29 Tricks Svengali
29 tricks with Svengali Deck...
29 CLEVER CARD TRICKS w 'd tk tU c
SVENGALI DECK C o m p i l e d By.
JIM SHERMAN P R IC E 5 0 PUBLISHED
NATIONAL M A G IC COMPANY 119 S. STATE STREET CHICAGO
State L i b r a r y of V i c t o r i a C O N J U R IN G
C O L L E C T IO N ”
W ILL ALMA ____ H.I.M.C. (LO N D O N )
C opyrighted 1940.
This unusual pack of cards is so cleverly made and the prin ciple so skillfully concealed that your audience will never sus pect any special preparation. D o n ’t expose the tricks to your friends or the deck w ill be worthless to you. SECRET: Upon close examination you will note that in this mechanical deck every other card is the same, b ut the deck has been so prepared that all of the cards that are the same are slightly shorter than the others. Each one of these similar cards is hidden behind one of the ordinary cards and this arrangement should always be kept in order to successfully perform the tricks. P R E S E N T A T IO N :
it is necessary to follow a few simple rules. 1. Always even up the cards by tapping the end o f the deck on the table. 2. Never spread the cards out fanwise when asking some one to choose a card. 3. The success of nearly all of the tricksdepends upon rorcing upon the spectator one of the cards which are all aliKc. To force a card, hold the deck in the left hand face down, being careful that the cards are all squarely evened up by tap ing on the table as mentioned above. W ith the thum b o f the right hand on the lower end of the deck and the four fingers of the right hand at the upper end o f the deck, bend the pack slightly and release the cards slowly, allowing them to fall into the left hand. This is called "rifflin g ” . Invite the spectator, as you do this, to pick out one of the cards. He will be compelled to take one of the cards which are all alike, for the reason that it will always be on top of the por tion which falls into the left hand. This is due to the fact that it is slightly shorter than the other cards, and every time you riffle the deck only the indifferent cards can be seen by the audience, as one o f the similar cards is always hidden be hind one of those shown.
4. Always place selected card at the same place from which it is taken. Then the deck will never be out of order. 5. W hen cutting the deck always cut from the ends— never from the sides and do not forget to tap the deck on. the end before doing so, as the deck will work much smoomtr. O w ing to the preparation of the cards, whenever you cut the deck (always from the ends) it will always leave one of the prepared cards on top. A fter you have thoroughly practiced the above methods of handling you are prepared to perform the following wonderful tricks: N O . 1— A P R E D IC T IO N . The performer undertakes the task to predict the name of a card before it is withdrawn from the pack. (Name the force card of the pack). H old the pack in ordinary dealing position, with the left hand and invite a spectator to insert his finger into the upper part of the pack as the cards are riffled with the index finger of the right hand. This done, the cards are cut at this point and the spectator is allowed to remove the top card of the bottom section. This being a force card it is obvious it will correspond w ith the prediction. N O . 2— T H E X - R A Y EYES. A fter cutting the pack a few times to apparently lose the chosen card the [Sick is cut in two sections. Then the per former explains that w ith the aid of his "X - R A Y EYES” he is able to select the heap containing the choice card and tell its position from the top of the heap. A fter making this statement a heap is picked and any number is mentioned. I f the number called is odd, count down to this number, turn up the card, showing it as the choice card. Should the number be even, count down to this number and turn over the next card to reveal it as the choice card. N O . 3— STOP. A fter the pack is cut a few times to apparently mix the card, announce that you will place them one by one from the top o f the pack into your right hand; whenever the spectator
says stop that w ill be the choice card. Y ou will note that the pack is arranged so that all the odd cards are force cards and will correspond to the drawn card. As you remove the cards count them and should you be stopped at an even numbered card remove the next or odd numbered card and show it to be the choice card. I f you are stopped at an odd card, turn it up and reveal it as the choice card. N O . 4— C U T T IN G T O T H E C A R D . A spectator is requested to name any num ber o f times he de sires the performer to cut the cards. Upon cutting the cards the number of times requested the choice card w ill be found on top of the pack. Because a force card appears on top o f the pack after each cut, the pack may be cut the number of times requested, the top card w ill always be the choice card. N O . 5— T H E T R A V E L IN G C A R D . Showing the choice card on top, cut the pack in half, then cut the upper section once to bury the choice card. N ow riffle the bottom portion to show it contains indifferent cards. Upon snapping both portions w ith the finger, the choice card will leave the upper section and appear at any number down, (mentioned by spectator) in the lower one. I t is obvious that if the number called was odd it is only necessary to pick up the bottom portion and to count to this number and then turn up the card; this w ill be the choice card. I f the number called was even, count to the number and turn up the next card. A fter this procedure has beeen accomplished the top portion may be riffled to convince the spectators that the choice card has disappeared. N O . 6— T H E C A R D D E T E C T IO N . The bottom or indifferent card is given to a spectator to in sert it face up anywhere in the pack. Upon cutting the pack at this chosen point, the choice card is shown to be either above or below it, as the case may be. W hen presenting this effect one must be cautious so as not to expose the force card on the bottom after removing the indifferent card. A t the conclusion of the effect place the
