Jean Hugard and Fred Braue - Show Stoppers With Cards
April 21, 2017 | Author: magicarchiver | Category: N/A
Short Description
magic book...
Description
JEAN HUGARD and FRED BRAUE
—
W ILL ALMA M.I.M.C. ( L O N D O N )
T h e S tate L ib ra ry o f V ic to ria “A L M A C O N JU R IN G C O L L E C T IO N ”
SHOW STOPPERS .
i
WITH CARDS T H E B R A U E D O U B L E L IF T I t is w ith c o n sid erab le g ra tific a tio n th a t th is sle ig h t is g iv en th e m a g ic a l fra te rn ity . I t is a m e th o d of d o u b le a n d trip le -liftin g w h ic h does n o t re q u ire a g et-set, w h ic h m e a n s th a t th e old a n d u n sa tisfa c to ry p ro c e d u re s, su c h as lift in g tw o c a rd s a t th e in n e r e n d w ith th e r ig h t th u m b , o r th u m b c o u n tin g tw o c a rd s w ith th e le ft th u m b , a re n o lo n g e r necessary. I n th is m e th o d th e p a c k is d ro p p e d in to th e left h a n d ; a m o m e n t la te r th e rig h t h a n d lifts tw o c a rd s as o n e in a n a c tio n w h ic h is n o t ev en fa in tly suspicious. B ecause of th e ease of th is m e th o d , its n a tu ra ln e s s, a n d p a rtic u la rly b ec au se n o get-set is n e e d e d , it m a k es tric k s re q u irin g co n sec u tiv e d o u b le -lifts easy to p e rfo rm . T h is, you m a y th in k , is b u ild - u p ; a n d so it is. F o r th is is th e d o u b le -lift w h ic h , fro m th is tim e o n , w ill b e th e s ta n d a r d d o u b le -liftin g m e th o d ; w e are p r o u d to sp o n so r it a n d h o p e th a t it m ak es possible fo r you a w h o le n e w r e p e rto ire of trick s w h ic h prev io u sly y ou m a y n o t h a v e c a re d to a tte m p t. 1. H o ld th e p a c k in y o u r le ft h a n d in th e m e c h a n ic s’ g rip , w ith th e fo re fin g e r a t th e e n d , th e o th e r fingers a t th e r ig h t side, a n d th e th u m b fla t a g a in st th e le ft side. T h e th u m b m u st r e ta in th is p o sitio n fla t a g a in s t its side since la te r it w ill serve to h o ld th e tw o c a rd s in a lig n m e n t, th e fin g ers se rv in g th e sa m e p u rp o se a t th e o th e r side. 2. P la c e th e r ig h t h a n d o v er th e p a c k w ith th e th u m b n e a r th e in n e r e n d a n d th e second fin g e r tip re stin g o n th e to p c a r d a b o u t a n in c h fro m th e o u te r e n d , th e o u te rm o st p h a la n g e of th is fin g e r b e in g a t r ig h t an g les to th e to p of th e deck a lth o u g h th e h a n d itself is n a tu ra lly c u rv e d . In th is p o sitio n th e ex tre m e tip of th e fin g er, a n d th e n ail, rest o n th e to p su rfa c e o f th e deck. 3. Slide th e seco n d fin g e r f o rw a rd u n til its n a il clicks o v e r th e f ro n t e d g e o f th e p a c k ; th e n im m e d ia te ly d r a w it b a c k w a rd s a n d th e fin g e rn a il w ill e n g a g e th e tw o to p c a rd s a n d d ra w th e m b a c k w a rd s so t h a t th e y p ro je c t o v er th e in n e r en d .
HUGARD
AND
BR A U E ’S
SHOW
STOPPERS
O n th e first few a tte m p ts th re e c a rd s ( a trip le lift) m a y b e d ra w n b a c k w h e n o nly tw o a re w a n te d . A fte r only a little e x p e rim e n t, h o w ev er, th e k n a c k w ill b e g o t of d ra w in g b a c k tw o c a rd s only. W h ile in d iv id u a l c a p ac ities v ary , th e k n ac k h a s b e e n a c q u ire d by a n o v ic e c a r d m a n in fiftee n m in u te s. I t sh o u ld be n o te d h ere th a t a lth o u g h th e sleight c a n b e d o n e w ith a fin g e rn a il of an y le n g th , it w orks best w ith th e n ail trim m e d to n o rm a l m a scu lin e shortness. 4. S h ift th e r ig h t fingers b a c k w a rd s a n d g ra sp th e p ro je c tin g ca rd s a t th e in n e r en d b etw e en th e th u m b a t th e fac e a n d all th e fin g ers o n th e b ac k . T u r n th e tw o ca rd s fac e u p w a rd s as one, len g th w ise, b u c k lin g th e m so m e w h a t b y a d o w n w a rd p ressu re of th e th u m b . T h is h o ld s th e tw o ca rd s closely to g e th er. T h e tw o ca rd s m a y n o w be sh o w n as o n e by tu r n in g th e h a n d , a n d th e n re p la c e d face d o w n o n th e p a c k ; o r 5. S h o w th e tw o ca rd s, as one, by g ra sp in g th e m a t th e o th e r e n d in a fra m e co m p rised of th e left th u m b , a t o n e side, fo re fin g er a t th e en d , a n d fin gers a t th e rig h t side. T h e T urn D ow n 6 . H o ld in g th e tw o c a rd s w ith th e left fingers, sh ift th e rig h t h a n d g rip a t th e in n e r en d , h o ld in g th e c a rd s b etw e en th e rig h t th u m b a n d seco n d fin g er a t th e sides n e a r th e in n e r e n d , w ith th e fo re fin g e r p ressin g d o w n o n th e fa c e of th e c a rd a t its c e n te r, c a u sin g it to b u ck le d o w n w ard s. 7. S n a p th e tw o c a rd s face d o w n w a rd s by re m o v in g th e r ig h t seco n d fin g er, th e c a r d ( s ) sp rin g in g to th e left a n d b e in g th e n g rip p e d b y th e rig h t th u m b a n d first fin g er only. T h is is a s ta n d a r d sn a p -o v e r. By a c tu a l tim in g , fro m th e m o m e n t th e rig h t h a n d a p p ro a c h e s th e p ac k to th e c o m p le tio n of th e lift, w ith th e tw o c a rd s face u p w a rd s, only o n e seco n d elapses. T h is m e a n s th a t th e rig h t second fin g er glides fo rw a rd ; th e n ail clicks ov er th e edge of th e p a c k a n d is in sta n tly d ra w n b a c k ta k in g th e tw o c a rd s w ith it. T h is is n o t as fra n tic a lly sp eed y as it sounds, fo r a seco n d is a m u c h lo n g e r in te rv a l of tim e th a n is g en e rally realized . T h e tim e elem e n t is m e n tio n e d since th e re m u s t be n o conscious p a u se a fte r th e n ail clicks o v er th e o u te r e n d of th e p ac k , in w h ic h a n a tte m p t is m a d e d e lib erately to d e te rm in e h o w m a n y ca rd s w ill b e d ra w n b ac k . T h e ab ility to d ra w b a c k tw o , o r th re e ca rd s, as re q u ire d , com es fro m a sense of ‘feel’ w h ic h c a n n o t be giv en in w o rd s ; y o u sim p ly k n o w th a t you h a v e th e p r o p e r n u m b e r of ca rd s, a n d th is is c o n firm e d a t o n ce w h e n th e r ig h t fingers g ra sp th e ca rd s a t th e in n e r e n d , fo r th e d iffe ren ce in feel a n d w eig h t b e tw e e n tw o a n d th re e ca rd s is in sta n tly d e te rm in a b le . P ra c tic e w ith o u t lo o k in g a t th e p a c k is re c o m m e n d e d , fo r by re fra in in g fro m u sin g th e sense of sig h t as a c ru tc h , y o u w ill b e fo rc ed to rely o n th e sense of to u c h — w h ic h is a ll-im p o rta n t in th e sleight. O n e p o in t m o re m a y b e c o n sid e re d : U se of th e d o u b le -lift w h e n it is desired to th r u s t th e tw o ca rd s, as o n e, in th e o u te r e n d of th e p a c k ; o r sh ift it ov er th e side, as in p e rfo rm in g th e D o w n s’ C h a n g e . L et us say th a t y ou a re p e rfo rm in g th e D o w n s’ C h a n g e . H o ld th e p a c k fac e u p a n d p e rfo rm S teps N o . 1 th r o u g h 3. W ith th e tw o c a rd s p ro je c tin g o v er th e in n e r en d , d ro p y o u r r ig h t th u m b u n d e r th e m a n d , liftin g th e in n e r e n d a little , slide th e c a rd s f o rw a rd so th a t th e y p ro je c t b ey o n d th e o u te r en d , th e r ig h t seco n d fin g e r m o v in g o u tw a r d w ith th e ca rd s. 2
HUGARD
AND
BR A U E ’S
SHOW
STOPPERS
G rip th e tw o c a rd s a t th e e n d s b e tw e e n th e rig h t th u m b a n d seco n d fin g er, lift th e m as o n e a n d p la c e th e m ov er th e rig h t sid e of th e p a c k in p o si tio n fo r th e c h a n g e. W h e n it is d esire d to th ru s t th e tw o c a rd s in to th e c e n te r of th e p ac k , as is d o n e in so m e A m b itio u s C a rd m oves, a g a in p e rfo rm S tep s N o. 1 th ro u g h 3 of th e d o u b le -lift; th e n m o v e th e tw o ca rd s fo rw a rd w ith th e r ig h t th u m b as g iv en w h e n ;' ex e c u tin g th e D o w n s’ C h a n g e so th a t th e y e x te n d b e y o n d th e o u te r en d . F in ally , g rip th e tw o c a rd s a t th e o u te r e n d b e tw e e n th e r ig h t fingers, b elo w o n th e face, a n d th e th u m b , ab o v e o n th e b ack s. T h e c a rd s a re h e ld firm ly in a lig n m e n t a n d m a y be th r u s t in to th e p a c k a t a b re a k o p e n e d by th e left th u m b b y rifflin g d o w n w a rd a t its side of th e p ack .
