At the Table Tricks b yNeal C. Elias
Magic tricks and sleights for entertaining...
NEAL C . ELIAS
R, A . MACKENZIE
P u b l i s h e d by GEORGE SNYDER J R . SNYDER'S MAGIC SHOP 908 Superior Ave. Greyhound Bus Station Cleveland 14, Ohio
FORKWORD I have often wondered whether the purpose of a foreword is to explain something, or to make an excuse for the writing of the book, or Just to take up space. Now I know! However, I leave it for you to read and Judge for yourself. Some of the best magic that I have ever seen has been 'at the table' after the show, or dessert as Martin Gardner has put it. It was for this reason that we named this manuscript as we did. Paul Roslni, who is one of my favorite magicians, doe3 a very nice show, but it is at your table, after the show that he does real miracles. We don't say this Just to couple Paul's name with ours, it's Just that it doesn't seem that one can possibly write a book on cards without at least mentioning him. We have no apology to offer for any of the items here included. We use them all and find that they go over nicely. We are especially proud of the cull-stock shuffle. While this shuffle is not usable on all occasions, when the chance does arise, you'll find it is a reputation builder. For those who don't care for this book, we have a money- backguarantee to offer. We will accept all complaints submitted in writing, double-spaced on one side of a sheet only, notorlzed and delivered by the sherriff. We are sorry, but we regret that we can do nothing more but hope that you forget your 'squawk' in time to purchase our next book.
Neal G. Ellas
A REVERSE SLEI&HT This sleight was born of a coincidence. When visiting me while on a week-end pass, Bert Fenn and I discussed different reverses at length. A day or so after he had left, I played with the idea of using the bottom cop as a reverse. I Immediately wrote Bert, telling him about it. A day or so later I received a letter in which he explained a very similar idea. We combined the two versions and are now using the one following. This Is more or less of a utility move, being used for several different purposes, to reverse a card or packet of cards, to show a controled card is neither at the top or bottom of the deck and to prove that a card has vanished from the deck. It is an oddity in that to reverse a card, you reverse not the card, but the rest of the deck. The move itself is as follows: Hold the deck in the left hand in the 'mechanics grip', with the second, third and little fingers resting flat on the outer right corner of the card on the bottom of the deck. Press these fingers up and in, drawing, or buckling the bottom card toward the inner left corner. This should raise the right edge of the deck to about a 45 degree angle. See Fig. 1. Take the deck from underneath, with the right hand. The face of the deck should be towards the right palm, drip the deck, the moment the left fingers buckle the bottom card. The right thumb should be at the end of the deck nearest the body. The second and third fingers are at the outer end. With the right hand, revolve the deck until it is vertical on the palm, pivoting the deck on Its left edge. Complete the turnover by sliding the deck face up onto the palmed card. See Fig. 2. If correctly done, the reverse is completely covered from all angles. The right hand, in turning the deck over, covers the card from the right. The left hand, by tilting up slightly, covers the card from the front and from the left. As mentioned above, this move can be used for several different purposes. A packet of cards can be reversed by holding a little finger break above the cards to be reversed. The same action Is followed as with a single card, the little finger helping to buckle the packet. A card can be controlled to the bottom of the deck and shown not to be at the top or bottom by copping the card twice. To do this, turn the deck face up, copping the bottom card. Spread a few of the cards on the
bottom of the deck, showing that the selected card has not accidentally (?) come to the bottom of the deck. Turn the deck face down, once more shifting the bottom card. Show a few of the cards at the top of the deck, showing that the card is not among them. This of course leaves the selected card on the bottom of the deck, to be disposed of as desired. Or, this move may be used after an idea by Martin Gardner, to show that a selected card has vanished from the deck. To do this, control the card to the bottom of the deck. Turn the deck face up, leaving the bottom card (selected card) face down. Run a few of the face-up cards into the right hand, one at a time, telling the spectator to watch for his card. After showing about a dozen cards, turn them face down, and place them under the deck in the left hand. Repeat this until all the face-up cards have been shown, proving that his card has vanished. The selected card is, of course, on the top of the deck at this point and can be palmed off and produced from the pocket if desired.
