any hesitations inserts the two kings together in the center.,of the pack about three-quarter way, and draws them out together, ^erformer askg the spectator to name the chosen card. The kings are~fanned and the chosen card is found between the two cards. (Note that the Kings are never placed full way in the pack.) The method of accomplishment is as follows: First, remove the King of Clubs and the King of Spades and place face up on the table calling the spectators attention to the fact that there are just two cards used. Hand the pack to a spectator to shuffle and remove any card he desired. After he has selected a card take the pack out of his hand, (calling ho attention to the fact,) and holding the pack naturally in the left hand invite him to insert the card in any position in the pack he desired. Now accomplishing the crimp as described in my first method of crimping, (finger 1 crimp from the side,) remembering the part where you push the care , into his hand saying "But, I meant you to take the pack and place the caret wherever you please, in fact I don1t want to touch the pack at all." Ask him now to shuffle and hand the pack to you. Take the pack and note the position of the crimped chosen card anc! if it s' oulcl lie near either the top or bottom, cut the pack anc! bring it near the center. nolcl the pack perpendicularly, backs of the cards outwards towards the spectators in the tips of the fingers and thumb of the left hand, the thumb holding the side towards you at the middle, the first, second and third fingers holding the far side near the bottom, the fourth finger supporting the bottom end of the pack. In placing the carcis be careful to plade so the crimped corner of the selected card is in view at the near upper corner of the pack. Note that a crimped card makes a slight opening in the pack at the end, below the crimped care! a1ne"! ar slight opening QX the corner of the pack, above the crimped care .. « ith the right hand pick up one of the Kings and carelessly insert it a little way into the enel of the pack near the top, uthat is, anywhere above the crimped card totends the spectators. sing this as a cover, pick up the remaining King ane. insert it a little way at the break in the end of the pack caused by the crimped card, towards the bottom of the back remarking that you are going to pla£e the two KSngs together in the pack. Turn the end of the pack slightly towards the spectators saying, "but I want the Kings to go in together." Withdraw the first King and insert
it a little way at the break caused by the crimp at the corner of the pack. You now have the two kings inserted a little way with the crimped card in between them still square in the pack. With the righ| hand square the two Kings with 'each other and start pushing them in the pacfc at the upper end until about an inch of the kings pro~ truda. Now Remark, "I never want them to leave your sight," grasping the Kings between the thumb and first finger of the right hand, the first finger, on the side towards " spectators, s.nd by squeezing withdraw the Kings about an inch pivoting them slightly towards you* This you will find causes the crimped car'-" to be moved slightly upward out of tho pack and by raising the third and fourth finger of the left hand holding the pack at the far side, you will makes the far note that the action of piloting the K$ngs p g g towards y bottom corner of the crimped card protrude slightly at the side about an inch above the far lower corner of the pack, ^lace the third finger of tho left hand under this protruding corner and with the right hand push downward towards the third finger of the left hand and you will find that this move squares the crimped card between the two Kings without tho Kings ever being pushed full way into the pack. Grasp the three cards together at the upper near corner with thumb and finger and withdraw giving this corner a bend outward (this eliminates the crimp) and withdraw from the pack. Ask spectator to name the chosen card and fan the three cards showing the named card between the two Kings and immediately hand for examination. This same effect can be accomplished by forcing the inked edge card, but I prefer the above method. You Gill alll readily see the opportunities in regard to patter and presentation the above trick offers. If you should have difficulty in accomplishing the Counting Trick previously explained under the title of "Vibrating Cards", you will find you can produce the same effect b^ the use of the crimp, the only disadvantage being that you have to watch the edge of the cards and if you arc not careful the spectators mijjtvt discover the crimp. There arc unlimited uses fir the crimp and it is always a life saver when dealing with one who interferes and tries to expose you. However, just a word of advise. Donft repeat tricks that depend on its use. "Nurse" it and you will always have an "Ace in the Hole" FORCING. Forcing is perhaps an antiquated subject in conjuring but I feel I have a right to a few words in regard to the methods used by others and those I use mysolf. -fcrsninally I think of it as timing, that is, not of shoving a card-to one, but rather of having the desired card at the proper place at the moment the spectator*s fingers arc in the act of drawing the card. There arc many methods -SI-