A L L E R T O N ’S A M A Z IN G A C E S B e rt A lle rto n B ert A lle rto n sh o u ld b e a n o b je c t lesson to all y o u n g c a rd m e n , fo r h e h a s p ro v en conclusively th a t th e re is n o s u b stitu te fo r e n te r ta in m e n t — w h ic h , in c id e n ta lly , h e dispenses w ith a lav ish h a n d . M r. A lle rto n specializes in s u r prise, p ilin g o n e su rp rise a to p th e last, w h ic h b u ild s to c u m u la tiv e la u g h te r. I n h is n in th y e a r a t th e P u m p R o o m in C h ic a g o , h e h a s p e rfo rm e d his ro u tin e m o re th a n 2 0 ,0 0 0 tim e s; h e know s w h a t p eo p le w a n t; a n d h e w o n ’t use a tric k unless it h a s e n te r ta in m e n t v a lu e a n d , p re fe ra b ly , a clim a x w h ic h evokes la u g h te r. N o te h o w , in th is fe a t, M r. A lle rto n does a strik in g trick_ g iv in g th e im p ression of g re a t skill a n d th e n follow s his c u sto m by to p p in g th e clim a x w ith a su rp rise w h ic h puzzles a n d am u ses th e onlo o k ers. I n th e tric k fo u r chosen c a rd s a r e sh u ffle d b a c k in to th e p a c k . E a c h is fo u n d in tu r n by c u ttin g , a p p a r e n tly a t r a n d o m . T h e n — b u t t h a t ’s th e su rp rise. Y o u ’ll see in a m o m e n t. 1. P rio r to p re se n ta tio n , se cretly p la c e th e f o u r aces a t th e to p of th e p ack . 2. F a n th e d eck a n d ask sp e c ta to rs A , B, C a n d D e a c h to re m o v e a c a rd , n o te a n d re m e m b e r it. 3. H o ld th e p a c k in read in ess fo r a n H in d u S h u ffle ; u n d e r c u t th e lo w e r h a lf a n d h a v e A ’s chosen c a rd re p la c e d o n to p of th e o th e r p o rtio n , p la c in g it ab o v e th e fo u r aces. M a k e a n H in d u S h u ffle, re tu r n in g th e aces, w ith A ’s c a rd ab o v e th e m , to th e to p . 4. A s yo u w a lk to B, h o ld in g th e p a c k fo r a n o v e rh a n d sh u ffle, d ra w th e first five c a rd s in to y o u r le ft h a n d , re v e rsin g th e ir o rd e r, a n d re p la c e th e m a t th e to p . 5. R e p e a t th e a c tio n s in S te p N o . 3 w ith B, b r in g in g h is c a rd to th e to p w ith th e f o u r aces a n d A ’s c a r d u n d e r it. A s you w alk to C , r u n 4 c a rd s in to y o u r le ft h a n d , re v e rsin g th e ir o rd e r, a n d re p la c e th e c a rd s a t th e to p .
3
HUGARD
AND
BRA UE’S
SHOW
STOPPERS
6 . R e p e a t S tep N o. 3 w ith C ’s c a rd , th e n r u n 3 c a rd s in to y o u r left h a n d rev ersin g th e ir o rd e r a n d re p la c in g th e m a t th e to p . 7. F in ally , re p e a t S te p N o. 3 w ith D ’s c a rd , b rin g in g it a n d th e stock u n d e r it to th e to p . A g a in m a k e th e rev e rsin g ru n , b u t th is tim e w ith only tw o card s, re p la c in g th e m a t th e to p . T h e se sh o rt sto c k in g shuffles d o n o t seem , to tho se w a tc h in g , o th e r th a n a f u rth e r m ix in g of th e ca rd s. T h e c a rd s n o w ru n , fro m th e to p d o w n : A ce, D ’s c a r d ; A ce, C ’s c a r d ; A cc, B’s c a r d ; A ce, A ’s c a rd . 8. F alse sh u ffle a n d false cu t. 9. T u r n to D , a n n o u n c in g , “ M y tric k is this. I ’m g o in g to a tte m p t to fin d y o u r c a rd by c u ttin g to it. P lease n a m e it.” M a k e a n o th e r false c u t in th e h a n d s. M a k e a d o u b le -lift, sh o w in g D ’s c a rd . “ A n d th e re it is!” T u r n th e tw o c a rd s d o w n as one, d ro p th e m on th e p a c k ; th e n ta k e th e to p c a rd , a n acc, a n d d ro p it face d o w n to o n e side. 10. T u r n to C . “ N e x t, y o u r c a rd . I t ’s all in th e su p ersen sitiv ity of th e fin g e rtip s.” M a k e a slip c u t; th a t is, h o ld th e p a c k w ith th e o u te r fra m e d b etw e en y o u r left th u m b a t o n e side, fo re fin g e r a t th e e n d , fin g e r tip s a t th e o th e r side pressing d o w n on th e to p c a rd . G ra s p th e p a c k a t th e in n e r en d b e tw e e n th e rig h t th u m b a t o n e side a n d seco n d a n d th ir d fin g ers a t th e o th e r a n d d ra w a w a y th e to p h a lf. T h e to p c a rd , re ta in e d b y p ressu re of th e left fingers, d ro p s o n to th e r e m a in d e r of th e p a c k re m a in in g in th e le ft h a n d , a n d th e illusion is th a t a g e n u in e c u t h a s b e e n m a d e w h e n th e r ig h t h a n d ca rd s a re d ro p p e d b a c k on tho se in y o u r le ft h a n d .
M o re im p o rta n t, D ’s c a rd a t th e to p h a s b e e n b u rie d in th e p a c k . 11. A g a in d o u b le lift, sh o w in g C ’s c a rd . T u r n th e tw o d o w n as one, rem o v e th e to p c a rd , an ace, a n d d ro p it fac e d o w n b esid e th e first ace. 12. R e p e a t th e slip c u t given in S tep N o . 10, sav in g to B : “ Y o u r c a rd is a little d e e p e r in th e d ec k .” H a v e h im n a m e it, a g a in d o u b le lift, sh o w in g his c a rd . T u r n th e tw o ca rd s d o w n , rem o v e th e to p c a rd ( a n o th e r a c e ) a n d p la ce it face d o w n w ith th e o th e r aces.
13. F in ally , slip c u t as in S tep N o . 10 o n ce m o re , a g a in doubl sh o w in g A ’s c a r d ; tu r n th e tw o c a rd s d o w n o n th e p ac k , re m o v e th e ace a t th e to p a n d p la c e it w ith th e o th e r aces. Y o u r tric k seem ingly h a s e n d e d ; it is a g o o d tric k in its o w n r ig h t a n d th e sp e c ta to rs w ill voice th e ir a p p re c ia tio n . W h e n th e y ’v e h a d th e ir say, c o m m e n t: “ I k n o w th is is a little u n f a i r — I ’m ta k in g a d v a n ta g e of y o u . B u t is th e re an y o n e h e re w h o c a n n a m e th re e o f th o se fo u r c a rd s? ” U su ally som eo n e w ill n a m e th e th re e . “ Y o u see, y o u w e re n ’t, w a tc h in g m e ,” you c o m m e n t. F lip o v er th e fo u r c a rd s sh o w in g — th e f o u r aces! M r. A lle rto n uses th is fe a t m id w a y in h is ro u tin e , a f te r h e h a s estab lish ed him self. I t ’s n o t a n o p e n in g tric k . T h e te st o f a n y tric k is in th e d o in g ; w e w a rm ly re c o m m e n d th is fe a t to you, h a v in g seen w h a t it ca n d o to a n a u d ie n c e in M r. A lle rto n ’s h a n d s. T h o se w h o h a v e b e e n a f ra id of successive d o u b le -lifts w ill fin d th a t th e m e th o d giv en in th is b o o k w ill m a k e su c h tric k s as th e ab o v e co m p letely d e ceptive.