ON THE CARD TO THE POCKET The usual method used to produce a card from the pocket is to palm it from the deck and immediately place the hand in the pocket, removing the card. Of course, the best way to do this is to drop the card in the pocket and first remove all the odds and ends from the pocket before removing the card. In Tarbell Volume 3 is an idea of Tommy Dowda' in which no palming is necessary. This is an adaptation of Tommy's method. Altho the card must be palmed to do it our way, the advantage lies in the fact that both hands are obviously empty when the hand is placed in the pocket. Palm the selected card from the deck, in the right hand. Place the deok on the table and Immediately raise the right hand to the ooat lapel. Grasp the lapel as you would do when going to the inside breast pocket. The fingers go underneath the coat with the back of the hand outside. Thus doubling the card around the edge of the coat. Be careful, however, not to fold or crease the card. Swing the right side of the coat open so that the spectator can see the inside breast pocket, as you make some statement to the effect that he could not have chosen that particular card since you have it in your pocket. During the above, the card has been completely covered, by the fingers inside the coat, and the palm of the hand on the outside. Swing the coat back to the body, show the left hand empty and reach under the coat, apparently reaching into the breast pocket. But, actually, when under cover of the coat, twist the left hand back at the wrist and pluck the card from the right fingers, pulling it completely under the coat. Twist the card around so that the lower corner engages in the poc-
ket. Swing the coat open once more B O that the spectator can see the card apparently coming out of the pocket. See Fig. 3. Remove the card and show it to him. This sleight can be used for the card to the wallet, or to switch a card, or to dispose of a duplicate in removing something from the pocket.
TURNOVER SWITCH This is same results ed up at any used in many
an idea that has many uses. It accomplishea more or less the as a second deal. With its use a selected card can be turnpoint in the deck. It will be apparent at once that it can be effects such as spellers, card at any number...etc...
This sleight grew out of an idea of Bert Fenn's. We had been talking about the Mexican Turnover and he asked why it would not be possible to do a move of this sort on the deck. He worked out an idea that we tossed back and forth for a while before arriving and settling on the following. Let us say that the selected card is the ace of hearts and has been controlled to the top of the deck. It is desired to spell the name of this card and turn it up on the last letter. Hold the deck in the left hand, as for dealing. Deal the cards one at a time into the right hand, spelling the name of the card as you do so. The right hand should hold these cards in a sort of 'mechanics grip 1 . When you reach the point at which the card falling on the last letter (in this case the eleventh card) is still on top of the deck in the left hand, execute the following moves. The cards in the right hand are supported or held by the forefinger at the outer end, and the base of the thumb at the inner end. The tips of the second, third and little fingers rest on the outer left corner of the bottom card. These three fingers press up and in thus buckling or doubling this card diagonally under the deck. See Fig. 4. This should be done as the right hand approaches the left hand apparently to turn over the top card of the deck, which has been pushed part way over the side of the deck by the left thumb. S^llde the right hand packet under this card, so that the left edge of the packet touches the right edge of the deck, under the overlapping card. Slip the left second and third fingers between the right hand packet and the buckled card at the bottom of this packet. These fingers press this card against the right palm. Turn the right hand over, pivoting the packet on the right edge of the deck. The left thumb holds the top card of the deck stationary, but due to the turnover action by the right hand, this card ia automatically forced onto the top of the right hand packet. At the same time, that is, dur-
ing the turnover, the left fingers have held the bottom card of the packet pressed tightly against the right palm. The packet, with the exception of this card, haa been pushed into the crotch of the thumb, into a sort of thumb palm. The right hand, which is now back up, draws these cards away, leaving the selected card fall face up on the deck. Fig. 6. A variation of the above that some may like, is the use of the Erdnase one hand bottom deal...dealing the card face up on the deck Instead of on the table. To do this, count the cards into the right hand as above. Take the card falling on the last letter on top of the right hand packet, extending part way over the packet. Fig. 5. Turn this hand over, dealing the bottom card onto the deck in the left hand. At the same time the right thumb pulls the top card square on the packet. See Erdnase page 56.
