Tricks With Prepared Cards

HOLMES’ CONJURING SERIAL No. 3.

Tricks with Prepared Cards, By DONALD HOLMES, Author of “Some Modern Conjuring” “New Card Tricks,” Etc.

CONTENTS.

Rogers’

“Incomprehensibility;”

the

Key

Card;

the

Reversed Card Principle; the “Self-Shifting” pack; the “Self-Forcing” pack; Rogers’ “Ever Ready” forcing pack; Rogers’ Rising Cards; Rogers’ Obedient Card; Holmes’ “Mystery” Problem; Holmes’ Four Ace Trick; the “Tri­ angle” Trick (two methods) ; Another' “Marvelous Co­ incidence;” a New Chameleon Pack; a New X-Ray Trick.

Price, Prepaid, Fifty Cents

FOREWORD. In presenting this, my third handbook, to the con­ juring fraternity, I wish to thank the many good friends who, by their advice and patronage, have made this series possible. I am especially indebted to my friend, Ford B. Rogers, of Kansas City, Missouri, for his generous per­ mission to include herein the secrets of several of his latest and best creations in card magic. Tricks performed by the aid of prepared cards ap­ peal to the amateur conjurer by reason of the minimum of skill required in presentation. As a rule, professionals, as well as many advanced amateurs, avoid the use of pre­ pared or “faked” cards; but I am inclined to think they are missing a lot of good things in the grand old art of Magic when they refuse to use anything but an ordinary pack of cards. A careful study of the principles embodied in this book will enable any aspiring amateur to perform the most astounding tricks with cards with very little prac­ tice, other than learning the necessary conversation, or “patter,” for the accompaniment of each trick. At the same time, several of the tricks described are of such a character that the most advanced conjurer, professional or amateur, need not hesitate to add them to his reper­ toire, even though they involve the use of prepared cards. DONALD HOLMES. Kansas City, Mo., August, 1913.

Fig. 4

Fig. 3

Fig. 5

HOLMES’ CONJURING SERIAL No. 3.

Tricks With Prepared Cards. ROGERS’ “INCOMPREHENSIBILITY.”

This new and clever principle is the discovery of my friend, Ford B. Rogers, who has contributed many good things to Magic. It is based upon the simple fact that playing cards are manufactured from different kinds of stock. For instance, the well-known Bicycle cards are put up in both an “Ivory” and “Air Cushion” finish, the difference between the two being readily found by the sense of touch, though not so readily by the mere sense of sight. This is the whole secret of “Incomprehensibil­ ity,” and, like all good things in Magic, its very simplicity makes it difficult to detect. Obtain two packs of Bicycle cards: one with the smooth, Ivory finish, and the other with the rough, Air Cushion finish. Make up a pack the upper half of which is composed of Ivories, and the lower half Air Cushions, and all different. Bear in mind the bottom card of the upper, Ivory section—say the Queen of Diamonds. Fan the pack before your auditors, showing cards all different, and secretly locate the Queen of Diamonds, dividing the pack at this place. Hand the Air Cushion cards to a spectator, and request him to shuffle same thoroughly, then to select a card. Ask him to push the drawn card into the remaining half of the pack which you hold (the Ivory cards). Have these cards shuffled, so that all trace of the drawn card is lost, and while this operation is being per­ formed request some one to securely blindfold you. You then take back the cards and address the person who made the selection, as follows: “I am going to pass the cards one by one before your eyes. I shall ask you to concen­ trate your mind upon the card you drew, and the instant that card appears, to think the word ‘Stop!’ Under no circumstances are you to utter a word—merely think the word ‘stop’ when I reach your card. This is merely a little test in mental telepathy, and I shall depend upon your influence to guide me to your card.”

You extend the arms and proceed to pass the cards one by one from the left hand to the right. The left thumb pushes each card off the top of the pack, where the opposite hand receives it and shows the face of the card to the spectator, the following card being drawn onto the face of the card just shown. This procedure enables the fingers of right hand to move across the face of each card as it is carried away from the pack. With one ex­ ception, the cards in your hand are all Ivory finished cards, and that one exception is the drawn card from the Air Cushion packet. It will be found in actual practice that the rough surface of the drawn card is instantly de­ tected by the fingers when that card is reached, and you therefore stop with that card staring its drawer in the face. The effect is very surprising, for the spectator is bound to admit that he mentally called “Stop!” when his card appeared. You then hand the cards for inspection, and if you see to it that the two packets fall into separate hands, the secret of the experiment can never be dis­ covered. Several drawn cards may be revealed in like manner. The above principle may be put to many other good uses for the secret discovery of drawn cards. THE KEY CARD—WARRING.

