In this volume, one of today's best-known writers on magic has compiled a wealth of Jordan's most impressive card tricks — impromptu tricks, banded-deck tricks, stacked-deck tricks, sleight-…Full description
A quick and easy revelation of a chosen card. A spectator shuffles his own pack, then lays out 3 heaps of 6 cards each. It doesn't matter whether they are dealt, pushed off in a packet, or h…Full description
In this volume, one of today's best-known writers on magic has compiled a wealth of Jordan's most impressive card tricks — impromptu tricks, banded-deck tricks, stacked-deck tricks, sleight-…Full description
Easy tricks for kids
A Collection Of Top Ten Hottest Trick For Card Players And Magic Tricks For Cards Written By Anonymous
MORE EFFECTIVE CARD TRICKS - BY -
LOUIS F. CHRISTIANER
All rights to manufacture effects herein described have been reserved.
E. F. RYBOLT Los Angeles, Calif.
COPYRIGHT 1919 BY E. F. RYBOLT
THE CARD AND THE FRAME There are a number of card and frame tricks now in use, but the following method has long been a favorite of mine In effect, a card is selected from the deck and a corner torn from it by the spectator. This card is then placed on a little stand in plain view of the audience. A frame is then brought forward, which is composed of a glass, black cardboard and wooden backboard. The frame is handed to a member of the audience, who takes it apart, and finds it to be without preparation and absolutely empty. The frame is then put together and wrapped in a handkerchief and finally held by the spectator who chose the card and who also holds the corner of same. The performer then removes the selected card from the stand and rolling it into a small ball, he wraps it in a handkerchief and gives it to someone to hold. At command of the performer, the card vanishes from the handkerchief and is found in the frame, and the corner is found to fit perfectly. Some skill and much nerve is required for this clever effect. In the first place two cards alike are used. One of these has the upper right hand corner torn off, and is placed on the bottom of the deck. The duplicate is on top of the deck. The frame is absolutely without preparation and contains the glass, black cardboard and backboard. On the back edge, near one corner, is a small pellet of wax. You are now ready to perform the trick. Force the duplicate card, and while the spectator is looking at the card, bring the other card from the bottom to the top of the deck. Take the selected card in your hand, and then as an afterthought have one corner torn off, but by holding the card, you can be sure that the upper right hand corner is torn
off and also that it will be nearly like the corner torn from the duplicate card. In turning to place the card on the little stand, the top change is made, placing the duplicate on the stand, but this change is never noticed, especially as the card is the same. Bring forward the frame, holding same in the right hand, first fingernail having scraped off the wax. The frame is taken by the spectator, during which the performer places the pellet of wax on the top, of selected card. The spectator takes the frame apart, and hands the backboard to the performer who places it underneath the cards in his left hand. The black board is then handed performer, who places it on top of cards, pressing down slightly so as to cause the card to adhere to same. The per former at once takes the frame and glass and shows it. A handkerchief is placed over the spectator's hand and the frame placed together again, this time the black board going in place so card will be against glass. Frame is then wrapped in handkerchief and held by the spectator. The duplicate is then taken from the stand and folded up small and wrapped in a handkerchief, in one corner of which is a folded piece of paper to give the impression that person is really holding the card. The real card is palmed. The trick from this point is readily understood. As before stated, this method I have used for a good many years and offer it now for the first time. I have never had the trick detected and have worked it before many magicians. THE CARDS AND HAT The performer introduces a deck of cards and same is thoroughly shuffled, after which two cards
are freely selected, noted and returned to the deck. A large handkerchief is shown to be without prepation and the deck of cards wrapped up therein. A derby hat is borrowed and placed mouth down upon the table. The cards in the handkerchief are then placed on top of the hat. The performer commands the selected cards to vanish from the deck and to appear underneath the hat. Unwrapping the handkerchief, the selected cards are seen to have vanished, while upon turning over the hat, the cards are found underneath same. This very effective flight of selected cards is based upon a well known trick, "The Card Through the Handkerchief." After the deck has been shuffled, then two cards are freely selected, and after having been noted, are returned to the deck and brought to the top of the deck by means of the pass, or any other method that the performer desires. The handkerchief is either on a table to the performer's left or in the outside coat breast pocket. I prefer the latter. After the chosen cards have been brought to the top of the deck, tho: deck is held in the right hand, face up, or with the two selected cards next to the palm. The large handkerchief is then laid over the deck, and the thumb and second finger of the left hand grips the deck through the handkerchief, at the sides. Thus the thumb is able to form a break above the two top (or selected) cards which are gripped in the palm of the right hand. The left hand then lifts the deck and handkerchief away, while the right hand, containing the two selected cards, is brought from under the handkerchief, with back to audience so as not to expose the palmed cards, and takes deck in the palm, this time, however, the two selected cards are on the outside of the handkerchief. The handkerchief is then folded around the deck, as in the "Card Through the