A TRULY FAN-CY CUT This flourish was shown to me by Bob Taylor of Phllly. never seen it in print, we give it here.
Fan the cards in the left hand and turn the fan so that it points toward the right. Break the fan at about the center, with the right forefinger. Close the half of the fan above the break by drawing the cards to ward yourself. See Fig. 7. Close the other half of the fan forward. Fig.8. Take this packet in the right hand and place it on top of those in the left.
ONE HAND CENTER CUT This out was shown to me by Frank Csurl at a time when we were going In for one hand cuts and riffle shuffles In a big way. It Is not his own but as we both like It we thought you might. Hold the pack in the left hand as In Fig. 9. The forefinger Is at one end of the deck and the little finger at the other. The second and third fingers are at the side of the deck and the thumb at the outer corner. With the left thumb, draw or pull a packet of cards from the center of the deck. 3ee Fig. 9. Shift the thumb to the outer left corner of the deck and press the thumb and forefinger together, squeezing the packet out of the deck. Now shift the thumb back to the outer corner of this packet and twist It from the deck by pivoting it on the forefinger. Fig. 10. Press down with the thumb, lifting the right edge of this packet over the deck. See Fig. 11. Close the hand squaring the deck.
CARD FROM CENTER Here is another cute idea that for some reason does not seem to be well known. I use it in a close up everywhere and nowhere routine and also in Imitation of a trick that Scarne does, by flipping the last of four selected cards from the center of the deck. Control the selected card to the bottom of the deck which Is then held in the left hand as for the Charlier Pass. Drop about half of the deck to the palm. See Fig. 12. Raise this packet with the forefinger until it clears the edge of the upper packet and falls to the palm aa
shown In Fig. 13. However, Just as the lower packet falls on the upper, fold the fingers over what Is now the lower packet. Straighten the fingers, drawing out the card above the break. Fig. 14. Fold the fingera over the top of the deck, carrying this card with them. Thus apparently drawing the selected card from the center and turning it face up on top of the deck.
FOLLOW THE LEADER Many versions of this gem of Dal Vernon'e have appeared in print. Perhaps one more routine won't be overdoing it. This ia the routine I've been doing for some time. It is not original, but is a direct steal, being a little of Vernon, Walsh and others. This combination permits more color changes than most other routines and requires no more sleights. This la my favorite card trick. I like it not only because it is a startling effect, but because here is a card trick in which no one need select a card. I find that even those who don't like card tricks are intrigued at the sight of the cards moving back and forth, time after time. With each change of color the effect seems to build up. It seems impossible that the colors could shift of their own accord. Yet that la apparently what they do, since the cards are handled so openly and so fairly. Surely It couldn't be sleight-of-hand. Take the deck face up in the left hand and remove the first 10 red cards from the deck, counting them In a face-up heap on the table. On top of these count 10 black cards. Take this packet face up In the left hand and form a little finger break below the second card from the face. Turn the packet face down, making the 'Invisible Turnover Pass' (Expert Card Technique) or, place the cards face down In the hand and form a break above the card second from the bottom and use the standard pass. Any move that will place two black card8 above the 10 red cards can be used. (More on that later.) Count nine cards into a face-down heap, on the table. Turn the tenth card face up and lay it In front of this heap. Count nine more cards face down to the right of the first heap, turn the last card face up before this heap. There are now two face-down packets of nine cards each with one red and one black card face up before them. Using a follow the leader or a sympathy of color patter theme, change the positions of the two face-up cards..I.e. place the red before the black heap and the black before the red. Snap the fingers and pick up each heap, draw off the bottom card and place It on the face-up card before each heap. Of course, black turns up on black and red on red. Again transpose the face-up cards and snap the fingers, show that all the cards change by drawing out the bottom card (actually the card second from the bottom by means of the glide) turning it face up, also turning up the top card. Repeat with the other packet. Onoe more transpose the face-up packets but turn up the bottom card of each only. For variation, transpose the face-down packets and turn up the and bottom cards of each packet.