indifferent card on the top of the pack and give it a cut for proper arrangement. N O . 7— O D D O R EVEN . The performer inquires whether he is to cut an even or odd number of cards off the deck. Upon receiving a reply thpack is cut and the cards arc counted for verification. Not only will the cards cut correspond to the request but the choicc card is shown to be either at the bottom of the scction that has been cut off or again it may be the top card of the bottom section, which ever the case may be. Should the spectator request an even number to be cut, cut the cards in the ordinary way; at any point, count the cards removed and show the top card of the bottom section to be the choice card. If the request is for an odd number, the cards arc held face downwards and are riffled in the opposite direction w ith the left thum b; cutting them at any point, count the cards cut off and in this case show the bottom card of the counted off section to be the choice card. After the count is made for verification, the cards are replaced to keep them arranged properly. N O . 8— C O IN C ID E N C E . Five or six spectators each select ft card. The cards after each selection are replaced in their own respective positions. To conclude the effect have the spectators name their cards at the count of three. In writing, this effect m ight seem simple, however it really must be tried in order to see to what extent it impresses the spectators when they discover they all se lected the same card. N O . 9— T R A N S P O S IT IO N . A t this stage of your routine the spectators will be' dazzled at your perfection and no doubt will wonder how you can accomplish such effects. You m ight explain to them that by merely snapping any card with the fingers a change is made in the value of the card into the choicc card. After this statement has been made perform the following effect. Have a spectator say stop at any time the pack is being r if 6
fled. A tte n tio n is called to the name o f the card stopped at. The card is now riffled onto the others. A t this p o in t the pack is c u t and the apparent card noted is pushed o ff w ith the le ft th u m b , face dow n upon the table. (B u t in rea lity when this card was riffled o n to the others a force card im m ediately follow ed and it is this card th a t is a ctu a lly placed on the table.) A fte r the above procedure, the bo ttom section o f the pack is placed on the top so th a t a fte r the card on the table is snapped and then turned face upw ard, to show the change, i t is placed on the top o f the pack to keep the cards properly arranged. N O . 10— R E U N IO N . T u rn the choice card face up on the top o f the pack and c u t approxim ately one th ird o f the cards o ff and place them on the table. C u t the rem aining p o rtio n in h a lf and tu rn these portions face upw ard. E ith e r one o f the heaps w ith an in diffe re n t card is selected. T he choice card is then turned face dow nw ard on its heap, and the o th e r heap w ith the in d iffe re n t card is placed face down on the top o f the choice card. N o w a tte ntio n is called to the denom ination o f the card on the selected heap. The heap is then turn e d face down and placed on the top o f the other cards. W h ile doing this, a tte ntio n is called to the fa c t th a t the choice card is separated fro m the noted card by the o ther heap. N o w upon c u ttin g the pack once, the noted card is then located and the force card below it is then shown. T his impressses the spectators th a t the choice card has m ys teriously traveled to join the noted card. N O . 11— T H E M A S T E R T O U C H . A fte r c u ttin g the pack a few times, atte ntio n is called to the fa c t th a t the choice card is lost somewhere in the pack. U pon m aking a statement in regard to yo u r sensitive finger tips place the pack behind y o u r back or underneath the table and bring fo rth the choice card, apparently rem oving i t fro m the center o f the pack. T o accomplish the above effect i t is o n ly neces sary to remove and b rin g fo r th the to p force card. Replace this card on top and fo llo w w ith the n e xt effect. 7
NO. 12—CARD TO POCKET. The pack is prepared for this effect as in the preceeding trick. W hile it was held behind the back, the second card from the bottom (a force card) is placed in the rear hip pocket. Pre pared in this manner, and after completing the above effect, (The Master Touch) remove the bottom card, fans the pack w ith it to apparently cause the choice card to disappear. Place this card on the top o f the deck and close the effect by re moving the card from your pocket and showing it as the choice card.