Handkerchief" method, and is finally held by the ends of the handkerchief, with the selected cards to the back. A hat is then borrowed or one that has been used in a previous experiment, may also be used in this effect. The performer states that he will place the deck in the hat, and at the same time he drops the deck smartly into the hat, but still retaining the ends of the handkerchief. This will dislodge the cards from the back of the handkerchief and will cause them to drop into the hat. At once ho changes his mind and removes the deck from the hat, stating that it would be better to keep the deck in sight all the time. The hat is then turned mouth down on the table. This is done rather quickly so that the cards will not fall out of the hat. Then fold the handkerchief around the deck and rest same on top of hat. The trick is then accomplished. After having commanded the cards to pass from the deck into the hat, remove the deck and show that the selected cards are gone. Then lift up the hat and the chosen cards are found thereunder. This is a really effective trick and if the reader will try it out with the cards and handkerchief in hand, it will not seem so complicated as it reads. If desired, the old method of palming the cards in the act of picking up the handkerchief, may be used instead of that described. A very clear and complete explanation of this method will be found in Roterberg's "Card Tricks." THE CARD AND THE PLATE I have used the following very effective card trick for many years in club and parlor entertainments and have always found that it was favorably received.
A card is chosen and torn into a number of small pieces. These pieces are wrapped in a piece of paper napkin, then in a borrowed handkerchief, alter which a rubber band is wrapped around the bundle thus formed and the whole thing dropped into a glass tumbler. After exhibiting a china plate, it is rested on top of the glass. After due interval, the plate is removed, showing the chosen card sticking on the bottom of same, wholly restored with the exception of one corner which has been retained by the person who chose the card. The handkerchief and paper napkin are then unwrapped, and the pieces of card found to have vanished. First of all, choose a plate that is as nearly smooth on the bottom as possible. Some plates have a ridge around the bottom and one of this description is unsuitable. Cut a piece of cardboard about a half inch less in diameter than that of the bottom of the plate. One side of the cardboard is painted to match the top of your table, while the other side is covered with glazed paper to match the plate. After tearing a corner off a card, say the six of hearts, it is stuck face down on the bottom of this cardboard, after which the cardboard is placed with the card side down on the table, where, owing to matching the table top, it is not noticed. Then roll up a piece of a paper napkin into a small ball, and with an elastic band, place it in your right coat pocket. Have a duplicate six of hearts on top of the deck. Start by forcing the duplicate six of hearts. Card is then torn up small and the pieces dropped into a piece of paper napkin held on your left hand. You have, during this time, obtained the corner torn from the other card and finger palmed in the right hand. When the pieces are placed on the paper napkin, you pretend to take a corner, really the
palmed corner, and hand to the person who chose the card, to hold. This person is then told to wrap the paper and pieces of card into a small ball. While this is being done, you palm in the right hand, the duplicate ball from the right coat pocket. A borrowed handkerchief is then laid over the left hand, and the ball held by the person is taken by the thumb and first finger of the right hand and apparently wrapped in the handkerchief, in reality the duplicate is substituted and the ball containing the pieces is palmed. The right hand then goes into the coat pocket, to get the rubber band, leaving the palmed ball behind. The band is then placed around the ball and the whole thing is dropped into the tumbler. The plate is now shown and in setting it down on the table it is placed on the cardboard fake which adheres to the bottom of the plate owing to a little wax, which you have previously placed there. Your excuse for setting the plate down is to move the table a little closer to the audience. Now pick up the plate and casually set it on top of the glass. The trick is now done. All you have to do is to patter according to your own ideas and finally show the card on the plate. The card is removed, after which the plate is placed to one side and at the first opportunity the cardboard is removed. The effect may be greatly enhanced if both the tumbler and the plate are treated with the wellknown ammonia and hydrochloric acid, so when they are placed together smoke is formed. This trick was first described by the author in the "Magic Wand" under slightly different conditions. THE MYSTIC ADDITION The performer hands to a spectator to hold, a 8