Transpose one face-up heap with the face-down heap diagonally opposite. Turn up two cards from each face-down heap onto the face-up heap to the right or left of each as the case may be. This Is strictly a swindle, a clever Idea of Audley Walsh's. At this point, two cards remain face down.
letting spectators see that it is red. Use it as a scoop to pick up the black card. Place them both face down in the left hand, thumb on top and the fingers on the face. The cards are slightly fanned so that when turned face up the indices will show. Turn the hand over so that the cards are face up. Touch each card in turn with the right second finger, explaining that this leaves you with one black and one red card. Replace the tip of the right second finger on the corner of the black card. Fig. 15 Without removing this finger turn the cards face down, sliding the black card over the red, with the left thumb. At this point the finger still apparently rests on the black card, actually, the red has taken the place of the black card. Fig. 16. Remove this card and drop it face down on the face-up red heap. Place the other on the black heap as you say, "We place the black on the red and the red on the black." Snap the fingers and turn the cards face up showing that they have Joined their respective colors.
In place of using the pass to shift two cards from the bottom to the top of the packet, either of the following moves might be used. Place the twenty cards on the table, face up. Reda in one packet and blacks in the other. Pick up the black packet and fan it face up in the left hand. Close the fan, holding a little finger break above the card second from the bottom. Take the red packet in the right hand and make a one hand fan. Close this fan and apparently slide this packet under the black cards. Actually, however, the left little finger widens the break so that the red cards can be inserted. Proceed as in the above routine. One of the easiest methods of showing a packet of cards to all be of one color, when actually It contains two cards of another color is the use of the glide as in the 6 card repeat. To do this, separate the colors and place them on the table NOT face up, but face down! These cards are placed on the table as you explain that you are forming a packet of red and a packet of black cards. Not calling attention to the number of cards used. In forming the red packet, first lay down eight red cards then two black cards on top. The black paoket is formed of eight black cards with 10
two reds on top. Take the red packet In the left hand, with the fingers on the faces of the cards. With the right hand, draw off the bottom card, dropping It face up on the table. Continue until six cards lie on the table, remembering not to call attention to the number. On the seventh count, glide or draw back the bottom card with the middle and third fingers. Take away as one, all but the bottom card, placing them face up on the face-up packet. Turn over the remaining card and drop It on the others. Repeat with the black packet, thus proving that one packet la all red and the other all black. Place the top or face card of each heap In front of Its respective heap. Turn both heaps face down. The routine outlined above Is followed, with one exception. That being, the point at which the glide Is used. When doing the routine using this count, uBe the glide when drawing off the bottom (?) card In showing the first change. When drawing off the cards to prove a second change, actually draw off the top and bottom cards of each packet. Proceed as above.
HERE IT IS I J Remember Paul LePaul's 'There It Is1 which appeared in Expert Card Technique? Here Is a variation by Frank Gsurl, in which the card, when finally produced, stares the spectator square in the face. Control the selected card to second from the top of necessarily your favorite card control, any one will do.) in the left hand as for dealing. Slide the top card part side of the deck and grasp it between the right thumb and the outer right corner, thumb on the face and the finger
the deck. (Not Hold the deck way orer the forefinger at on the back.
Lift this card up so that it is face to yourself. Now twist or bend the hand around at the wrist so that the card is facing the spectator over the baok of the hand. Fig. 17. At this point, the knuckles of the right hand will be at the outer right corner of the pack. Push the top card of the deck a little to the right with the left thumb. Grip this card between the knuckles of the third and fourth fingers. See Fig. 17. When the spectator denies that this is his card, lay It face down on the deck and straighten the fingers. This will raise the chosen card so that it will stare the spectator 'smack dab in the kisser.' Fig. 18.