N O . 13— R E V E R S E D C A R D . The choice card is shown on the top, and the pack is then given a cut. Upon spreading the cards, the choice card w ill be found to have reversed itself. As in the preceeding trick one prepares the pack for this problem during the Master Touch Effect. W hile the cards are held behind the pack as outlined in the above mentioned effect, the third card from the top (a force card) is reversed. Upon completing the Card to Pockets effect, attention is called to the choice card being face down and on the top of the pack. The pack is then cut and the effect is brought to a climax by showing that the choice card is now reversed. N O . 14— T H E M A ST ER C U T . The choice card is shown on top and a spectator is requested to name any number of cards to be cut and placed on top of it. The performer cuts approximately the number of cards from the bottom and places them on top of the choice card. To verify that the exact amount o f cards were cut, the re quested amount is counted off the top of the pack and the choice card is disclosed. Should the spectator request an even number to be cut, the approximate number is then cut from the bottom of the pack and are placed on the choice card. I f the request is for an odd number, the cards are held face down and riffled in the opposite direction w ith the left thum b, the
thum b retaining back approximately the requested amount of cards which arc placed on top of the choicc card. The last procedure leaves a force card on the bottom, so the pack must be held face downward so that the force card will not be exposed. A fter the count has been made to verify the number of cards placed oro the choice card the pack is cut to arrange it properly. N O . 15— A SPEC T A T O R LO C A T ES T H E C A R D . (You will note that this effect is very similar to effect No. 1) The card is selected by the spectator in the same manner as in the effect number one. Just before the selection is made tell him that he will locate the choice card. N O . 16— SPELLIN G BEE. The cards are apparently mixed either by a riffle shuffle or by a cut. The name of the choice card is spelled out, removing a card from the top of the pack for each letter. Should the amount of letters in the force card’s name be odd, upon spel ling it out, the card at the last letter will be the choice card. Should it have an even amount o f letters the card following the last letter is turned and revealed as the choice card. N O . 17— C A R D O N C H O S E N HEAPS. C u t the pack in four heaps, cutting them at their ends so that a force card will be on top of every pile. The spectator is then instructed to select a heap. A fter the selection, the cards are reassembled w ith the exception of the selected heap. Find it on top of the selected heap. Replace this heap on the bulk of the pack and you are now ready to perform the fo l lowing effect. N O . 18— S O L ID T H R O U G H S O L ID . Choicc card is turned face up on top of the pack and then the pack is cut. The lower half is riffled to show it contains all indifferent cards. This half is then held underneath the table w ith the left hand. The right hand turns the choice card face down and gives upper half o f the pack a cut. Upon snapping the upper section of the pack w ith the index finger of the right hand, the lower section is brought forth, becausc
the top card of this section will always be a forced card. To climax the effect, it is only necessary to turn card face up to convince the spectators that the choice card has penetrated through the table. A fter this procedure the top section should be riffled to show that the choice card is missing. W hen the riffling is complete replace the upper section on the lower section of the pack and proceed w ith the routine. N O . 19— T H E PE RSIST A N T C A R D . C u t the pack a few times and snap the pack w ith the index finger, then turn the top card over and show that it is the choice card. C ut the pack again* snap the top card, turn it face up to again reveal its appearance on the top of the pack. The above procedure may be repeated as often as desired.