4
HUGARD
AND
BR A UE ’S
SHOW
STOPPERS
POCKETHEREAL S te w a rt Ja m e s S te w a rt J a m e s h a s o n e of th e m o st o rig in a l m in d s in m a g ic ; his trick s alw ays h a v e a clea n a n d crisp o rig in a lity , b o th in m e th o d a n d effect. “ P o ck eth ere a l” is n o e x c e p tio n ; it is a tric k y ou w ill like a n d w ill use. P re p a r a tio n : A n y c a rd fro m deck y ou a re u sin g secretly p la c e d in rig h t tro u s e r p o ck e t. T h e c a rd sh o u ld be fac in g th e b ody. P resen ta tio n : A s p e c ta to r shuffles th e ca rd s a n d co u n ts off 20 card s. H a v e Jo n e s th in k of a n y o d d n u m b e r less th a n 20. H a v e S m ith th in k of an y ev en n u m b e r less th a n 20. T h e y d o n o t tell yo u th e ir n u m b e rs a n d y ou d o n o t ask th e m a t a n y tim e. H o ld th e c a rd s fa c e -d o w n in th e le ft h a n d . D ea l th e m o n e a t a tim e fa c e -u p o n th e ta b le. C o u n t a n d h a v e Jo n e s a n d S m ith n o te a n d re m e m b e r th e c a rd s a t th e n u m b e rs th e y a re th in k in g of b u t w ith o u t g iv in g an y in d ic a tio n as to w h a t th e y are. A g a in ta k e th e c a rd s fac e-d o w n in th e le ft h a n d . R e a c h in th e r ig h t tro u se r p o ck e t, p a lm th e c a rd a n d p u ll th e lin in g o u t. T a k e th e c a rd s in th e r ig h t h a n d , a d d in g p a lm e d c a rd to to p , a n d p u ll o u t lin in g o f le ft tro u se r p o ck e t. • S p e c ta to r m a y satisfy him self th a t b o th p o ck e ts a re really em p ty . O n c e m o re h o ld th e c a rd s fac e-d o w n in th e le ft h a n d . D e a l th e to p c a rd fac e d o w n a n d say, “ O d d .” D e a l th e n e x t c a rd to rig h t of th e first a n d say, “ E v e n .” C o n tin u e d e a lin g a lte rn a te ly callin g , “ O d d ,” “ E v e n ,” “ O d d ,” “ E v e n ,” u n til y o u h a v e d e a lt 6 c a rd s to e a c h pile. Y o u keep tra c k of th e n u m b e r y ou h a v e d e a lt b u t m a k e n o m e n tio n of it. N o w p a u s e w h ile you e x p la in , “ T h e n u m b e r Jo n e s th o u g h t of w as o d d so th is is his p a c k e t on m y left. S m ith ’s n u m b e r w as ev en a n d as th e even c a rd s a re b ein g d e a lt on m y r ig h t th a t w ill b e his p a c k e t. Y o u w ill u n d e rs ta n d , h o w ev e r, th a t this in fo rm a tio n is to o slig h t fo r m e to tell w h e re th e selected c a rd s a re in th e ir resp ectiv e p a c k e ts.” C o n tin u e d e a lin g u n til th e re a re 9 ca rd s in th e le ft h a n d h e a p . D ea l all th e re m a in in g c a rd s as 1 o n th e rig h t h a n d h e a p . A p p a re n tly y ou h a v e d iv id e d th e c a rd s evenly in to tw o fa c e -d o w n h e a p s of te n c a rd s ea c h . O n e a c tu a lly c o n ta in s 9 c a rd s a n d th e o th e r 12. H a v e so m eo n e d ec id e w h ic h p o c k e t y ou w ill use. W e w ill su p p o se th a t th e r ig h t is selected. Say, “ I w ill p la c e th e 10 ev en c a rd s in th a t p o c k e t.” (P u s h in th e lin in g as you p la c e th e r ig h t h a n d p a c k e t th e re in .) “ T h e 10 o d d ca rd s I w ill h o ld in m y le ft h a n d .” (Y o u m ig h t false c o u n t th e 9 as 1 0 ) . “ P re sto ! — a n d I n o w h a v e only 1, 2, 3, 4 , 5, 6, 7, 8 a n d o n e m ak es 9. Y o u m a y c o u n t th e m y o u rself if you w ish .” D ro p th a t p a c k e t fa c e -d o w n o n th e ta b le . M a k e su re th a t y o u r h a n d is seen to b e e m p ty as y o u re a c h in th e p o c k e t a n d re m o v e all th e c a rd s e x c e p t th e to p c a rd of th e p a c k e t. T h is w as th e 2 0 th c a rd in th e o rig in a l g ro u p a n d c o u ld n o t h a v e b e e n selected b ec au se of y o u r “ less th a n 2 0 ” req u e st. “ H e re w e h a v e 1, 2, 3, 4 , 5, 6, 7, 8, 9, 10 a n d on e m a k es 11. V erify th ese as w ell if you w ish. W h a t w as th e o d d c a rd you w ere th in k in g of? T h e tw o of spades? A n d h e re it is — th e e x tra c a rd a m o n g th e ev en ones.
5
HUGARD
AND
BRA UE’S
SHOW
STOPPERS
“ T h is tim e I w ill p la c e th e 9 o d d c a rd s in m y p o c k e t a n d r e ta in th e 11 c a rd s in m y h a n d . P re sto ! N o w sto p m e w h e n y ou see y o u r c a r d .” E x e c u te th e S tan le y C o llin s’ F o u r C a rd V a n is h m o v e — th e sa m e as is used in th e Six C a rd R e p e a t ( T u c k e r o rig in a l) — so th a t th e 9 th a n d 1 0 th c a rd s a re d e a lt as one. A p p a re n tly you h o ld one c a rd less th a n you d id a n d th e th o u g h t-o f c a rd h a s n o t b e e n seen. R e m o v e th e c a rd s fro m y o u r po ck et, a g a in m a k in g su re th a t th e re is n o su sp icion of y ou co n c ea lin g a n y th in g in y o u r h a n d . S m ith n a m e s his c a rd a n d y o u c a n show th a t it is th e re . A n in te re stin g p o in t is th a t th e re is n o th in g p a lm e d in to th e p o ck e t a t an y tim e. I t is im p o r ta n t th a t th e sp e c ta to rs h a v e a c lea r im p ressio n a t all tim es as to w h ich is th e o d d a n d w h ich th e even p ac k et. I f th e y a re h a n d le d d e lib e r ately , a n d n o t ju g g le d n e a r e a c h o th e r, th is it n o t d ifficu lt.
10-6-9-4 ,
B ert F e n n — N ea l E lias
B ert F e n n a n d N e a l E lias h a v e ta k e n a p rin c ip le o rig in a te d b y S tan ley C ollins a n d used by h im in his S y m p a th e tic C o in cid e n ce— (w h ic h y o u w ill fin d in “ A C o n ju rin g M e la n g e ” , a b o o k w h ic h c a n b e w a rm ly re c o m m e n d e d ) — a n d h a v e c o n triv e d a n ew p re se n ta tio n w h ic h h as th e ‘su rp rise fin ish ’ so desir ab le in c a r d tricks. A s th e onlookers see it, th e fo u r aces a re sh u ffled in to th e p ac k . F o u r c a rd s a re re m o v e d a t r a n d o m a n d p la c e d fac e u p w a rd s o n th e ta b le . U sin g th e v alu es of e a c h of th ese ca rd s, fo u r piles of as m a n y c a rd s a re d e a lt, b u t w ith th e sp e c ta to r b e in g allo w ed to n a m e th e se q u en c e in w h ic h th e piles w ill b e d e a lt, w h ic h re a so n a b ly co u ld b e ex p e cted to a n n u l a n y se t-u p in th e p ac k . D esp ite this, w h e n th e fo u r piles a re tu r n e d over, a n ace is a t th e fa c e of e a c h ! 1. D isre g a rd in g suits, secretly p la c e a 10, a 6, a 9 a n d a 4 a t th e face of th e p a c k , th e 10 b e in g th e fac e c a rd w ith th e o th e r c a rd s in an y se q u en c e. 2. E x p la in in g th a t y ou n e e d th e fo u r aces, silen tly c o u n t 13 ,c a rd s fro m th e fac e of th e p a c k in to y o u r r ig h t h a n d , rev e rsin g th e ir o rd e r in th e c o u n t so th a t th e te n is th e lo w erm o st c a rd . I f y o u co m e to a n ace, p la c e it o n th e ta b le b u t b e su re th a t th e re a re 13 ca rd s in th e p a c k e t w h e n y o u d ro p it fac e u p w a rd s to y o u r le ft a t A . 3. N e x t rem o v e e ig h t ca rd s, th is tim e w ith o u t rev e rsin g th e ir o rd e r, p la c in g th e m fac e u p w a rd s a t B. 4. R e m o v e e ig h t m o re c a rd s a n d p la ce th e m fac e u p w a rd s a t C. 5. P la c e th e r e m a in d e r of th e p a c k face u p w a rd s a t D . A s y ou a re m a k in g th e fo u r piles, rem o v e ea c h ace as y o u co m e to it. T h e p ac k ets of c a rd s w h ic h yo u d ro p o n th e ta b le d o n o t seem im p o r ta n t since you seem to d isc a rd th e m fo r c o n v e n ie n ce in lo o k in g fo r th e aces. A ll y o u m u st seem to d o is se a rc h for, a n d rem o v e , th e aces. 6. “ I ’m g oing to sc a tte r th e aces th ro u g h th e p a c k ,” y o u sta te . “ I w a n t 6
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