An ingenious little fake, invaluable to the amateur, whose work is invariably performed at close range. It provides an easy and indetectible method for executing such difficult sleights as the “pass,” the “force,” etc. To prepare the card, split it at one end and insert a little oblong piece of thin celluloid. Glue the card together. The easiest way to split a card is to insert it in tepid water. As soon as it is dry, the split may be glued to­ gether. The piece of celluloid should be not more than a quarter of an inch wide by three-eighths long; and only one-third of its length should project from the end of the card (see Fig. 1). The projecting corners are rounded. This card is commonly called a “key card.” Instead of celluloid inserted permanently in the card, a tiny brass clip, which may be slipped on any card (making it, for the time being, the “key card”), is often employed. This clip is easily made in a few moments from a piece of the brass spring found in any ten-cent tape-measure. Cut off

a piece three-quarters of an inch long, and bend it double. Then, with a pair of pliers, slightly bend down the closed end. as shown at A, Fig. 2. This tiny clip may be slipped on any card, and is easily jerked off with the finger. Both types of key card have their advantages, but their opera­ tion is the same.

The key card is placed beforehand on the bottom of the pack. The pack is held face down on palm of left hand, with the second finger of right hand resting lightly at the upper, and the thumb at lower, end; the thumb thereby effectually concealing the tiny projection; other­ wise the projection is always held towards the body. The cards are spread before a spectator, who draws a card and notes it. The performer squares up the cards, and as they rest on his left palm he carelessly cuts the pack about in half. This operation brings the key card to the middle. “Replace your card, please,” says the performer, at the same time opening the pack, book-fashion, at the prepared card, and the drawn card is replaced directly beneath it. The pack is now carefully squared up on the outstretched palm of the left hand, or dropped on the table. Obviously, to the spectators, the performer has lost all trace of the drawn card, but as a matter of fact he has only to cut the cards at the key card in order to secretly bring the drawn card to the top of the pack, to be disposed of according to fancy. A good way, after the drawn card has been re­ turned to the pack (under the key card), is to drop the pack on a little oblong tray, or the table, upon which the performer cuts the cards several times, as if to thoroughly mix them; but the key card will always enable him to instantly locate the drawn card. Or, after cutting to

bring the drawn card to the top, the bulk of the pack may be thoroughly shuffled, care being taken to retain the drawn card at top. In the case of the removable clip, after the drawn card is cut to the top of the pack, the key card naturally has passed to the bottom, where the fingers of the left hand easily push the tiny clip off the end of the card into the palm, thereby leaving every card in the pack unprepared. The above procedure illustrates the use of the key card for secretly bringing a drawn card to the top of the pack, without resorting to sleight-of-hand. TO FORCE the selection of one or more cards, prac­ tically the same routine is followed. Say it is desired to force the Ace of Spades and the Ten of Hearts. Be­ forehand, these two cards are placed together in the pack, with the key card next above them. The performer ad­ vances with the pack, carelessly cutting the cards, which gives the impression of mixing them. He may or may not cut at the key card; that is immaterial. He requests a spectator to take a card, opening the pack, apparently, in a haphazard fashion, but really at the key card. Spec­ tator No. 1 therefore takes the top card of the lower por­ tion, the Ace of Spades. Performer drops the upper por­ tion on the lower; again cuts the pack several times, and asks Spectator No. 2 to select a card. Needless to say the magician again opens at the key card, and the Ten of Hearts is removed, after which performer again opens pack at key card for its return; closes pack upon it, and cuts around the key card several times to give the impres­ sion of the drawn card being lost sight of. He then opens at key card and the first drawn card (the Ace of Spades) is returned to the pack (really on top of the Ten of Hearts). EFFECT No. 1.

Performer arranges matters beforehand by placing (say) the King of Clubs, Six of Hearts, Jack of Diamonds and Ace of Hearts, in the order named, under the key card in the pack. He memorizes the names and order of these four cards. He also prepares four envelopes in the following manner: No. 1 is pricked with the point of a needle in one corner. The needle should be held inside the envelope and pushed through the flap side only, resulting in a tiny abrasion readily felt by the thumb. Envelope No.