of making the glimpse prior to the force. I usually glimpse the bottom card, cut, and use the flesh grip to hold the cut. Advance toward the spectator for selection of card and request that a card be drawn but do not spread cards until .you are at a convenient distance for the drawing of a card. Start to run the top portion above the break at all times, carefully watching the hand of the person who is drawing. If he advances the hand quickly run the top cards above the break so as to have the desired card at the most convenient position as the fingers of the drawer- reaches to select. Always be careful that'this care', is in no way ever exposed• It really is a matter of tempo, perf6ct timing of your fingers and judgment of the approach of the spectator's hand. A force, is only successful when the party drawingftfre card has no suspicion that he has, in cny way, been influenced to select a desired card. In the event of a force don^b become over anxious and show any concern but let the spectator drawj My getaway for a miss in forcing, is to have the card returned using the crimp and change the effect, accordingly producing an entirely different effect and then repeating on a less suspecting victim and continuing and accomplishing the original desired effect. In a case where a force of one card is absolutely necessary,' and the victim refuses to take the desired card, as his hand approaches and you note ho is antagonistic and is insistant on a card other than the desired one, proceed as follows: As he attempts to draw other than the card you desire'^just take his hand and lift it away saying, ttMy, what a pulse you have. Not feeling well?" or Gracious, I must know your manicure,11 or something equally absurd. Pass on to one who may be more in spirit with your desires. In the method of showing the cards faced, exposing a card more than the others, I have a peculiar method of getting results; first, I take the pack as for riffling with the old stop where the card to be forced was exposed absurdly, allowing the spectator little chance of seeing but that one card, explaining that this method ig very old and that you do not want them to confuse this method of forcing with the selection of a card they are about to make. You now take the pack and spreading them fan wise between the two hands, holding pack upright, face toward spectator and run pack from one hand to the other exposing the cards as equally as possible but making just a slight pause at the desired card to be forced.. I have found if you hurry and try to force, instead of time you antagonize; and in nine times out of ten he will try to fool you, but if the force is slight, by that I mean he is allowed to see many cards but the card to be forced is but slightly prominent he will unconsciously bend to your will. In the event that you miss, be showman enough to ignore the failure end try to turn the trick to your advantage. Let's suppose you miss the above force. The cards are square, you prepared for your effect, you ask for the card to be named. It turns out to be the wrong card end you have no idea .of the position of the card named, deliberately take the pack, run thorn and find the card saying, "Now you know I ha.ven't removed your card." As you make the remark boldly slip the card named to the seventh from the top and rovert to your original plan and attempt the force which was necessary for your original effect. Surely you should be successful once in two attempts.
Sure Fire Force, An excellent force, requiring absolutely no skill is as follows: The card to "be forced is concealed under the belt, at back, under coat tails, or in hip pocket. Offer deleft hand, asking him first how many five from thirteen leave. After he replies "eight"' have him count the cards one at a time on the table. Now turn tc the other spectator saying, "You'll be blamed for this, you have seven in your pocket and if I have caused five more to pass in your pocket, how many have you?" After he replies, "twelve" let him remove the cards and count them one at a time on "he table. There is wonderful scope for comedy in this trick. JLIany will say this is too complicated, I will admit it is not as effective to the two spectators, but it is double so to the balance of the audience*
A FOUR AC2 ASSIIUH,] Show the four aces and place on the top of the pack, holding the pack in the left hand horizontally to the left of the .body, the thumb holding the pack oh the upper side, and the second, thrid and fourth finger holding it on the lower side, the first finger resting on the far end.. Now start inserting the first ace with the right hand at the far end, pushing it in the pack with the first finger of the left hand with a quick movement. You will find although this locks conclusive to a spectator there is a very sm.^1.1 edge of the ace protruding. You can show the edge of the pack with impunity as it will not be noticed. Reach withihe first finger and separate the pack at thi. * protruding ace and insert the second ace with the right hand at this break being sure to push the first ace square with the pack, with the first finger