y o u to b e su re I d o th is fa irly .” P ick u p p a c k e t A (1 3 c a rd s ) a n d fa n it face u p w a rd s. P ick u p an y ace a n d th ru s t it in to th e fa n five c a rd s fro m th e to p . S in ce it goes to th e r ig h t of th e fo u rth c a rd of th e 1 0 -6-9-4 se q u en c e, its p la c e m e n t is in sta n ta n e o u s. 7. S q u a re A a n d n o te th e c a rd a t its face, say th e tw o o f clubs. P ick u p p a c k e t B (e ig h t c a rd s ) a n d d ro p it on A , s q u a rin g th e ca rd s. M a k e a n o th e r p ressu re fa n , ta k e a seco n d ace a n d in se rt it ju s t to th e r ig h t of th e tw o o f clubs. 8. S q u a re th e c a rd s, n o tin g th e c a rd n o w a t its face, say th e te n o f h e a rts. P lac e p a c k e t C ( e ig h t c a rd s ) o n th e c a rd s y o u h o ld ; m a k e a n o th e r p ressu re fa n , ta k e a th ir d ace a n d in se rt it ju s t to th e r ig h t o f th e te n of h e a rts. 9. F in ally , sq u a re th e c a rd s ; n o te th e c a rd n o w a t its fac e — th e fo u r of clubs, say — a n d d ro p p a c k e t I > o n to p of all. M a k e a p ressu re fa n , ta k e th e la st a c e a n d in se rt it ju s t to th e r ig h t of th e fo u r of clubs. In th is m a n n e r y ou h a v e p la c e d a n ace a t 5 , 15, 24 a n d 33 fro m th e to p o f th e p a c k w h ile a p p a re n tly in se rtin g th e m a t ra n d o m . 10. If you c a n false-shuffle a n d false-cu t, it w ill h e lp th e tric k b u t it is n o t ab so lu tely necessary. “ A sh u ffle a n d a c u t w ill f u r th e r s c a tte r th e aces th r o u g h o u t th e p a c k ,” yo u c o m m e n t. 11. D e a l th e fo u r to p ca rd s, w h ich w ill be th e 10 -6 -9 -4 se q u en c e, face u p w a rd s o n th e ta b le . “ W e ’ll use w h ic h e v e r c a rd s h a p p e n to b e a t th e to p of th e p a c k as in d ic a to r c a rd s ,” y ou e x p la in . I t ’s best to h a v e th e fo u r c a rd s la id o u t in th e 10-6-9-4 o rd e r, fo r la te r w h e n you ask fo r a ch o ice o f a c a rd th is se t u p a lm o st in v a ria b ly forces th e 9 as th e first choice, w h ic h , as you w ill see, is th e m o st fa v o ra b le ch o ice fro m y o u r p o in t of view . S in ce th e te n is alw ay s th e first c a rd d e a lt, y ou h a v e on ly to a r r a n g e th e o th e r th re e c a rd s w h ile d e a lin g th e m , o r w h ile e x p la in in g w h a t w ill b e d o n e n ex t. ( T h e fo u r c a rd s co u ld be set in p ro p e r o rd e r in S te p N o . 1, b u t u n d e r w o rk in g c o n d itio n s it’s b o th e rso m e a t th a t p o in t a n d h e n c e i t ’s b e tte r to m a k e th e a rra n g e m e n t a t th is tim e .) 12. “ H e r e ’s m y tric k ,” y ou c o n tin u e . “ T h e fo u r aces h a v e b e e n sh u ffled in to th e p a c k a n d fro m n o w o n it w ill b e im p o ssib le fo r m e to c h a n g e th e ir positions. H e r e ’s w h a t I ’m g o in g to do. F o r e a c h o f th e se fo u r c a rd s, I ’ll d ea l as m a n v c a rd s as th e ir v a lu e . F o r in stan c e, th e first c a r d is a te n . T h a t m e a n s th a t I ’ll d ea l te n ca rd s, like th is— ” . A s if to illu stra te , d ea l te n c a rd s face d o w n w a rd s belo w th e te n sp o t. T h e lo w erm o st c a rd of th is p a c k e t of te n w ill b e a n ace. “ H o w ev er, I ’m n o t g o in g to d ec id e in w h a t o rd e r th e d e a l w ill b e m a d e . I w a n t so m eo n e to tell m e w h e th e r to d e a l six ca rd s, th e n n in e ca rd s, a n d fin ally fo u r c a rd s ; o r fo u r c a rd s, th e n six c a rd s, a n d fin ally n in e — o r w h a te v e r c o m b in a tio n h e m a y w ish. T h e r e a re six possible c o m b in a tio n s a n d clearly I c o u ld n ’t k n o w in a d v a n c e w h ic h c o m b in a tio n w ill b e se lec ted .” 13. A n a c e is n o w a t th e to p of th e p a c k ; a n o th e r is th e 1 0 th c a rd a n d th e th ir d is th e 1 9 th c a rd . H a v e so m eo n e tell y ou in w h a t o rd e r y o u sh o u ld d ea l th e th re e p ack ets. W h e n it is n a m e d d e a l th e p a c k e ts w ith th e fo llo w in g in m in d : a. T h e F irst N u m b e r N a m e d : N o m a tte r if it is th e 9, 6 o r 4 , th is pile is alw ay s d e a lt so th a t th e o rd e r o f th e c a rd s is rev e rse d , th e first c a rd d e a lt (th e a c e ) b e c o m in g th e b o tto m c a r d o f th e p a c k e t. 7
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
b. T h e S e c o n d N u m b e r N a m e d : 1. I f th e 9 w as th e first n u m b e r n a m e d , d e a l th e seco n d n u m b e r rev e rs in g th e o rd e r of th e c a rd s in d o in g so, w h ic h w ill p la c e a n ace a t th e b o tto m of th e pile. 2. B u t if th e 4 o r 6 w as n a m e d first, a n d th e 9 is n a m e d seco n d , rem o v e as m a n y c a rd s as th e v a lu e of th e n u m b e r n o t yet ch o sen without rev ersin g th e ir o rd er. T h a t is, if th e 4 is n a m e d first, th e 9 seco n d , rem o v e 6 c a rd s ( th e n u m b e r n o t y et n a m e d ) w ith o u t re v e rsin g th e o rd e r of th e ca rd s. P au se , h e s ita te , a n d d ro p th e se c a rd s below th e in d ic a to r n in e -sp o t, saying, “ Y es, t h a t ’s rig h t- — you to o k th e n in e . ” T h e n rem o v e as m a n y m o re c a rd s ( th re e ) as m a y b e re q u ire d to p la ce 9 c a rd s b elo w th e 9 spot, d ro p p in g th e m on th e first 6 card s. A n ace w ill th e n b e a t th e b o tto m of th is p ac k et. T h e sa m e th in g ap p lies if th e 6 is n a m e d first, th e 9 seco n d . 3. I f th e 4 a n d 6 a re n a m e d first a n d seco n d , w h ic h e v e r is n a m e d seco n d is c o u n te d off w ith o u t rev e rsin g th e o rd e r of th e ca rd s, p la c in g a n ace a t th e b o tto m of th e p ac k et. c. T h e T h ir d N u m b e r N a m e d : N o m a tte r if th is is th e 4, 6 o r 9, th is pile is a lw a ys c o u n te d off w ith o u t re v e rsin g th e o rd e r of th e card s. A ll th is seem s in fern ally c o m p lic a te d b u t a tria l w ith th e c a rd s in h a n d w ill sh o w th a t it is ex tre m ely sim ple. By re c a llin g th a t o n e ace is a t th e to p of th e p a c k , th e n e x t is th e 10 th c a rd , th e th ir d th e 19 th c a rd , w h a t m u s t b e d o n e fo r e a c h of th e co m b in a tio n s com es in sta n tly to m in d . O n c e y o u h a v e g o n e th ro u g h th e ro u tin e a tim e o r tw o y o u ’ll h a v e n o tro u b le w ith th e deals. 14. A ll th a t re m a in s is to r e c a p itu la te : “ F o u r aces w e re sh u ffled in to th e p ac k . F o u r n u m b e rs w ere ta k e n a t r a n d o m a n d I ’ve d e a lt fo u r piles of as m a n y c a rd s as th e v alu es of th ese n u m b e rs. Y o u ’ll ag re e th a t ev en if I co u ld so m e h o w h a v e c o n tro lle d th e aces, I co u ld n o t k n o w in a d v a n c e h o w y o u w o u ld ask m e to d e a l th e ca rd s. F o r th is rea so n , if by y o u r ch o ice of n u m b e rs y o u ’ve ca u se d m e to d e a l th e fo u r aces, it w o u ld b e p r e tty su rp risin g , w o u ld n ’t it? W ell— t h a t ’s ju s t w h a t y o u ’ve d o n e ! ” T u r n e a c h of th e fo u r p ack ets, sh o w in g a n ace a t th e b o tto m of ea ch .
N A IL C U T T IN G F re d B rau e I t ’s b e e n sa id m a n y tim es th a t if y ou w a n t to h id e a g o o d tric k , y o u sh o u ld p u t it in p rin t. L u is Z in g o n e ’s “ A C u ttin g D isco v ery ” , p . 114, E x p e rt C a rd T e c h n iq u e , is a ‘s to p p e r’ a n d it ’s h a r d to u n d e rs ta n d w h y it is so little u sed. O n e rea so n m a y b e th a t th e th u m b n a il c u t re q u ire s a ta b le ; d o n e in th e h a n d s , th e r a th e r a w k w a rd p o sitio n in g o f th e h a n d s , plus th e p a lp a b le d ig g in g w ith th e th u m b n a il, arouses suspicion. T h e follow ing m e th o d of n a ilc u ttin g is n a tu ra l, c e rta in , a n d fa s t: 1. H o ld th e p a c k in y o u r le ft h a n d in th e m e c h a n ic s’ g r ip ; th a t is, as fo r d e a lin g b u t w ith th e fo re fin g e r a t th e o u te r en d . P la c e th e r ig h t h a n d o v er th e p a c k , th e th u m b a t th e in n e r en d , th e seco n d fin g e r re stin g a t th e e x tre m e 8
HUGARD
AND
BR A U E ’S
SHOW
STOPPERS
o u te r e n d . I n th is po sitio n , th e n a il of th e r ig h t seco n d fin g e r is ju s t o v er th e ed g e o f th e p ack . 2. By pressin g d o w n w ith th e seco n d fin g e r tip , a n u m b e r of c a rd s c a n b e e n g a g e d b y th e n a il a n d lifte d off th e p ack . S ev en , eig h t, n in e o r te n ca rd s m a y th u s b e c u t aw ay , d e p e n d in g o n th e le n g th of th e fin g e rn a il. W ith v ery little ex p e rien c e, re p e a te d cu ts m a y be m a d e in th is m a n n e r w ith th e sa m e n u m b e r of c a rd s b e in g c u t a w a y e a c h tim e. T h is is th e m e th o d as it w as first co n ceiv ed . T o this, B e rt A lle rto n m a d e a firs t-ra te c o n trib u tio n : A fte r e n g a g in g th e c a rd s w ith th e fin g e rn a il, slide th e m in w a rd s so th a t th e p a c k e t p ro jec ts ov er th e in n e r e n d . S h ift th e fin g ers b a c k a n d lift a w a y th e p a c k e t by g ra sp in g it a t th e in n e r e n d b e tw e e n th e r ig h t th u m b a t th e fa c e a n d th e fin g ers a t th e b a c k of th e c a rd s. T h is gives th e n a ilc u t a n a ir of carelessness w h ic h is co m p letely d isa rm in g .