TORN CORNER CARD TRICK One of the most spectacular type of card tricks are those In which a card is destroyed or vanished, after which it reappears in some supposedly unsuspected spot. This routine is more or less an Impromptu version of the torn and restored effect, A card Is selected, an Index corner is torn from this card and given to the spectator for future identification. This card is folded into a small packet which subsequently vanishes. The deck, which has been lying on the table, is fanned. One card is seen to be face down In the face-up deck. It is the selected card! Needless to say, the corner flta perfectley. The only sleights necessary are a simple glide and a reverse. Tear an index corner from any card, say the Joker. Discard this corner. Place the Joker on the bottom of the deck with the torn corner at the inner end. Run the cards from the left to the right and ask a spectator to touch a card. When he does so, separate the deck at that point, so that the card touched is on top of those cards in the left hand. Push this card a little over the right side of the pack, with the left thumb and flip it face up with the right-hand packet. Slide this card momentarily below the packet in the right hand and turn the left hand packet face up (keeping the torn corner at the Inner end) being careful not to flash the Joker. Slide the selected card onto the face of the left hand packet and turn the cards in the right hand face up and place them under those in the left. The whole deck is now face up with the selected card at the face of the deck, and the torn corner card (Joker) directly below it. Push the selected card about 1/2"to the right, with the left thumb and tear out the lower index corner, giving it to the spectator. (Be careful to tear the corner as near as possible the same size as that torn from the Joker.) Holding the deck as for dealing, slide the face card, or selected card part way over the side of the deck so that a portion of the Joker is exposed. Strike this exposed corner with the right thumb and draw it out. Fig. 19. This is the same action as with the strike second deal. At the instant the right thumb approaches to strike out the Joker, start to revolve the hands toward the body so that when the card is drawn out the
back of the card la to the spectator. Fig. 20. The moment the joker Is free of the deck, draw the selected card flush with the deck. Drop the deck face down on the table and fold the selected card (Joker) Into a small packet without exposing Its face. Thumb palm the folded card In the right hand while apparently placing It In the left hand. Drop this card In the lap while the left hand apparently crumples It to bits. Show the hands empty. Take the deck In the left, as for dealing, turn the deck face up leaving the selected card face down on the bottom. (See 'Reverse Sleight' page 3.) Gut the deck to bring this card to the center. Fan or ribbon spread the deck showing one card face down. Give this card to spectator to fit the corner. An alternate Idea for vanishing the card Is the use of a pull. Needed are two paper clips. To one clip fasten a piece of elastic. Attach the other end of the elastic to the back of the vest. Draw the clip around and place It In the lower right vest pocket with the second clip. After folding the card, hold It In the left hand while you take the clip from the pocket. Finger palm the loose clip and hold the clip to which the elastic is fastened between the thumb and forefinger. Slide the card Into this clip and let it fly under the coat as you apparently place it In the left hand. However, drop the loose clip In the left. Crumple the card to bits (?). Open the hand showing the card has vanished, leaving the clip. Proceed as above.
A SPELLING CHANGE A card is selected and returned to the deck. Rhe magician (that's you) announces the name of the selected card, and deals one oard for each letter in that name. On the last letter he turns up the card he had named. However, the spectator says his card was not the 5 of clubs but was the 10 of diamonds. When the five is turned face up, it is seen to have become the 10 of diamonds. This variation of the ever popular card spell was given to me Frank Csuri.