2 receives two such marks; No. 3, three; while No. 4 is left unprepared. Performer begins operations by placing the envelopes in the hands of four spectators, mentally noting the order in which they are distributed. He then advances with the cards, and by the aid of the key card successively forces on the holders of the envelopes the King of Clubs, Six of Hearts, Jack of Diamonds and Ace of Hearts. Lay­ ing the pack aside, he requests that the cards be noted, and then sealed in their respective envelopes. During this operation, a fifth spectator is requested to borrow a stiff hat, and the sealed envelopes are subsequently collected in it. Several of the spectators are then permitted to in­ sert their hands into the hat and thoroughly mix the en­ velopes; after which the gentleman is requested to hold the hat in an elevated position. The performer now requests his volunteer assistant to hand him any one of the enve­ lopes from the hat. He receives it between the finger tips of both hands, and holds it to his forehead, and after more or less mental effort, calls out, for instance, “the Jack of Diamonds.” He is enabled to do this because he has felt three tiny abrasions in one corner of the envelope. The person who drew the Jack of Diamonds is requested to open the envelope and verify the statement of the conjurer, which is found correct. In like manner the cards in the three envelopes remaining in the hat are revealed by the performer. Worked with the proper address and patter, the above will be found a very puzzling parlor experiment. THE “REVERSED CARD” PRINCIPLE.

Although the secret of this clever principle has al­ ready appeared in several books, it is surprisingly little known among amateurs, to whose needs it is specially adapted. Some of the most incomprehensible card tricks may be worked by this system at any card table, with spectators drawn all about the operator, without the slightest risk of detection. Each card in the pack is secretly marked with a similar mark at one end of each card. This mark can be made with ink on the backs of any cards, and may con­ sist of any slight variation in the printed design so long as it may be readily detected by the performer. Thanks to the makers of the well-known “Angel” back

cards, however, it is unnecessary for one to mark his own cards. By reference to Fig. 3, it will be noted at A and B that the Angel back has a peculiarity in design at op­ posite ends of the card, consisting of a large and a small leaf, respectively. To prepare the system beforehand run through your pack and arrange the cards with the secret marks all at same end of the pack. If you use the Angel backs (which are recommended as the best for this purpose), see that the large leaf shown at A, Fig. 3, on each card, is at the upper left hand corner. If, now, a card be drawn from this pack, and re­ turned with the ends (or the pack) reversed in position, and the pack shuffled, the drawn card may be instantly detected by reason of the small leaf, B, appearing in the upper left hand corner; and may be readily located by ruffling this corner of the pack with the left thumb, or dealing the cards upon the table. The reader is advised to study carefully the design on the backs of well-known brands of playing cards. It will be found that many of these, in an emergency, can be used for the “reversed card” principle. The author has even made use of picture back cards without detection, as no notice is ever taken of one or two cards being turned in an opposite direction to the bulk of the pack; but their use is not to be recommended. I have already described several practical uses of this principle in my Serial No. 2, “NEW CARD TRICKS,” to which the reader is referred.

EFFECT No. 1. THE PREDICTION.

Performer hands a spectator a sealed envelope, to be opened later. A second spectator is requested to shuffle a pack of cards. Performer then divides the pack into a number of small packets, which are eliminated by the re­ peated selections of the audience, until but one card re­ mains, face downwards, on the table. The person hold­ ing the envelope is requested to open same, and finds therein a slip of paper bearing the name of a card, say the Eight of Clubs. The card on the table is turned over and found to be that card. Few card tricks can be found that produce such an astonishing effect by such simple means. Needless to say the cards are Angel backs, arranged according to the sys-

tem before the trick, with the Eight of Clubs reversed. The pack so prepared may even be handed to the spectator in its original wrapper, with government stamp affixed; but there is always a big chance that some of the cards will be dropped or disarranged in the handling, and I have found the trick quite as effective without this fea­ ture. The cards being shuffled, performer proceeds to deal them out into four packets on the table, one card at a time on each packet. This process enables him to watch for the signal at the upper left hand corner of the cards; and when the small leaf appears, indicating the reversed card, he remembers the particular packet that card has fallen in. The audience is then requested to select two of the four packets. In their choice includes the packet contain­ ing the reversed card, he states, “Very good; I will leave these on the table,” and forthwith removes the other two packets. But if the packet containing the reversed card is not one of the chosen packets, he removes the two chosen packets; thus always leaving the reversed card packet on the table. This ruse is of constant use in card magic, and many clever tricks depend upon it. The de­ ception is never noticed by the audience. This process of elimination is resorted to again and again, the remaining packets on the table being divided into four until but one card (and that the reversed card) remains. The envelope is opened and the name of the card revealed by the con­ jurer’s prediction. THE “SELF-SHIFTING” PACK.