N A IL C U T T IN G T H E A C E S T h is fea t, w h ic h d e p e n d s u p o n th e n a ilc u ttin g p rin c ip le ju s t d escrib ed , h a s th e f o u r aces clearly p la c e d in d iffe re n t p a rts of th e p a c k , a fte r w h ic h th e c a rd s a r e sh u ffle d a n d c u t. I t is th e n c u t fo u r tim es — e a c h tim e to a n a c e ! 1. R e m o v e th e fo u r aces, p la c in g th e m fac e u p o n th e ta b le . 2. N a ilc u t fo u r p ac k ets of c a rd s fro m th e p a c k , d ro p p in g th e m fac e u p b e fo re y o u . R e m e m b e r th e fac e c a rd s b y v a lu e only — 2 - 7 - 4 - K, fo r in stan c e. 3. P ick u p a n ace, d r o p it o n th e p a c k , th e n p ick u p th e K p a c k e t a n d d ro p it o n th e ace. L e t it b e c le a r th a t th e a c e is a c tu a lly b u rie d in th e p a c k . R e p e a t th is w ith th e r e m a in in g th re e aces a n d p ac k ets, ta k in g th e la tte r in o rd e r, 4 - 7 - 2 . 4 . T u r n th e p a c k fac e u p w a rd s, rib b o n -s p re a d it a n d sh o w th e aces in d iffe re n t p a r ts of th e p a c k . G a th e r th e c a rd s, false-sh u ffle a n d false-cu t. 5. N a ilc u t a p a c k e t fro m th e to p . G la n c e a t its fa c e c a rd . I f it is th e ace, d ro p th e p a c k e t fac e u p b e fo re yo u , sh o w in g th e ace. If, h o w ev e r, it is th e tw o -sp o t of y o u r se q u en c e (S te p N o . 2 ) y o u k n o w th a t th e a c e is a t th e to p of th o se re m a in in g in y o u r le ft h a n d . F lip it o v er a n d sh o w it. 6. R e p e a t th is p ro c e d u re fo r th e re m a in in g th re e aces. T h e r e is n o th in g d iffic u lt a b o u t th is m e th o d of n a ilc u ttin g . Y o u c a n b e o ff, a t th e m o st, o n e c a rd , a n d b y n o tin g th e key c a rd of y o u r se q u en c e y o u k n o w a t o n ce w h e n y ou h a v e c u t o n e c a r d to o h ig h . If, w h e n first u sin g th e trick , y o u c u t tw o c a rd s a w a y fro m th e ace, re p la c e th e c u t p a c k e t, false-shuffle a n d c u t a g a in . H o w e v e r, w ith fiftee n m in u te s ’ p ra c tic e y ou sh o u ld c u t th e sa m e n u m b e r of c a rd s n in e tim es o u t of te n . D U N B U R Y D E L U S IO N (B ra u e H a n d lin g ) T h is tric k b y C h a rle s M iller, th e b r illia n t W estc o aster, first a p p e a r e d in E x p e rt C a rd T e c h n iq u e . I t is o n e of th e very b est trick s w h ic h c a n b e d o n e fo r clo se-up w o rk . T h e fo llo w in g ro u tin e , w h ic h w as d evised sh o rtly a f te r p u b lic a tio n of th e b o o k , is a faste r, easier h a n d lin g w h ic h b rin g s th e tric k w ith in th e r a n g e of all c a rd w o rk ers. 9
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
T h e p lo t of th e tric k is sim p le : T h e p e rfo rm e r sh o w s th re e ca rd s, o n e of w h ic h h e h as p ro m ise d w o u ld b e a chosen c a rd . A lth o u g h ev ery o n e sees th a t o n e of th e m is th e chosen c a rd , th e m a g ic ia n , a p p a re n tly in tro u b le , rem o v es a f o u rth c a rd fro m th e p ac k , c la im in g th a t it is th e chosen c a rd . A n d it is! W h e n th o se p re se n t d ive fo r th e first th re e card s, o n e of w h ic h th e y a re p o sitiv e is th e ch o sen c a rd , th e y fin d th re e in d iffe re n t c a rd s only. 1. H a v e a chosen c a rd sh o w n to ev ery o n e p re s e n t; th is is im p o r ta n t if ev ery o n e is to en jo y th e tric k . H a v e th e c a rd r e tu rn e d to th e p a c k a n d c o n tro l it to th e to p . 2. H o ld th e p a c k in th e le ft h a n d as fo r d e a lin g a n d co v e r it w ith th e rig h t h a n d , th e fin g ers a t o n e e n d , th e th u m b a t th e o th e r. R iffle u p w a rd s ag a in st th e in n e r en d , le ttin g th re e c a rd s slip off th e th u m b a t th e b o tto m of th e p ac k . H o ld a b re a k ab o v e th ese by p ressing th e le ft little fin g er a g a in st th e m as th e r ig h t h a n d sh ifts its g rip so th a t th e th u m b w ill h o ld th e b rea k . 3. R e m o v e th e le ft h a n d fro m th e p a c k a n d p la ce th e th u m b o v er th e p a c k a n d th ro u g h th e a rc h fo rm e d by th e r ig h t h a n d . S w eep a w a y th e u p p e r h a lf of th e p a c k to th e left, ta k in g th e c a rd s in y o u r le ft h a n d . T h e u p p e rm o s t of th ese is th e chosen c a rd . 4 . S a y : “ I ’ll give m yself th re e ch a n ce s a t fin d in g y o u r c a rd . P lease d o n ’t tell m e w h ic h of th e th re e is th e c o rre c t c a rd — le t m e tell y o u .” T h is is n ecessary to forestall a n y c o m m e n t w h e n , in a m o m e n t, you sh o w th e ch o sen c a rd . P u sh th e to p c a r d of th e left h a n d p o ck e t off to th e r ig h t a n d , u sin g th e p a c k e t re ta in e d b y th e r ig h t h a n d as a lever, flip th e c a rd fac e u p w a rd s o n its p a c k e t. E v ery o n e sees th a t it is .th e chosen c a rd b u t you say, “ I t m ig h t b e this c a r d .” T u r n th e c a rd fac e d o w n o n its p a c k e t b y flip p in g it o v e r w ith th e rig h t h a n d p a c k e t, b u t as th e c a rd falls face d o w n w a rd s d ro p th e b o tto m th re e c a rd s h e ld b y th e r ig h t th u m b . T h e se fall sq u a re ly o n th e ch o sen c a rd , p la c in g it fo u r deep. 5. T h u m b off th e to p c a r d o f th e le ft h a n d p a c k e t, w h ic h ev ery o n e th in k s is th e ch o sen c a rd , a n d p la c e it fac e d o w n w a rd s o n th e ta b le. “ O r it m a y b e th is c a r d .” L e v e r o v er th e c a rd n o w a t th e to p of th e le ft h a n d p ac k et, sh o w in g a n in d iffe re n t c a rd . T h is seem s to offer p ro o f th a t you h a v e p la c e d th e ch o sen c a rd o n th e ta b le . F lip it fa c e d o w n w a rd s in th e sa m e w a y as b e fo re, saying, “ I ’ll p la c e it w ith th e first c a r d .” 6. T h u m b th is c a rd off la y in g it fac e d o w n b esid e th e first c a rd . 7. F lip o v er th e c a rd n o w a t th e to p o f th e le ft h a n d p a c k e t ex actly as b efo re, sh o w in g a n in d iffe re n t c a r d ; le v er it o v e r fac e d o w n w a rd s, th u m b it off its p a c k e t p la c in g it besides th e o th e r tw o . “ O r th is m a y b e y o u r c a r d . . . ah , I th in k I ’ve d o n e so m e th in g w ro n g . N e v e r m in d , I ’ll s ta r t all o v er ag a in . H e re , I ’ll riffle th ro u g h th e p a c k ; yo u tell m e w h e n to sto p a n d I ’ll fin d y o u r c a rd a t th a t p o in t.” 8. A s y ou say this, p la c e th e c a rd s in th e le ft h a n d on to p of th o se in th e rig h t, w h ic h b rin g s th e s p e c ta to r’s c a r d to th e to p of th e p a c k . A t th is p o in t th e onlookers a re n o t p a y in g a n y p a r tic u la r a tte n tio n to w h a t you d o w ith th e p ac k , fo r th e y k n o w th a t th e sp e c ta to r’s c a r d is o n th e ta b le ; h en c e, y o u sh o u ld finish th e tric k quickly. H o ld th e p a c k in th e le ft h a n d , riffle d o w n a n d w h e n th e c o m m a n d to sto p com es, b ackslip th e ch o sen c a rd to th e to p of th e lo w er p a c k e t in th e u su a l w ay.