Glimpse the card on top of the deck and crimp, or bend the Inner index corner, up. Say this card is the 5 of clubs. Start to shuffle the deck running the cards from the top, one at a time. Run or shuffle off one card more than there are letters in the name of the card glimpsed. Drop the rest of the deck below these cards. Offer the deck for the selection making sure that the spectator takes a card below this top stock. Suppose he selects the 10 dd diamonds. Gut the deck above the crimp and have spectator place his card on the crimped card. Square the cards up nicely, letting it be seen that you hold no breaks. False shuffle and cut keeping this stock at the top of the deck. Confidently, tell the spectator that he chose the 5 of clubs, and before he has a chance to answer, start to spell the card, dealing one card for each letter. If he should loudly disclaim the five of clubs, Ignore him. 13
After the final 's1 In clubs, double lift showing the five (above which la the selected card). In thlB case, the double lift Is sinfully easy due to the fact that the corner of £h9 5 Is crimped up there Is an automatic break at the left side of the deck. Pick the cards up at this corner with the thumb and forefinger and turn them face up, on the deck. Turn them back down and slide the top card on the table. Smuggly ask the spectator if that is his card. He will look at you pitifully and say that he has been trying to tell you that you had the wrong card. Ask him what his card was and when he names it, flip over the card on the table, which to his surprise (we hope) has become the 10 of diamonds.
"TELL YA WHAT I'M GONNA DO" One of the effects that this combination cull of Bob Taylor's may be used for is this;
The spectator shuffles and cuts the deck and gives it to the performer who fairly deals about five hands of poker, face up. He explains, "This is the way the cards would fall in the average game of poker. No one could possibly know what anyone else held. That is, no one could possibly know if everthing was on the level. However, a gambler has to live and for that reason he doesn't depend on luck alone. He therefore resorts to trickery and can deal himself, or his partner any cards he desires. "I'll try to give you some idea of how he does this. Let us say that I wanted to give myself three of a kind, now rather than decide on these cards myself, I'd like each of you to name any card you see. I'll assemble the deck and shuffle It a bit so that no one knows where any certain card is. Now, tell me, how many hands do you wish me to deal 1 Five? Good. To which hand shall the cards named fall? The third. I now shuffle the cards and give them a fair cut and deal the required number of hands. You see the cards you have named fall to the hand you selected." The shuffle Itself la this: First the intervals must be known. That which the cards lie, must be known. For example, first card named is 4th from the top. The second low it and the third is 6 cards below the second would be 4-5-6.
is, the positions at let us say that the card is five cards becard. Thus the Interval
Let us also say that we are to deal five hands and the cards ed are to fall to the third hand. Crimp, or bend a corner of the card on the
down. (1) Begin the shuffle by dropping the upper half of the deck Into the left hand. Drop the lower half of the deck on top, so that it will extend a little over the inner end of the deck. Thus lnjogging the whole packet. (2) Lift all the cards BELOW the InJogged packet
run the cards, one at a time, onto the left hand packet to a number one less than the first Interval. (In this example, since the first Interval la 4, shuffle off three cards.) (3) Shuffle off to the second Interval. (5 cards In this case.) dropping the first card so that It extends Inward about i of an Inch over the end of the deck. Drop all cards held In the right, on those In the left. (4) Pull down on the InJogged card with the right thumb, undercutting It and all the cards below It. See Fig. 21. Shuffle the cards one at a time to the number of the hand to which the cards are to fall, inJogging the first card. (In this case, since the cards are to fall to the third hand, shuffle off three cards, injogglng the first.) Drop the rest on top. (5) Undercut all the cards BELOW the InJogged card, and shuffle ona at a time into the left, to the third Interval, injogglng the first card. (In this case, the third Interval being 6, shuffle off 6 cards, injogglng the first.) Drop the rest of the deck on top of those In the left. (6) Pull down on the lnjogged card with the right thumb, undercutting it and all the cards below it. Shuffle Into the left, to the number of hands to be dealt, injogglng the first card. (In this case, since 5 hands are to be dealt, shuffle off five cards, injogging the first.) Drop the rest of the deck on top. (7) Undercut all the cards belov the lnjogged card and drop them on top of the deck. (8) Shuffle the number of hands to be dealt, into (In this case, five cards.) Drop the deck on top.