sealed envelope. Next a deck of cards is shuffled and one chosen by a person, who without looking at it, places it in his inside coat pocket. Five other members of the audience are then requested to take a card, after which the performer places the deck on the table. The last spectator who chose a card is requested to call out the number of pips on the card. He says it is an ace, or one spot on the card. The next spectator has 2, the third 4, and the fourth 3, which when all added together give a total of 10. The fifth person who chose a card is requested to call out the suit of the card that he holds. He says it is a heart. Therefore, adding the suit to the number of spots, the result is the ten of hearts. The envelope is then torn open, and a small slip of paper taken out by the person holding same. Upon it is written "ten of hearts." The first spectator, who has the card in his inside coat pocket, removes it and finds it to be the "ten of hearts." One of the most effective tricks that I have ever used for parlor entertainments, and most simple in execution. The reader when he finds that it is all done by forcing, must not despise the trick for that reason. To begin with, the ace of any suit is laid face down on the table, on top of this a deuce, then a four and finally a three. These can be of any suit, just so the total is 10. On top of this is a heart, making no difference how many spots, just so it is a heart. Then on top is the last card, or which will be the first card selected, is the ten of hearts. The cards in this order, are placed in the outside, right coat pocket. The final bit of preparation is to write on a slip of paper, the "ten of hearts," which is folded up and placed in an envelope and then sealed.
Picking up the deck, the performer goes into the audience, and offers same to be shuffled. While this is being done, the right hand palms the cards from the coat pocket. The deck is then received back in the left hand, and immediately placed in the right, which adds the palmed cards to the top of the deck. As an excuse for placing the deck from the left hand to the right, the left hand reaches into the coat pocket and takes out the sealed envelope which is given to a spectator sitting close by. The first card is then brought to the center of the deck and forced on some gentleman, who is requested to place the card in his coat pocket without looking at it, and without letting anyone sitting around him, get a glimpse of it. The five remaining cards are forced on different members of the audience. I vary the forcing, by first using the slip. The cards are riffled and a person requested to say "stop" when he or she so desires. The deck is then separated at this point and in the act of handing out the lower portion to the person, the top card of the deck is slipped to this portion and it is this card that is taken. The next card I force in the regular old manner. The third card I force by making us of Henry Hardin's method, so thoroughly described in Burling Hull's "Bulletin of Latest Sleights." The fourth and fifth cards are then forced by means of the slip, as used in the second card. The reader may have some other method of his own, and if the different cards are forced in different ways there will never be any doubt in the minds of the audience, but what the cards were freely chosen. All that now remains is to add up the cards as described, finally having the envelope opened and lastly, the ten of hearts taken from the spectator's pocket. Try this some time in your next parlor entertainment. It will produce a very good effect. 10
THE FLYING CARD This is a very clever and at the same time very easy trick. It has been used in many club programs, and I have always found that it takes very well. A deck of cards is thoroughly shuffled and a card selected, noted and retained by the chooser of same. An envelope is then shown and sealed after which it is placed on a small stand resting in plain view during the entire experiment. Fifteen cards are then counted from the deck and the person holding the selected card is requested to place his card among the fifteen and hold them. The envelope is then held in front of a candle to show that there is nothing in it, and once more is placed on the little stand. The performer then commands the selected card to leave the fifteen and to appear in the envelope. The fifteen cards are then counted, showing the selected card to have vanished. The envelope is then cut open and the selected card is found therein. Two duplicate cards are required for the trick. They are both placed on top of the deck. The top one of the two has a minute pellet of wax in the center of it. The envelope is without preparation. A small pellet of wax is placed on the lower vest button. A candle in a candlestick, a pair of scissors, and a small stand with a clip on the top complete the preparation. To begin the trick, the performer advances into the audience with the deck of cards in his left hand and the empty envelope in his right. The envelope is given out for inspection,, sealed and handed back to the performer, who carries it plainly to the table upon which he places it. Then he lights the candle and shows the envelope in front of same, the reflection of the light being seen through the envelope. 11