10
HUGARD
AND
B R A U E ’S
SHOW
STOPPERS
9. D isc a rd th e c a rd s in th e r ig h t h a n d , ta k e th e s p e c ta to r ’s c a r d fro m th e to p of th o se in th e le ft h a n d , saying, “ T h is is y o u r c a r d .” D o n ’t sh o w its fac e b u t w a it fo r so m eo n e to say, “ N o , it isn ’t. Y o u p u t th e c a rd o n th e ta b le .” I f so m eo n e does n o t oblige, o r tu r n o v er th e c a rd w h ic h s h o u ld b e th e sp e c ta to r ’s c a rd , yo u th e n slow ly tu r n th e c a rd y ou h o ld , sh o w in g th a t it is th e c o rre c t c a rd . A lm o st in v a ria b ly , som eo n e w ill tu r n o v er th e c a rd in th e ro w o f th re e b eliev ed to b e th e s p e c ta to r’s c a rd . T h is is th e sig n al fo r g e n e ra l re jo ic in g as th o se p re se n t see it is a n in d iffe re n t c a rd . W e re p e a t, o f all closeup c a rd tricks, th is is o n e o f th e v ery best.
FAN FALSE C O U N T (B ra u e )
T h is is o n e o f th e m o st useful m oves to a p p e a r in re c e n t years. W ith it, y o u d isp lay a f a n of, say, f o u r c a rd s so n e a tly a n d clean ly th a t n o n e in y o u r a u d ie n c e suspects t h a t y ou a c tu a lly h o ld five, six, sev en o r eig h t ca rd s, as m a y b e re q u ire d b y th e tric k in h a n d . L e t u s say th a t yo u w ish to show seven c a rd s as f iv e : 1. H o ld th e p a c k e t of seven c a rd s fac e u p w a rd s in y o u r left h a n d as fo th e g lide.
F ig. 1
F ig. 2
2. R e m o v e th e lo w erm o st c a r d w ith th e r ig h t fin g ers a n d th u m b ex a ctly as you w o u ld in u sin g th e g lide, h o ld in g it b e tw e e n th e r ig h t first a n d seco n d fingers, b elow , a n d th u m b , abo v e. 3. R e tu r n th e r ig h t h a n d to ta k e th e c a rd n o w lo w erm o st in th e p a c k e t, le ttin g th e c a rd it a lre a d y h o ld s re st a b o v e th e p a c k e t a n d a g a in st th e side of th e le ft fo re fin g er, h o ld in g it th e re m o m e n ta rily by a lig h t p ressu re o f th e r ig h t th u m b . S im u lta n eo u sly , slide th e r ig h t first a n d seco n d fin g ers u n d e r th e p a c k e t a n d press u p a g a in st th e lo w e rm o st c a rd , d ra w in g it aw a y u n d e r th e first c a rd , w h ic h o v erla p s it (F ig . 1 ) , th e tw o c a rd s th e n b e in g p in c h e d in a fa n b e tw e e n th e r ig h t th u m b , ab o v e , a n d fingers, b elow .
11
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
4. R e p e a t th is w ith a th ir d c a rd , F ig . 2, ta k in g it u n d e r th e first tw o , w h ich o v e rla p it, a n d h o ld in g th e th re e c a rd s in a fa n b e tw e e n th e r ig h t th u m b , abo v e, a n d fingers, below . 5. W h e n th e r ig h t h a n d m oves to ta k e a f o u rth c a rd , in th e sa m e w ay , g lid e b a c k th e lo w erm o st c a rd w ith th e le ft seco n d fin g e r a n d ta k e a w a y all th e cards a b o ve th e g lid e d card, as one. Press th e le ft fo re fin g e r a n d th u m b a g a in st th e o p p o site sides as th e c a rd s a re d ra w n aw ay , th u s p la c in g th e edges in p e r fec t a lig n m e n t. Y o u n o w h o ld a fa n of f o u r c a rd s b e tw e e n th e r ig h t fo re fin g e r a n d th u m b , th e o th e r fin g ers b ein g free. Press u p a g a in st th e b a c k of th e th re e c a rd s ju s t p la c e d as o n e in th e f a n w ith th e r ig h t f o u rth fin g er, w h ic h w ill press th e m n e a tly to g e th e r. 6. P lac e th e c a rd re m a in in g in th e left h a n d a t th e to p o f th e fa n , o r th e b o tto m , as m a y b e n e e d e d fo r w h a te v e r tric k you a re d o ing.
T R IP L E D O F re d B ra u e Y o u p la c e th re e c a rd s fac e d o w n o n th e ta b le . A s p e c ta to r p laces an y th re e c a rd s fro m a n o th e r p a c k fac e u p beside th e m . Y o u r c a rd s a re sh o w n a n d th e y a re th e sa m e as th o se of th e s p e c ta to r! Y o u a n d th e s p e c ta to r ea c h h a v e a pack. 1. H a v e h im sp re a d his p a c k fac e u p w a rd s o n th e ta b le . C o u n t d o w n to th e c a rd n in th fro m th e to p of his p a c k a n d re m e m b e r it. L e t’s say it is th e ja c k o f spades. 2. T a k e y o u r p a c k , fa c e to w a rd s yourself, a n d sh ift a few c a rd s fro m th e b o tto m to th e to p . G la n c e a t th e s p e c ta to r th o u g h tfu lly , sa y in g : “ I w a n t to fin d th e r ig h t c a rd fo r y o u .” T a k e a few ca rd s fro m th e fa c e of th e p a c k a n d o p en ly slip o n e to th e to p , re p la c in g th e re m a in d e r o n th e p ac k . T a k e off still m o re ca rd s, slip o n e to th e fac e of th e p a c k e t y o u h o ld , a n d re p la c e all o n th e p a c k . A ll th is is p sychological co n d itio n in g to p r e p a re th e s p e c ta to rs fo r a sim ila r p ro c e d u re in S te p N o . 6. F in a lly , ta k e y o u r ja c k o f sp a d es ( th e c a rd 9 th fro m th e to p of h is p a c k ) a n d p la c e it fa c e d o w n o n th e ta b le . C a ll it C a rd A . 3. R e p e a t th e p ro c e d u re in S te p N o . 2, b u t th is tim e ta k e a n y c a rd ( C a r d B ) a n d p la c e it to th e r ig h t of C a rd A , also fac e d o w n . 4. P o in t to y o u r c a rd A , saying, “ I w a n t you to look o v e r y o u r card s. W h e n y ou see o n e t h a t y ou th in k is th e sa m e as th is c a rd , g iv e it to m e .” H e chooses a c a r d a t r a n d o m a n d y ou d r o p it fac e u p o n to p of y o u r c a rd A . I n th e u n lik ely c h a n c e th a t h e tak es o n e o f his first eig h t c a rd s, h a v e h im sh ift his b o tto m c a rd to th e to p ‘to b a la n c e y o u r d e c k ’. S h o u ld h e ta k e th e n in th c a rd , sto p r ig h t th e re — th e c a rd s m a t c h ! S im ilarly , h a v e h im p la ce o n e of his ca rd s fac e u p o n y o u r c a r d B. L e t’s say th a t h is c a r d A is th e six of d ia m o n d s, his c a r d B is th e k in ? of clubs. 5. A sk th e s p e c ta to r to n a m e a n y n u m b e r b e tw e e n 10 a n d 2 0 a n d w h e n h e does, h a v e h im p ic k u p his p a c k , tu r n it fac e d o w n a n d d e a l th a t m a n y ca rd s face do w n . T h is w ill rev erse th e ir o rd e r. E x p la in in g th a t n u m e ro lo g ists ach iev e th e ir results b y re d u c in g fig u res to u n its, h a v e h im a d d th e tw o digits of his n u m b e r to a rriv e a t a single u n it. V iz, if 18, h e w ill a d d th e o n e a n d
12
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
th e e ig h t to a rriv e a t n in e . N e x t h a v e h im d isc a rd th is n u m b e r of c a rd s fro m th e to p o f his d e a lt p a c k e t of 18 a n d re m o v e th e n e x t c a rd . 6. A s h e is' follow ing in stru c tio n s, r u n th r o u g h y o u r p a c k u n til y o u fin d h is c a r d A . C u t it to th e b o tto m . N e x t fin d his c a r d B a n d c u t aw a y all th e c a rd s a b o ve it, p la c in g th e m face d o w n o n th e ta b le . Y o u n o w h o ld a p a c k e t a t th e to p of w h ic h is h is c a rd B, w ith his c a rd A a t th e b o tto m . T ra n s f e r his c a rd A o p en ly to th e to p , th e n d ro p th e p a c k e t o n th e o th e r p a c k e t o n th e ta b le . P ick u p th e e n tire p ac k . H is c a r d A is n o w a t th e to p , w ith c a r d B d irec tly u n d e r it. Y o u w ill fin d y ou h a v e d o n e th is b efo re h e h a s c o m p le te d th e d e a l in S te p N o . 5. 7. T a k e y o u r tw o to p c a rd s (h is A a n d B ) as o n e c a rd a n d p la ce th e m fac e d o w n on p a ir B o n th e ta b ic ; p ick u p all a n d p la c e o n p a ir A , th e n h o ld all in y o u r le ft h a n d . 8. T a k e th e c a rd w h ic h th e sp e c ta to r h a s a rriv e d a t in S te p N o . 5 a n d d r o p it fac e u p o n th o se you h o ld in y o u r le ft h a n d . 9. T ra n s f e r th e p a c k e t to y o u r r ig h t h a n d , h o ld in g it fro m ab o v e b e tw e e n th e fin g ers a n d th u m b a t th e ends. R e c a p itu la te w h a t h a s b ee n d o n e. “ I p la c e d th re e c a rd s o n th e ta b le b efo re you chose a n y single c a r d .” ( T h is is n o t tr u e ; you h a d on ly tw o c a rd s o n th e ta b le b e fo re h e selected a n y c a rd s .) “ M in e a re th e fac e-d o w n c a rd s, y o u rs a re th e fa c e -u p c a rd s. Is th a t r ig h t? ” H e agrees. A s if to illu stra te , slide th e b o tto m c a r d of th o se you h o ld in to y o u r le ft h a n d b y d r a w in g it o u t w ith th e fing ers. I t is o n e of y o u r fa c e d o w n ca rd s. N e x t slide o u t th e fa c e -u p c a r d n o w a t th e b o tto m of th e p a c k e t a n d d ro p it on th e ta b le . “ M y c a rd . Y o u r c a r d .” S lide o u t th e c a r d n o w a t th e b o tto m o f th e p a c k e t, le ttin g it d r o p fac e d o w n on th e c a rd a lre a d y in y o u r le ft h a n d , th e n slide o u t th e s p e c ta to r’s fa c e u p c a rd n o w a t th e b o tto m o n to th e ta b le , to th e r ig h t of his o th e r c a rd . P la c e th e c a rd s re m a in in g in y o u r r ig h t h a n d o n th o se in y o u r le ft h a n d , th u m b off th e fa c e -u p c a rd a t th e to p a n d d r o p it to th e le ft of th e tw o a l re a d y th e re . “ T h e se a re th e c a rd s w h ic h y o u chose o f y o u r o w n v o litio n , a re th e y n o t? ” H e agrees. 10. T u r n y o u r c a rd s fac e u p w a rd s, h o ld in g th e m in y o u r le ft h a n d in p o sitio n fo r th e F a n F alse C o u n t. M a k e th e c o u n t in th is m a n n e r : T a k e th e b o tto m c a r d in y o u r r ig h t h a n d . G lid e b a c k th e c a rd n o w a t th e b o tto m a n d ta k e th e tw o c a rd s a b o v e it as o n e in th e r ig h t h a n d in a fa n . P la c e th e single c a rd re m a in in g in y o u r le ft h a n d u p o n th e tw o a lre a d y h eld by th e r ig h t h a n d , m a k in g a n e a t fa n o f th re e ca rd s. 11. S h o w th a t th e th re e c a rd s you h o ld a r e th e sa m e as th e s p e c ta to r ’s th re e card s.