NO. 20—THE MENTAL DETECTION. Riffle the cards slowly before a spectator’s eyes, telling him to mentally select a card. A fter this procedure put the pack behind your back at the same time explaining that you will place the choice card next to the mentally selected one. A fter apparently arranging them bring the pack forth and have the thought of card named. Riffle the pack slowly to locate this card, cut the pack at this point, and reveal the force card on top of the bottom section as the choice card. Replace the upper section and proceed w ith the following effect.
NO. 21—COUNTING TO THE CHOSEN CARD. Riffle, shuffle or cut the cards a few times to apparently mix them. Ask spectator to name any number from one to fiftytwo. I f an odd number is called count to it and reveal it as the choice card, however, if an even number is asked count to this number and turn up the next card.
N O . 22— A P E C U L IA R C H A N G E . As the pack is riffled the performer asks to be stopped at any point. Place the bottom section on the top group. This brings a force to the top of the pack. Remove this card w ithout re-
vealing it and place it face down on the table. The pack is riffled again and a card is selected by another spectator (it is obvious that this w ill be the force card). A fte r this pro cedure the spectator is asked to name the noted card. Upon receiving a reply snap the pack w ith the index finger and then slowly riffle it to show that the card has disappeared. The card on the table is turned face up and is revealed to be the choice card. Replace the card on top o f the pack, cut the pack a few times and follow w ith the next effect. N O . 23— T H E M A ST ER T O U C H . A fter the pack is cut a few times to apparently lose the choice card, it is riffled and the performer is stopped at any time during the operation. The pack is then cut at the designated point and attention is called to the number of pips on the bottom card o f the upper section. (Jack evaluates at eleven; Queen, twelve and the King, thirteen). I f the number o f pips happen to be odd, count down to this number in the bottom section and turn up the card at this number, showing it as the choice card. Should the spots on the card be even, count down to this number and turn over the next card to reveal it as the choice card. Replace the upper section and follow through w ith the next effect.
NO. 24— T H E M IR A C L E . The pack is cut a few times and the cards are then dealt in two heaps one at the time. This brings the 26 short force cards in one pile and the 26 indifferent cards in another pile. Have the spectator select a pile. Should he select the in d if ferent pile, have him search for the choice card. U pon re ceiving the acknowledgement that the choice card is not w ith in the heap, spread the short or force cards face down on the table and have him pick one. To his surprise the choice card is picked. Should he point to the pile containing the force cards spread them over the table and hand him the pile con taining the indifferent cards and follow out the above procedure. N O 2J— T H E ST ABBIN G T R IC K . 1. R u n the cards over and have someone pull a card out. H e will always select the same card.
2. '5/r.,) the deck in a ’-'ce o f paper. Have a knife inserted in the deck by the spectator. The selected card ■will always be either directly above or below the blade. 3. C u t the deck into three piles (remember to cut' from the ends of the deck.) The chosen card will always be on top of any pile named. 4. Ask any spectator to call out a number, telling h im the card he took from the deck will be any number he says. I f he asks for an odd number the card is already there. I f an even number is given, show him the next card. N O . 26— T H E M IST AK E. 1. L ift the top card and show1 it. (Y ou actually pick up two cards.) Replace it on the deck, slide off the trick card face down, and ask someone to place his hand over the card. Y ou now have him select a card from the deck and replace it. Y ou can now apparently cause it to leave the deck and change places w ith the card covered by his hand. 2. Reverse the top card and cut the deck. Have a carc 1.1 ken and replaced in the deck. Then command the card t J .urn around in the deck. N O . 27— T H E R IS IN G C A R D . I. Place a tooth pick at the bottom o f the deck and push upward. The chosen card will always rise. N O . 28— C A R D F R O M POCKET. Place the deck in your friend’s pocket, face the deck towards his body. Ask him to remove one card quickly. H e w ill always pull out the selected card. N O . 29— T H E B U R N E D C A R D . A card is selected and burned. Y ou can make the card re appear whenever you wish. P R IC E P E R D E C K , Postpaid, $1.00. N A T IO N A L M A G IC C O M P A N Y 119 S. S T A T E ST REET C H I C A G O 3, I L L I N O IS f Cv
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