The envelope is then placed in left hand on top of the cards while the candle is placed behind the clip, or rather alongside of the little stand, and the envelope then placed in clip of stand. But it is then that the card on top of the deck is carried with the envelope on account of the pellet of wax on same. The envelope is naturally placed with the card away from the audience. Then the performer goes into the audience and forces the duplicate of the card on some member of the audience. Fifteen cards are then counted off and the deck placed on the table. During this time the performer gets the small pellet of wax from the vest button and places it in the center of the top card of the fifteen. These cards are shown after which a break is made in the center, the card with wax being brought to the center and the person allowed to place his card in center of same, but really on top of the waxed card. Cards are then squared up and a slight pressure made so as to cause the selected card to stick to the wax. The selected card is then commanded to leave the fifteen and to appear in the envelope. The cards are then counted and of course the selected card is gone, on account of being stuck to the wax. The end of the envelope is then cut open, but just before taking out the card move the candle behind the envelope so as to show that the card has arrived. Then reach into the envelope with the thumb and first finger, really only the thumb goes into the envelope while the first finger draws the card from the back of envelope. The impression created is that the card was taken right out of the envelope. Those familiar with Henry Hardin's "Satan's Mail" will recognize the envelope effect, otherwise the effect is original with the author. 12
THE TRAVELING CARDS A spectator thoroughly shuffles a deck of cards and counts off ten onto the performer's hand. From these ten, three are selected, noted and returned to the pack (of ten). The performer then shows his right trousers pocket to be empty. Holding the ten cards in his outstretched left hand, he commands one of the selected cards to pass from the left hand into the trousers pocket, and showing the hand to be empty, he reaches into the pocket and removes one of the selected cards. The pack is at once counted by a spectator and found to contain only nine. This is repeated with the two remaining cards, the pack being counted each time to show that only one card goes at a time. A little skillful palming is the foundation of this mysterious trick. As the deck of cards is handed out to be shuffled, three cards are palmed from the top of the deck in the right hand. The spectator then counts ten cards into the left hand and lays the deck on the table while the performer adds the three palmed cards to those in the left hand, making thirteen in all. Now, three cards are selected, noted and returned to the pack, where they are brought to the top of the deck or rather the pack, by means of the pass. (My own particular method is to have the cards sighted by just lifting up part of the deck. This is used a great deal by Leipsig and Merlin, and is explained in Downs' "Art of Magic") As the three selected cards are brought to the top of the deck, they are palmed and the pack handed out to be counted once more. While this is being done, the hands go into the trousers pocket in a natural manner and the cards inserted in the "top of the pocket" in the right side, the pocket being at once pulled inside out to show that it is empty. Of 13
course there are still ten cards in the pack which is held outstretched in the left hand. Riffle the pack and command a card to pass from the pack into the trousers pocket, and at once produce a card from the pocket. During this, the little finger of the left hand is inserted under the top card and in act of handing out the pack to be counted the top card is quickly palmed. The pack when counted is found to contain only nine cards. Receive the pack back in the right hand and at once transfer it to the left hand, during which the two top cards are palmed. The right hand is inserted into the trousers pocket, leaving the palmed cards there, but at the bottom of the pocket and separate from the two selected cards already at the top of the pocket. Riffle the cards and produce a second card. The performer himself counts the cards this time and miscounts one, ("Modern Magic") showing only eight cards to be left. For the last time hold the cards outstretched in the left hand while a spectator holds the wrist. The right hand is inserted in the pocket and quickly places the three cards in the top of the pocket and turns the pocket inside out. A mental note is made while doing this just whether he has placed the two cards on top or underneath the remaining selected card. The cards in the left hand are riffled, the last selected card is taken from the pocket, and the spectator holding the wrist at once counts the cards and finds only seven, thus proving that the three selected cards have passed into the pocket one at a time. After reading the above, it will appear that a great deal of skill and palming is required, but it is not as hard as it really seems. And from experience, I have found that this effect is very convincing and well worth the trouble. 14