By the aid of this ingeniously prepared pack, which involves a new use of the old “long and short” cards, the amateur magician is enabled to secretly bring a drawn card to the top of the pack without the slightest skill. This operation is technically called, in sleight of hand, the “pass” or “shift,” and many an amateur (possibly the average) is unable to perform a wide range of clever card tricks owing to his inability to master this sleight. The “self-shifting” pack, therefore, should fill a long felt want in amateur circles. FIRST METHOD. The pack is composed of 26 pairs of cards, each pair different; for instance, Ace of Hearts, Ace of Hearts, Ten of Clubs, Ten of Clubs, Six of Dia­ monds, Six of Diamonds, etc. (see Fig. 4). Also, one card

of each pair is a short card, and the other a long card. Thus, beginning with the top card of pack (pack face down), every alternate card is a short card, the arrange­ ment ending with a long card on the bottom. The pack is easily prepared by purchasing two packs with backs of like color and design, and shaving off the end of each card of one pack with a sharp knife, to the extent of one-sixteenth of an inch, or even less. Or, what is better, purchase at any photographic supply house a small photo print trimmer, which will be found to do the work effectively and quickly. The corners at the trimmed ends of the cards can be rounded with a small strip of fine sandpaper. With a pack so prepared, square up the cards by knocking one end on the table to settle the short cards. Hold the pack squared up and face down in left hand, with the face side of pack slightly raised towards spec­ tator. Slowly ruffle the cards, calling attention to the fact that the cards are all different. As every other card is a short card, the process of ruffling permits the cards to pass in pairs, so that no two alike appear before the spectator’s vision. Lowering the pack, again ruffle, requesting spec­ tator to insert his finger (or a knife blade) into the pack at any point he desires. No matter where his finger is inserted, it will be at the short card of a pair. As spec­ tator removes the card under his finger, performer lifts in one packet all cards above that point, and places them on the bottom of pack. This naturally leaves the dupli­ cate of the drawn card on the top of pack, to be dealt with as desired. The drawn card may be pushed back in pack anywhere spectator desires; but this destroys the proper order of the pack, and this card must be secretly gotten rid of before a second card can be safely drawn. SECOND METHOD. This is an improved self-shift­ ing pack, in that no short cards are used. The pack is ar­ ranged in pairs of duplicate cards, precisely as above, but they are the well-known Angel back cards, and, beginning with the second card from top of pack (pack face down), every other card is “reversed,” as in the “Reversed Card” principle already explained. This simple arrangement permits of the pack being spread in the approved manner, from left to right, before a spectator for the selection of a card. As he removes his card, the performer secretly notes the leaf in upper left hand corner of the card next below it in the pack. If the small leaf appears, he knows that the duplicate of the

drawn card will pass to the top of pack; but if the large leaf appears, the duplicate will pass to the bottom. Of course, as soon as spectator removes his card, all those cards above the break are carelessly transferred to the bottom, as in the First Method. It does not take much skill on the pai't of the performer to induce a spectator to select a card with the large leaf exposed in upper corner, thereby causing the duplicate to pass to the top. This pack may be ruffled to show cards all different, precisely the same as the long and short pack, it being a curious fact that the duplicate pairs, passing in rapid rotation before the eye, blend as one card. SUGGESTIONS. The uses to which the self-shifting pack may be put are practically limitless. If performer is careful not to show the faces of the cards too freely, it can be used for almost any trick where the regulation “pass” is employed for secretly bringing the drawn card to the top, it being unnecessary to retain the original order of the pack after card is drawn. It is quite as easy to have two or three cards drawn from this pack, as one, duplicates of same being brought successively to the top of pack, for subsequent use, as fol­ lows: First spectator draws a card, duplicate passing to top. Second spectator draws card, and again all cards above it are passed to bottom, but just as upper packet passes the lower, the left thumb is extended onto the cards in right hand, drawing over on top of left hand packet the duplicate of first drawn card. A third specta­ tor draws card, but this time the duplicate is pushed from the bottom packet on top of upper packet, and the latter merely replaced on the lower packet. Thus, the duplicate of the third drawn card is now on top of pack; duplicate of first drawn card is second from top; while duplicate of second drawn card is third from top. It is essential, in some cases, to know this order of the duplicate cards. If there is risk of detection in slipping the cards, the performer may, after the removal of each drawn card, request the spectator to show his card to those present, while he (performer) obligingly turns his back. This momentary turn enables him to slip the cards as above explained. The selection of two or more different cards goes far in con­ vincing spectators, indirectly, that the pack is an ordinary one. The self-shifting pack is particularly adapted to my “Perfection Rising Cards,” (Serial No. 2, “NEW CARD TRICKS”), as duplicates of the three drawn cards may be