T H E H O M IN G C A R D ( B ra u e ) T h e r e a re v ery few ‘sig h t’ c a rd s tric k s fo r use in c lu b a n d lo d g e w o rk w h ic h a re g en u in ely a m u sin g , su c h as T h e Six R e p e a t a n d T h e F a n ta s tic F a n
13
HUGARD
AND
BRA UE’S
SHOW
STOPPERS
(M ira c le M e th o d s N o . 4 ) . T h e fo llo w in g is a g en u in ely n ew c a r d tric k w ith a n ew p lo t — th a t of a c a rd w h ich is re p e a te d ly d isc a rd e d fro m a f a n of ca rd s, a n d as re p e a te d ly re tu rn s to th e fa n . G iv en a n am u sin g p re s e n ta tio n , it is a l m o st as g o o d a n a u d ie n c e tric k as Six R e p e a t. P la c e a re d n in e of h e a rts a t th e face of y o u r p a c k a n d u p o n it p la c e five b la ck sp o t card s. 1. H o ld th e p a c k fac e u p w a rd s in y o u r le ft h a n d ; in se rt th e le ft little fin g er tip u n d e r th e tw o to p c a rd s, a n d c o u n t off tw o c a rd s as o n e (u sin g A F alse C o u n t, E x p e rt C a rd T e c h n iq u e , p a g e 4 1 5 ) a n d u p o n th ese c o u n t th e o th e r fo u r b la c k ca rd s. A t th e e n d of th e c o u n t y ou h o ld six ca rd s, th e u p p e r m o st of w h ic h is th e re d n in e , a lth o u g h th e a u d ie n c e th in k s y o u h o ld o nly five ca rd s. D isc a rd th e rest of th e p ack . 2. T ra n s f e r th e six ca rd s to y o u r le ft h a n d h o ld in g th e m in read in ess fo r th e F a n F alse C o u n t. M a k e th e c o u n t fa c e -u p , ta k in g tw o c a rd s as o n e o n th e c o u n t of fo u r, a n d p la c e th e b la ck c a rd th e n r e m a in in g in y o u r le ft h a n d a t th e fa c e of th e fa n . Y o u h o ld a fa n of fo u r b la c k c a rd s a n d o n e re d c a rd , w h ic h is th e lo w erm o st c a rd of th e fa n a n d b e h in d w h ic h is c o n c ea le d a b la ck ca rd . 3. T u r n th e fan fac e d o w n w a rd s w ith th e rig h t h a n d a n d ta k e it, w ith o u t a lte rin g th e po sitio n of th e ca rd s, b e tw e e n th e left th u m b , ab o v e, a n d fin gers, below . L ift th e f a n fac e o u tw a rd s, sh o w in g th e c a rd s to th e a u d ie n c e a n d say, “ A p e rp le x in g p ro b le m w ith five p a s te b o a rd s — fo u r b la c k a n d o n e r e d .” L o w e r th e fa n to a h o riz o n ta l po sitio n a n d ta k e th e r ig h t h a n d c a r d (s) a t th e rig h t side b e tw e e n th e r ig h t fingers, b elo w , a n d th u m b , ab o v e. L ift th is c a r d ( s ) , sh o w in g th e re d c a rd w h ic h h as a b la ck c a rd c o n c ea le d b e h in d it. R e p la c e th e c a r d ( s ) o n th e fa n , slid in g th e m u n d e r th e le ft th u m b in to p o sition. 4. “ T h is tric k w as sh o w n to m e b y m y u n c le m a n y y ears ag o a n d . . . let m e see . . . oh, yes, h e to o k th e r e d c a rd a n d d isc a rd e d it.” S q u a re th e fa n in y o u r le ft h a n d , p u sh off th e to p c a rd slow ly a n d clean ly , ta k in g it a t th e en d s w ith th e r ig h t h a n d , a n d toss it face d o w n o n a ta b le ( o r if w o rk in g fairly closeu p , h o ld it p a ra lle l to th e flo o r a n d d ro p it; it w ill settle to th e flo o r w ith o u t tu r n in g o v e r a n d ex p o sin g its fa c e .) 5. “ N o w le t m e see. H e h a d fo u r b la c k ca rd s le ft.” H o ld th e p a c k e t fac e d o w n w a rd s in y o u r le ft h a n d in rea d in ess fo r th e F a n F a lse C o u n t. R e m o v e th e tw o lo w erm o st ca rd s w ith th e r ig h t h a n d , g lid e o n th e c o u n t of th re e re m o v in g tw o c a rd s as o n e, a n d slide th e la st b la c k c a rd lo w e rm o st in th e fa n . T h a t is, h o ld in g th e fa n w ith its b a c k to w a rd s yourself, y o u w ill sh o w a fa n co m p rised of, fro m le ft to rig h t, a b la ck c a rd , a seco n d b la ck c a rd b e h in d w h ic h th e re d n in e is c o n c e a le d ; a th ir d b la c k c a rd a n d a f o u rth b la c k c a rd . L ift th e fa n in y o u r r ig h t h a n d a n d show th a t y ou h o ld fo u r b la c k ca rd s. By logic, th e au d ie n c e co n c lu d e s th a t y ou d id a c tu a lly d isc a rd th e re d c a rd . 6. “ N o , I ’m d o in g it w ro n g . L e t m e s e e . . . H e h a d th re e b la c k car ds— T a k e th e c a rd s fa c e d o w n in y o u r le ft h a n d in p o sitio n fo r th e F a n - F alse C o u n t. M a k e th e co u n t, g lid in g b a c k o n th e c o u n t of th re e a n d ta k in g tw o ca rd s as one. L ift th e th re e c a rd s h e ld f a n n e d in th e r ig h t h a n d , sh o w in g th a t th e y a re b la c k ca rd s. H o ld th e le ft h a n d , w ith th e re d c a rd fa c e d o w n o n th e p a lm , w ell a w a y fro m th e b o d y . “ — H e h a d th re e b la c k c a rd s, a n d a red c a r d .” D ro p th e le ft th u m b u n d e r th e re d n in e , tu r n in g it fac e u p w a rd s a n d sh o w in g th e re d n in e.