(9) Shuffle at randon until the crimped card is at about the center of the deck. Square the deck and cut to the crimp. Complete the out and deal five hands. The cards selected will fall to the third hand. Altho this shuffle sounds rather complicated, it will become quite clear If you will turn the cards to be cull-stocked face up when first running thru the routine. In this way the manner In which the cards shift about will be readily understood. Notice that with the exception of the start and finish of the shuffle, everytime the cards are shuffled off, the first oard is lnjogged. Another thing, each time the deck is undercut, it is out alternately above and below the injogged card. Just think, above, below, above below. Now to get back to the presentation. After the spectator has shuffled, deal about five hands of poker, face up. Have each of three spectators name any card they see. When they do so, scoop up all the cards on the table, taking those hands that contain the cards named, first. As 15
you pick them up, calculate the Intervals, I.e. note how far the first card Is from the top of the packet, how far the second card Is from the first, and how far the third is from the second. Place this packet on top of the rest of the deck, crimp the t>ottom card, ask how many hands should be dealt and to which hand the cards desired should fall. Shuffle the deck as above, shooting the cards to the correct hand. Deal the desire number of hands and have each spectator name his card . As each card is named, flick it face up. This can be done without looking at the faces since the shuffle does not reverse the order of the cards. Therefore the first card dealt to that hand is the card that was nearest the top of the deck and so on. This same shuffle can be used to shoot up a full hand of five cards by repeating moves five and six of the shuffle for the third and fourth cards, and then stacking the last or fifth card with moves 7 and 8. Needless to say, this same shuffle can be used in several other tricks, such as the Zlngone Spread, found In 'Expert Card Technique1. However, in doing the effect using this shuffle you would stack the cards to fall to yourself in a poker routine rather than producing them from the pocket. Another effect possible Is a duplication of one done by Nate Leipzig and Dr. Daley. The Blindfold Poker Deal. In this case you would deal four hands of poker, face down and within range of your vision which Is necessarily limited due to the blindfold. Each of three spectators would lift a corner of one of their cards and look at It. As each does so you peek under the blindfold and calculate the intervals. Scoop the cards up and place them on top of the deck and shuffle them to fall to your hand.
SCREWX SQUARE This is a stunt that has been floating around quite a bit as of late, but has not, to my mind been fully exploited. It is, of course, Just an optical Illusion but it makes a beautiful off-hand stunt. While It Is not strictly a card trick, it does work in well with a card routine, and for table work it Is ideal. This Idea so intrigued me that I worked out a routine in which two lines change directions one at a time and then one of the lines vanishes altogether. Needed are two squares of cardboard about I411 square. Thru the center of one side draw a heavy black line. Thru the center of the other side draw another line at right angles to the first. Draw a line thru the center of one side ONLY of the second card. Keep these cards handy in a wallet or packet from which either one can be obtained at will. Place the card with the two lines, in the left hand, so that the line at the front is in a horizontal position. Hold the card at diagonal corners, with the thumb at the upper corner and the forefinger at the 16
lower corner. See Fig. 22. "I am using a card thru the center of which runs a line, a horizontal line. This line runs completely around the card, being horizontal on both sides." As you say this, you prove it by turning the card around in this manner. The right forefinger does the work by pushing the corner marked 'x' in the drawing forward so that the card pivots on the thumb and forefinger. Due to the fact that the axis is on a diagonal the line that was vertical at the rear comes to the front horizontal. You'll fool yourself. "Of course, the time might come when Instead of wanting two horizontal lines, I'd rather have one in a vertical position. To do this I twist one line up. Here you make a twisting move at the rear and then take the card between the right thumb and forefinger...thumb at the rear, and turn the hand over by moving it straight forward so that the rear of the card can be seen. See Figs. 23 and 26. Replace the card in the left hand, this time with the vertical line in front. "Then again, I might rather have two vertical lines instead of one line running in each direction. So I twist the horizontal line vertical." Once more twist the card on a diagonal showing both lines vertical. Then take it as before, between the thumb and forefinger and show both sides. However, as it must appear to have a vertical line on both sides, the hand does not turn straight forward, but twists, turning the card
on a diagonal axis, thus giving the same effect as when the revolved In the hand-. Fig. 23 shows the card Just before the Fig. 24 shows It after the turn.