THE FIVE CARDS The following simple card trick I have often used and found that it creates quite a mysterious impression. Nothing absolutely original is claimed for it, although I have never seen it in print, nor have I ever seen it performed. In effect, a deck of cards is shuffled. Five cards are then dealt onto the table, face down. A spectator is requested to touch one. The performer then counts fifteen cards from the top of the deck and has the spectator place the selected card, which has been noted, among the fifteen. The spectator then holds the packet tightly between his hands. The performer shows his trousers pocket to be empty, and then commands the selected card to leave the spectator's hands and to pass into his pocket. The spectator then counts the cards face up on the table and finds that the selected card has vanished. The rformer then produces it from his trousers pocket. As before stated, the method is very simple. Any five cards and five duplicate cards are required. Five are arranged in such an order that the performer can tell by feeling, what card he has hold of. The other five are arranged in the same order and placed in the outside right coat pocket. The deck of cards is shuffled and while this is being done, the performer palms the five cards from the coat pocket and places them on top of the deck, when same is returned to him. These five cards are then dealt onto the table, face down. Knowing the order, it makes no difference to the performer what card is touched, for he will at once know what card it is. The trousers pocket is shown to be empty by placing the cards therein, in the top of the pocket. The performer then counts fifteen cards from the top of the deck, and during this moistens his finger 15
and dampens the top card of the fifteen. The selected card is placed among the fifteen, but on top of the moistened card, so when the spectator holds them tightly together, the selected card will adhere to the damp card, and same are dealt as one card, thus giving the impression that the card has vaned. If the performer does not use an ivory finished card, he will have to place a small pellet of wax in the center of the card upon which the selected card is placed. Knowing the card selected and in just what position this card is among the five in the trousers pocket, it is an easy matter to produce the card from the pocket. It is not necessary to use the trousers pocket for all the cards, but the five cards can be distributed in various pockets. However, I have used the trick as described above and have always been well satisfied with the reception it received. THE TOP CARD Here is a little card trick, with which I have had considerable success, and although simple in effect and execution, is none the less mystifying, and brings into play some well known moves in card work. A deck of cards is thoroughly shuffled. A spectator notes a card, after which the deck is again shuffled. Attention is called to the top card, which proves to be other than that noted by the spectator. The performer then makes a quick downward move and the selected card appears face up on the top of the deck. The only difficult move in the trick, is that of getting the card face up on top of the deck. A card may be forced or chosen as desired, and brought to the top of the deck by means of the pass or other
method at control of the performer. I sometimes use the flesh grip, referred to elsewhere in this book, and which is explained in Downs' "Art of Magic." Having the selected card on top of the deck, shuffle the cards and display the two top cards as one, the spectator naturally saying that the card exposed, is not his card. The cards are, during this, resting in the palm of the left hand. The hand sweeps downward, the thumb at the same time pushes the selected (top) card to the extreme opposite edge of the deck, where card is gripped between thumb and finger tips, and is completely turned over so it will appear face up on top of deck. At the same time, the thumb riffles the edge of the deck and card is shown. Try this move with the cards in the hand and it will not seem so difficult. There is a little trick very similar in effect in "Art of Magic," but the method of working is very different. It is just one of those quick little effects that take so well. THE DOUBLE REVERSE All entertainers who do card tricks, are more or less familiar with, and have done at some time or another, the well-known trick of earning a chosen card to appear, face up, on top of the deck which has dropped to the floor. For a long time, I have had a particular method of working this trick, and have never seen it done quite in this manner. Two cards are chosen and returned to the deck, after which they are brought to the top of same by any method that the performer desires. I use the pass for the first card and the second card I have glimpsed as explained in Downs' "Art of Magic," holding the break by the flesh of the third finger, slipping the card out and palming it to the top of the deck. The cards are then shuffled without disturbing the top cards, which are the two selected. 17