with tho first finger of tho left hand, continue until the four Aces are inserted in the same place in the prick with the edge of the pack at the end near you and reach with the first finger of the left hand and separate the pack at the protruding edge of the last inserted Ace and pull towards you causing the bottom portion of the pack to slide towards your right hand with the Aces on topf Grasp this portion at the root of the thumb with the right hand and with a sweep of the right hand over the top of the pack deposit the palmed portion intact on the top of the pack. Make a riffle v/ith the thumb and show the Aces to have passed to the top of nne rack. Thit is only a flourish and is very difficult, the apparent effect being the Aces were placed in different parts of the packT
PRODUCTION OF CHOSSN CARD BY RIFFLING PACK FR0I.1 ONE HAND TO THS OTHER, Hold the pack in the right hand and riffle the cards into the left hand by means of the well-known old flourish, I have devised a use for this old flourish as follows. Have a spectator select a card and return it to the pack. Bring the chosen card to the top with the pass and say, " Now take the pack and run the cards along slowly like this," Piffling the cards from one hand to the other. When the spectator admits he can not say, M Well 1111 do it, and wherever you say stop, I will stop and the card lying, face downward on the portion in my left hand will be the card you chose. Now I do not care where you stop but be sure and stop at the right one.* Start riffling the cards and when he says, " Stop,* you stop and bring the hands together, the dropped cards resting naturally face downwards in the left hand the thumb holding them on one side, and the second, third and fourth finger holding this portion on the other side, the palm of hand being up and the first finger resting on the far end of the portion. The upper portion with the selected card on the top being held facfe downward in the right hand at the ends between the thumb on the near end and the second and third finger at the far end5 the finger on the top of the pack. In bringing the two portions together, after being told to stop riffling, turn the portion held in the right hand face towards the spectators, holding the portion horizontally and rest the lower side edge of this portion on the lower portion held in the left hand at the extreme left side so that the portions are at right angles to one another. Reach up back of the left hand portion with the second, third and fourth fingers of the left hand and place the tips of these fingers on the top card, which is the selected c-rd. Pull this c^.rd downward off the top of the right hand portion on to the top of the left hand portion , covering the move by turning the left hand over to the right and pointing at the bottom card of the right hand portion saying, "First, I want you to note that here we have the ten of Clubs" (or whatever, the card happens to be) "and I cannot drop another one off without you noticing the fact." Ask them to name the selected card and turn over the top card of the right hand portion showing it to be the right one remarking, " You stopped just right.w
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I usually follow the above effect with this by saying, "Now some of you may think I stop where I want to and it is not a fair choice, so I will prove that you really find the card." Have another spectator draw a card and return it to the pack. Bring the card to the top by the pass. Place the pack in the left hand downward; the palm of the left hand being up, the thumb holding the pack on one side, the second, third and fourth finger holding the pack on the other side, the first finger resting on the far end of' the pack. Extend the second, third and fourth fingers straight up so they are at right angles with the top of the pack. Hold the pack and invite any spectator to tip a portion of the cards at any place he desires from the thumb side, up so it rests at right angles with the rest of the pack, against the second, third and fourth fingers of the left hand. In other words,feemerely cuts the cards at any place in the pack; so the cut portion rests c gainst the fingers. II a f e w times by doing it yourself. Caution the ;xra spectator to notice thqt it is a free choice of cut and announce that no matter where he cuts, the top card of th< lower portion l3"ing in the left hand will be the selected card. After the cards are cut as prescribed the selected card is on the top portion which is cut, and the second, thrid and fourth fingers are resting against the card. Grasp the side of the lower portions with the thumb at the side near it and turn the left hand to the right, bringing the upper portion in a face up *:c.3ition resting on the fingers and the lower portion at right angles held by the thumb. Now with a quick movement to the right with the left hand toss the upper portion into theright hand holding the top card of that portion (which is the selected card) secure on. the finger tips, and by closing the left hand bring this card on the top of the lower portion handing the right hand portion to the spectator remarking, "Mere, you hold this portion so I cannot tamper T/ith it." Previously always call attention to the bottom card of. this portion and again call attention, to it in handing him the portion. Ask spectator to name the chosen card. Turn over the top card of left hand portion showing it. This is really nothing but theold top slip disguised a bit. Both of these effects are good and are better if presented in secuence.