card was turn and
From this point either of two things can be done. Xou can merely replace the card In your pocket and leave It go at that, or you can place It In your pocket and as an afterthot (?) decide to show them something further. Leave the double-lined card In your pocket and bring out the card bearing one line only. This line of course, must face the audience. Hold the card between the thumb and forefinger aa In Fig. 25 B O that the spectator sees a vertical line on the front of the card. Turn the hand straight forward and down, letting the top corner, or the corner held by the forefinger, snap from the finger, which Joins the thumb at the lower corner. The card at this point Is held as In Fig. 24. Thus you have apparently shown a vertical line on both side of the card. "Now, not only Is It possible to twist a line to another position, but It Is possible to remove a line altogether." Make a rubbing motion on the back of the card, show both sides and toss for examination. Some are going to want to switch for a card on which two lines run In the same direction. However, If you do ao, you will find that the spectator when twisting the card, will notice how the lines change when the card is twisted, thus giving away the 'gag1. When using a blank as above, they will puzzle over the blank side and forget about the twist.
NO GIMMICK CARD SPREAD The magician, in looking for a selected card, of in showing the faces of the cards, passes the cards from one hand to another and in doing so, separates his hands an Impossible distance. let the cards remain suspended In a long ribbon, apparently without support. There have been several mechanical versions of this effect and a non-mechanical version depending on the back palm which appeared in Hugard'a Monthly. The following Is a glmmlcless and slelghtless version using a card as a support. O.K.
so it's screwy, but It IS cute!
Hold the deck by the ends, in the right hand. The fingers are at the outer end and the thumb at the inner. The palm of the hand being above the deok. Place the deck on the left fingers and twist the bottom card to a right angle position. See Fig. 27. Slide the deok deep In the left thumb crotch and slide a few cards to the right so as to cover the cross-card. Shift the right hand and hold the right side of the spread deep 18
the crotch of the thumb, holding the spread in the same manner ends. The tips of the fingers grip the cross card.
Spread the cards with the l e f t thumb until the spread la about 14 inches in length. It i s supported by the cross-card on the right and the fingers on the l e f t . See Fig. 28. Hold the spread fully extended for a few seconds i t , righting the cross- card.
WE BOTH SPELL Here Is a take off on a stunt that Tommy Dowd came up with one afternoon when he and I were trading card tricks In our shop. I had Just done an effect where the spectator locates the magician's card. On the spur of the moment Tommy dreamt up an effect that had me puzzled for a moment or two. This was due to the very audaciousness of the method Those interested In Tommy's idea will find it In the Phoenix under the name 'John Doe Speller'. This routine is that worked out by Bert Fenn and myself. A spectator selects a card and replaces it in the deck which is shuffled and cut by the magician and them given to the spectator who •pells the name of his card turning up one card for each letter. The spectator next shufflea the deck and has the performer select a card. He shuffles the deck and gives it back to the magician who announces the name of his card and spells to that card, turning it up on the last letter. What happens la obvious. When the spectators card la returned,it la glimpsed and ahuffled to the correct position for spelling. The deck la given a false out and given to apeotator who apella the name of his card. He then shuffles the deck and has you select a card, look at it and replace it. The spectator shuffles the deok and returns it to you. When you receive the deck, peek at the top card and name it claialng
that It la the one you selected. Spell the name of this the cards Into your right hand. When you arrive at the switch the card that la on top of the deck for the one on the packet in the right hand, using the "Turnover Switch1
card, dealing last letter, the bottom of on page 5.
Well, that's ltj This Is our first attempt at putting anything on paper, and no one knows better than we, that we have a long, long way to go before reachIng that state where we can be aatlBfled with our own work. Our main thought behind this manuscript has been the close type of tricks. Those good at a table, under most any conditions. hope that these Ideas meet with your approval.