After the shuffle, the deck is finally held in the left hand, while the right is seen to be empty, without calling attention to the fact. The deck is then taken in the right hand, during which the left thumb pushes the top card over to the right for about half an inch. The right hand at once raises the deck into the air and drops it into the lowered left hand. The top card then turns over by the action of the air and when the deck strikes the left hand, the first card selected is face up thereon. Now, attention is at once called to this ca-d. and with the little finger of the left hand, a break is formed between the two top cards and the deck—• that is, between the card that is face up and the next card, which is the second card selected, or rather the first selected card, the second one having been palmed on top of this. The little finger of the left hand thus forms a break at the lower corner just as if the pass was about to be executed. In passing the deck to the right hand, the little finger raises the two top cards up, and the first finger and thumb of the right hand, grasps them and lifts them to one side, but the action is carried on without the least bit of hesitation and while the right hand is about to be raised into the air. The deck is once again dropped to the lowered left hand, and when it strikes the hand, the second selected card will be found to be face up, the two cards turning completely over in the air. As the first selected card will be face down, it appears as if it had changed to the second card during the action of dropping from one hand to the other. It is difficult to explain this effect clearly, but if followed with cards in hand, it should not be so hard, and it is very effective, the redeeming feature being that one does not have to stoop to the floor to gather up the cards as in the old method. 18
THE FOUR KINGS The four kings are removed from l-.he deck and freely shown from all sides. They are then placed in the deck in different positions and the deck thoroughly shuffled. Attention is then called to the bottom card of the deck (the deck being held so the face of the cards is toward the spectators), and which is found to be an indifferent card. The performer then merely passes his hand over the card which is suddenly changed to one of the kings. A mere flip of the cards is all that is required to change this king into one of the others, and so on, until all the kings have been produced. Absolute mastery of the pass, or the Hermann pass, and the fact that the cards used are "strippers" is the secret of this trick, which will be recognized as an adaption of Leipzig's Four Ace trick. After the kings have been inspected, they are returned to the deck, but in different parts, and also turned around so that the larger end of the kings will be at the smaller end of the deck, in much the same manner as "strippers' 'are always used. The deck may then be shuffled as much as desired, without disturbing the cards, or rather the kings. After calling attention to the bottom cards of the deck, the performer merely runs his thumb over the edge of the deck, and so locates the king nearest the bottom. The little finger is then inserted and the pass made, bringing the king to the bottom. The Hermann pass is the best for this change. This pass is thoroughly explained in Edrnase's "Expert at the Card Table" and in Roterberg's "Card Tricks." With this pass, the color change is perfect and cannot be detected. After the four kings have thus been produced, I generally follow up with an effect common with the 19
aces. I again offer the kings for examination, during which three cards are palmed from the top of the deck. The deck is held out and the kings placed on top of same. The person is then asked "if he is satisfied that the kings are unprepared," during which the palmed cards are dropped on top of the deck. The four kings are then placed in a row on the table, but in reality only one king and three indifferent cards. The three cards are then placed on each supposed king, but the three real kings are placed on the only king in the row and three indifferent cards, which are shown are placed on the other cards. Some spectator is then asked to point to any two piles. If two are taken, one of which contains the kings, the other two piles are placed to one side and the two chosen left on the table. It does not make any difference which two are chosen, for the performer arranges so that the pile containing the kings is still left on the table. This process of forcing the choice on the pile of kings is well known —in fact is very thoroughly explained in Hoffman's "Card Tricks," but is merely used here to follow up the foregoing effect with the kings. The combination described above is very effective and I have used it with very good results in parlor work. THE OBEDIENT CARD A card is selected, noted and returned to the deck. The two red aces are then removed and tossed into the air, only to return to the deck together. The selected card is then commanded to appear between the two red aces. Going through the deck, it is found that the performer's command has been obeyed, for the selected card is found between the two red aces. 20
The trick is one that I have performed for some time and which is a variation of one performed by Malini, Merlin and other well known card experts. In their hands, a good deal of manipulation is required and the average performer does not care to bother with it. In the above effect, however, all that is necessary, is to remove the two red aces, and place them on top of the deck. On one, a small pellet of wax is placed. In the act of having the selected card returned to the deck, the pass is made and same is placed on top of the ace with the pellet of wax, and by a slight pressure, is made to adhere there. The deck is then squared up. The performer then runs through the deck and removes the two red aces, one of which has the selected card stuck on the back. The red aces are shown and squared together. They are tossed into the air, and by the usual twist of the wrist, are made to return, the deck being opened to receive them. Now, by giving the deck a riffle, the selected card will be separated from the ace and going through the deck same is shown. It is assumed that my readers are well up in card work, and as the pass, returned card and "throwing a card" has been explained so often, such description at this time is superfluous. FACE UP This is a card trick for the card table, and is based upon a trick, "Simply Drop them" as described by Dr. R. M. Woodward, some years ago in the "Sphinx." While sitting at the card table, anyone is allowed to select a card, note it and replace it in the deck and the cards are cut. The performer then deals the cards out as fast as he can, face down, with the