CAUSING A SPECTATOR TO DO A This is reallv more of a practical loke than a trick but I use it to silence a pest. In the routine of having a number of cards selected and producing the same by "slapping" the bottom card of the pack, causing each change to be one of the selected cards, on the last card I hesitate and pick one of the spectators announcing that he can do the trick as well as I. I then ask him to try, and as he has been awaiting an opportunity to distinguish himself, he agrees to try it. For example we will say the bottom card of the pack faced is the ace of Hearts anql the last selected card is the ten of Clubs which is on
the %rt>'cf the pack in i O. \X .1 i I yft for trie ch:. _ • - Now hold the pack in the left hand face out' about the height o^ the knees, bending over forward to enable to Illustrate how you want the spectator to hold the pack. Place /He ; ;aci in his left hard first having reversed the chosen card on the top of the pack so it is face upward. (Accomplish this secretly with the fingers of the left hand while vou are holding the pack face outward iust previous to placing the pack in his left hand.) Now ask him to think of the card he selected and to slap the of Hearts and it will be his card. Be careful, to keep one hand near the pack in order to prevent him turning the pack and seeing the faced, chosen card. At any time that this seems evident grasp his hand holding the pack and interrupt something like this, "Your not feeling well, are you?" in fact anything to- divert his attention. After two or three futile attempts by him at slapping the ace of Hearts and meeting with no success, ask him to name his card. After the card is named, turn the pack over showing the chosen card, the ten of Clubs and exclaim, "You slapped it too hard, rou drove it right thru the pack." This is a sure fire laugh and at the same time evens the score with the pest. 1 have used the above trick for the last len years In my stage routine constantly, and. for some unknown reason the audience like it.
RUBBING- OFF TtJS SrOT A'.D SHCVING I have been using this effect for many vears and am not sure whether it has ever been explained-or not* After rubbing off a spot b" using a four and five of one suit I say, "But the trouble is you do not show where the spot goes, Now I am going to do the trick and show you -just where tee spot goes," Previously you have arrang ed the cards as follows. In order to make it clear T will ask you to place the pack face upward on a table havin. first placed the five of clubs on the top of the pack, and having re•ray and four of clybs-. Now, place the three of clubs moved the deuce face upward on the pack, then the four of clubs face downward, and then the deuce of clubs face upward, pick the pack up and crimp the two corners of the three cards just placed on the pack at the corners which bear no indexes (this enables you to quickly remove the cards and holds them together so they look like one card.) place the pack face downward, the five of clubs being on tov and the two, and four of clubs being on ttn bottom, in the left hand holding the pack by the sides horizontally, the thumb being at the upper side and the second, third and fourth fingers at the lower side, the first finger resting on the far end of the pack. Take the pack in the right hand and turn it face toward the spectators saying, "Now on the bottom of the pack I have the deuce of Clubs." Place the pack back in the original position in the left hand continuing, "and on the top of the pack I have the five of
Clubs." Reverse the five on the top of the pack and under cover of the movement reach witt first finger of the left hand and sepa ate the three c-.rds (deuce, tray and four of Clubs) on the bottom by bending them slightly away from the b t t and watching the crimped corner to assure ottom yourself that you hav but three. Tow push the three c?rds tog"ther towards you and grasp them as one ard ?.t the end where they are profirst and second finger being caretrading, between the thumb and fiul to hold them toget . 61 a.iQ turn then over to the right showing the deuce :f Clubs saying, "And o: i thebottom I have the deuce and by rub— bing the face of thedeuce over the five," Suit t e action to the words, still holdin g tight to the three cards, rubover the face of •h the five once and take ztie cards away and pointing with the corner of cards at the middle s'oot on the five sav, "I find, that the spot on the five always comes off." vub the deuce again over thefive, t is time leaving the two bottom cards