14
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
7. P lac c th e re d c a rd a t th e to p , o r r ig h t e n d , of th e fa n as you h o ld it w ith th e faces of th e c a rd s to w a rd th e a u d ie n c e . Y o u w ill h o ld in th e fa n , fro m left to r ig h t ( a n d b o tto m to to p ) tw o b la ck c a rd s h e ld as on e, a b la ck c a rd , a b la c k c a rd a n d th e re d c a rd . 8. “ A n d h e th re w th e re d c a rd a w a y .” T a k e th e c a rd s s q u a re d in th e le ft h a n d , face d o w n w a rd s, in po sitio n fo r th e F a n F alse C o u n t. “ O n e , tw o , th re e b la c k c a rd s.” O n th e c o u n t of th re e , g lid e b a c k th e lo w erm o st c a r d a n d ta k e th e t w o ‘ab o v e it as o n e in th e f a n ; lift th e fa n in th e r ig h t h a n d faces to w a rd s th e a u d ie n c e sh o w in g th a t you h o ld th re e b la ck c a rd s. D is c a rd th e c a rd re m a in in g fac e d o w n in th e le ft h a n d ; it is a b la ck c a rd b u t th e a u d ie n c e th in k s it th e re d n in e. 9. “ N o w w a it a m in u te . I th in k P m d o in g th is w ro n g . L e t m e see.” T a k e th e fa n face d o w n w a rd s in th e le ft h a n d , sq u a re d a n d in rea d in ess fo r th e F a n F alse C o u n t. “ H e h a d one, tw o b la c k c a rd s .” M a k e th e F alse C o u n t, g lid in g b a c k o n th e c o u n t of tw o , ta k in g tw o ca rd s as o n e. L ift th e r ig h t h a n d w ith th e fa n of tw o ca rd s, sh o w in g th e m to b e b la ck . M o v e th e le ft h a n d , w h ic h h o ld s th e re d n in e fa c e d o w n w a rd s, w ell a w a y to th e left. F lip th e c a rd fac e u p w a rd s sh o w in g th e re d n in e . “ A n d th e re d n in e ! ” 10. P la c e th e re d n in e a t th e rig h t ( o r to p ) e n d of th e fa n in th e r ig h t h a n d , as befo re. “ S o m e th in g ’s go n e w ro n g . I ’ll try it a g a in . H e h a d o n e, tw o b la c k c a rd s.” T a k e th e s q u a re d c a rd s face d o w n in th e le ft h a n d , m a k e th e F alse C o u n t, g lid in g b a c k o n th e c o u n t of tw o a n d ta k in g th e tw o c a rd s ab o v e th e g lid e d c a rd s as o n e. L ift th e r ig h t h a n d sh o w in g th a t it h o ld s tw o b la ck ca rd s. “ A n d h e d isc a rd e d th e re d c a r d .” D isc a rd th e b la c k c a rd w h ic h re m a in s fac e d o w n in th e le ft h a n d , b u t w h ic h logically sh o u ld b e th e r e d c a rd . 11. T ra n s f e r th e th re e c a rd s to th e le ft h a n d in read in ess fo r th e F alse C o u n t, b u t th is tim e in m a k in g it g lid e b a c k th e lo w e rm o st of th e th re e a n d ta k e aw a y , in th e r ig h t h a n d , th e tw o c a rd s a b o v e it, as one. T h e lo w e rm o st of th ese is th e re d n in e . H o ld th ese tw o c a rd s w ith th e fac e o f th e re d c a r d aw a y fro m th e a u d ie n c e . “ N o w le t m e see. H e h a d a b la c k c a r d .” L e v e r o v er th e c a r d in th e left h a n d , w h ich th e a u d ie n c e ex p ects to b e th e re d c a rd , sh o w in g th a t it is a c tu a lly b la ck . P a u se a m o m e n t, th e n say d rily , “ A n d a re d c a r d .” T u r n th e c a r d ( s ) you h o ld in y o u r r ig h t h a n d fa c e o u tw a rd s , sh o w in g th e re d n in e . A t th is p o in t th e re w ill be a n o th e r la u g h , fo r y o u h a v e g iv e n a tw ist to th e a n tic ip a te d discovery of th e re d c a rd . 12. T h e rig h t h a n d h o ld s tw o c a rd s as o n e ; th e fac e c a r d of th e tw o is th e re d n in e a n d co n c ea le d b e h in d it is a b la c k c a rd . P la c e th e b la c k c a rd h e ld b y th e le ft h a n d in fro n t o f tho se h e ld in th e r ig h t h a n d . “ I ’ll h a v e to s ta rt a g a in . M y u n cle h a d tw o ca rd s, o n e re d a n d o n e b la c k .” S q u a re th e ca rd s, ta k in g th e m in th e le ft h a n d a t o p p o site sides b e tw e e n th e tip s of th e fin g ers a n d th u m b , th e b ac k s of th e c a rd s to th e a u d ie n c e . R e m o v e th e to p c a rd , a b la c k c a rd , a n d d isc a rd it, saying, “ H e d isc a rd e d th e re d c a r d .” 13. T a k e th e r e m a in in g c a r d ( s ) in y o u r r ig h t h a n d , fac e o u tw a rd s, sh o w in g th a t it is b la ck . T ra n s f e r it to y o u r le ft h a n d , h o ld in g it fac e o u tw a rd s b e tw e e n th e le ft th u m b , a t th e face, a n d fin g ertip s, a t th e b a c k . “ N o w th is is th e tric k I ’m try in g to sh o w you. H e h a d one b la c k c a rd . H e p la c e d his r ig h t h a n d o v er it— ” . P la c e y o u r r ig h t h a n d o v e r th e tw o c a rd s a n d u n d e r its co v e r p u sh th e r e a r ( r e d ) c a rd d o w n w ith th e le ft fin g ers so th a t it c a n b e p a lm e d in
15
HUGARD
AND
BRAUE’S
SHOW
STOPPERS
th e r ig h t h a n d . Im m e d ia te ly sh ift th e b la c k c a r d in y o u r left h a n d so th a t it is h e ld b etw e en th e fin g e rtip s a t o n e side, th e th u m b tip a t th e o th e r. B rin g y o u r rig h t h a n d u p to th e b la c k c a rd , d e p o sitin g th e re d c a rd o n it a la co lo r c h a n g e. “ — a n d th e c a rd c h a n g e d in to th e re d n in e .” Bow slightly, to sh o w th e tric k is e n d e d a n d a p p la u se is in o rd e r, saying, “ W o u ld n ’t th a t b e a w o n d e rfu l trick , if I co u ld d o it? ”
T H E G R E A T T R U N K T R IC K (B o b M a d is o n ) T h is tric k w as a fa v o rite w ith th e la te B ob M a d iso n , M a y o r of S a n ta R o sa, C a lifo rn ia , w h o e x p la in e d th a t it w as a m in ia tu re illusion. 1. “ Im a g in e th a t th e m a g ic ia n is o n stag e, fla n k e d o n e ith e r sid e b y tw o lovely g irl assista n ts.” D ro p th e tw o re d q u ee n s fac e u p w a rd s o n th e ta b le . “ L e t’s choose a c a rd to a c t as th e m a g ic ia n .” R ib b o n -s p re a d th e c a rd s a n d h a v e an y o n e rem o v e d . 2. H o ld th e p a c k in th e left h a n d in positio n fo r th e th u m b c o u n t a n d riffle d o w n to th e m id d le. P ick u p o n e of th e q u ee n s a n d in se rt it a t th e o u te r e n d so th a t th re e -fo u rth s of th e c a rd p ro je c ts fro m th e p ac k . “ H e r e ’s a n assistan t a t sta g e r ig h t.” P ick u p th e ch o sen c a rd a n d as you d o so let o n e c a rd riffle o ff y o u r th u m b . “ H e re is th e p e rfo rm e r, a b o u t to p e rfo rm his m ira c u lo u s, d e a th d efy in g escap e a c t.” In s e rt th e chosen c a rd in th e b re a k a t th e o u te r e n d , flush w ith th e p ro je c tin g q u e e n . R e a c h fo r th e seco n d re d q u e e n a n d le t a n o th e r c a rd slip o ff y o u r th u m b . In s e rt th e q u e e n a t th is p o in t, saying, “ A n d th e o th e r lovely assistan t, s ta n d in g a t sta g e le ft.” 3. “ T h e m o st sp e c ta c u la r a c t in all th e a n n a ls o f th e th e a tr e ! ” W ith y o u r left side fo rw a rd , h o ld th e p a c k fac e o u tw a rd s in th e l e f t l i a n d , th e lo w er e n d g rip p e d b etw e en th e m id d le p h a la n g e s o f th e first a n d seco n d fin g ers a n d th e c ro tc h of th e th u m b . T h e b a c k of th e le ft h a n d screens th e lo w e r e n d of th e p a c k . P u sh th e th re e p ro je c tin g c a rd s flush in to th e p a c k w h ich , p lu n g e rfash io n , pushes tw o c a rd s fro m th e lo w e r e n d w h ic h a re co n c ea le d b y th e b a c k of th e le ft h a n d . “ T h e g re a t tr u n k e s c a p e !” 4 . “ N a tu ra lly , a screen is d ra w n a ro u n d th e p e rfo rm e r a n d his assistan ts so you c a n ’t see h o w it ’s d o n e .” R e m o v e a h a n d k e rc h ie f fro m y o u r r ig h t h ip p o c k e t a n d d r a p e it o v er y o u r le ft a rm , fro m th e elb o w to th e h a n d , w h e re it is c lip p e d b e tw e e n th e first a n d seco n d fingers. G ra sp th e sides o f th e p a c k fro m b e h in d w ith th e r ig h t fin g ers a n d th u m b , le a v in g th e little fin g e r fre e to press u p w a rd s a g a in st th e lo w e r e n d of th e tw o co n c ea le d p ro je c tin g ca rd s. P u sh th ese p lu n g e r c a rd s u p w a rd s fo rc in g th e ‘m a g ic ia n ’ c a rd fro m th e u p p e r e n d of th e p ac k . “ A b la re of tru m p e ts a n d th e m a g ic ia n m ak es his escap e b efo re y o u r v ery ey e s!” 5. A s y ou say this, a n d w h ile all eyes a re o n th e risen c a rd , slide y o u r rig h t h a n d u n d e r y o u r c o a t a n d ta k e a jig g e r of liq u id fro m y o u r lo w e r left vest p o ck e t, th is b e in g c o n c ea le d by th e d r a p e o f th e h a n d k e rc h ie f. M o v e y o u r rig h t h a n d a n d th e jig g e r s tra ig h t o u tw a rd s, ta k in g th e h a n d k e rc h ie f w ith it; th e n m o v e all to th e rig h t, saying, “ Is a g o o d tric k w o rth a d rin k ? I th in k it is!” W h ip th e h a n d k e rc h ie f a w a y w ith th e le ft h a n d , re v e a lin g th e jig g e r oi liq u id a t y o u r r ig h t fin g e rtip s!
16
View more...
Comments