exception of the selected card, which appears face up. As will be seen, the effect is very similar to Dr. Woodward's, but by reason of the fact that the performer is sitting down, he is hampered with doing any sleight of hand. After the cards are shuffled, the performer notes the bottom card. Then anyone cuts the cards and takes any card from the pack and replaces it on top of the portion that was originally the top of the pack. Now, when the cut is made, the bottom card, which the performer knows, will be on top of the selected card. The cards may then be cut as often as desired, without danger of disturbing the cards. In running through the deck, the chosen card is found and brought to the top, after which the deck is shuffled, leaving the chosen card third from the top. In shuffling again a few are "accidently" dropped and in putting them back on top of the deck, the performer notes how many there are. In this way, he knows how far down from the top, the selected card is placed. The cards are then dealt out, face down, as quickly as possible, the performer counting the cards all the time. When he reaches the selected card, it is given a twist, to turn it face up, but continues counting out the cards for a short time after the selected card has been passed. The idea is to create the impression that you are just running through the cards, and there must be no hesitation whatsoever. This is really a very effective trick and must not be despised because no new methods are offered. THE FOUR ACE TRICK The following version of this fine effect I have used for some time with good success. Three duplicate aces are needed, and these should match the deck used. To begin, the three duplicate 22
aces, the ace of clubs, hearts and diamonds, are on top of the deck. Then three ordinary cards on top of these. The regular aces of the deck are near the bottom. First run through the deck and remove the aces, and set them face up on the table with the ace of spades second from the left. Now place three cards on top of each ace, of course the three duplicates will fall on the ace of spades. This set is then forced by any of the well known methods. Now pick up the first pack of cards after you have placed the pack containing the ace of spades to one side, and show that there is only one ace and three indifferent cards. To do this, the cards are held face to the audience, between the thumb and the first finger, with the third and little fingers at the back of the cards. When the cards are fanned, it will be found that the ace will come right on the little finger, and if a slight pressure is exerted on the ace, it will bend out from the other cards. Now this first pack is placed down in the left hand. The next pack is shown in the same way and the ace sprung out as described. Now, in the act of placing this pack on the other, the ace is slipped to the bottom of the other pack and only three cards are placed on the pack in the hand. This is repeated with the remaining pack. Thus, three aces are on the bottom of the pack in the left hand, instead of being mixed up as the audience imagine. There are now twelve cards in the left hand. These are counted from hand to hand, during which the aces are brought to the top of the pack. In the act of counting, the little finger is slipped between the ninth and tenth cards, allowing the three aces to be readily palmed and disposed of later. The trick is then finished and the aces appear together in the selected pile. 23
AN IMPROVEMENT A very old, but at the same time, an extremely effective card trick, is the one wherein the slip is used to suddenly cause a card to appear in any position of the deck. A card is selected and brought to the top of the deck. The performer then makes a break in the deck and asks if the top card of the lower half of deck is the one selected. The card is then tapped with the top portion of the deck and the top card of the lower portion is found to have changed to the selected card. The improvement consists in having the selected card appear face up, after tapping same with the upper part of the deck. Proceed in the usual manner and bring the card to the top of the pack. Now cut the cards and hold the lower half in the left hand on the palm with the second and third fingers outstretched, and hold the upper half in the right hand in the same position as it was when it was lifted up, only with the face of the card UD. A spectator is then requested to look at the top card of the lower half and see if it is the selected card. Upott receiving a negative answer, the lower half of the deck is tapped suddenly with the upper half, and in this movement, the fingers of the left hand, catch the top card of the upper deck and pulls it to the lower half, and at the same time, the left hand makes a turn so the palm of hand will be down. This movement leaves the selected card, face up on the lower half of the deck. Riffle the cards and then show the selected card. The effect is very surprising. Try it. 24