secretly brought to the top of the pack in manner just explained, all ready for the windlass to raise them from the pack in goblet. EFFECT No. 1. A clever little trick with the self­ shifting pack is the following: A card is drawn by spec­ tator, in manner now familiar to the reader, duplicate card passing to top of pack. To enable spectator to show his card to those around him, performer turns his back to the company, and secretly takes this opportunity to peep at duplicate card on top of pack; then slips this card un­ observed into his outside coat pocket. He then requests spectator to push his card anywhere in pack; performer squares up the cards, ruffles them, and instantly names the drawn card. He then requests spectator to remove the card (the duplicate) from pocket. Spectator finds only the one card in performer’s pocket, which he is bound to ad­ mit is his own. EFFECT No. 2. In this trick three cards are drawn by different spectators, the duplicate cards being assembled on top of pack in manner above described. The performer requests each spectator to push his card into the pack, which is then squared up and dropped into a borrowed stiff hat. The cards are apparently mixed by shaking the hat with a lateral motion, which, as a matter of fact, does not disturb the cards at all. In any event, the conjurer sees to it that the three duplicate cards do not leave the top of the pack. Requesting a boy to hold the hat as high as possible, so that neither the performer or himself can see into it, the conjurer turns to spectator who last drew a card, and requests its name. Say the card was the Seven of Spades. Performer reaches into the hat and quickly brings out the duplicate Seven of Spades on top of pack. In like manner the first spectator’s card is found, followed by second spectator’s card. The trick may be further worked up by placing the wand in the boy’s free hand, the performer touching the tip of the wand with his fingers before reaching into the hat. When the name of the next card is announced, he may direct his youthful assistant to change ends with the wand, as a necessary expedient for the production of that particular card, etc. The quickness with which the drawn cards are pro­ duced from the hat is very mysterious to the uninitiated. There should be an instant’s fumbling in the hat before the removal of each card.

THE “SELF-FORCING” PACK.

By the aid of this application of the “long and short” principle, the most skeptical spectator is thoroughly con­ vinced that his choice of a card is not influenced by the magician in any way. The pack is first slowly ruffled before his eyes, showing cards all different; still, no matter where he inserts his finger, or a knife blade, the performer has actually forced a card upon him. The value of this card force can not be under-esti­ mated. The most expert sleight of hand artist fails, at times, to force his card; but, granting his ability to over­ come this dilemma, the usual method of forcing a card does not always leave the spectator thoroughly convinced that he has had free choice in the matter of selection. In the case of the self-forcing pack, the spectator has no ground for suspicion. He is at liberty to draw a card by inserting his finger in the pack at any point he may deliberately elect. TO FORCE ONE CARD. As in the self-shifting pack, first method, every alternate card, beginning with the top card, is a short card. And these short cards are all of the same suit and value, say Jacks of Hearts. For in­ stance, the top card is a short Jack of Hearts, the second an indifferent long card, the third a short Jack of Hearts, the fourth an indifferent long card, and so on (see Fig. 5). Thus the pack is composed of 26 ordinary, long cards, all different, and 26 short Jacks of Hearts. The manipulation of this pack is precisely the same as the long and short self-shifting pack, described above. It is ruffled by the end in the usual way, from the bottom card upwards, for the purpose of giving the impression that it is of the most ordinary description, containing no two cards alike. If, however, it is desired to have the drawn card returned to the pack, performer sees to it that the card is replaced in its original position, to pre­ serve the proper order of the cards. If the pack be carefully squared up, and the short cards settled at one end of the pack, the latter may be laid on the table and a spectator permitted to cut at any point he desires, noting the top card of the bottom cut; provid­ ing, performer takes the precaution to see that such per­ son seizes the pack at the ends and not the sides. Seized at the ends, the fingers come in contact with long cards only, and a short (force) card is thereby always exposed

at the top of the bottom cut. This is a very bold, but ef­ fective, means of forcing a card, inasmuch as the cards are apparently beyond the conjurer’s control. TO FORCE TWO CARDS. There are several ar­ rangements by which the above pack may be utilized for the forcing of two different cards. The simplest, perhaps, is to have the short cards in the upper half of the pack all one kind, say Jacks of Spades, while the short cards in the lower half are of another value, say Tens of Diamonds. In ruffling the cards before the first spectator, performer passes slowly over the bottom section of pack, forcing a choice in that portion; and when he approaches a second spectator he ruffles quickly over the bottom section, and releases the cards slowly in the upper section, forcing a card from that portion. Another ingenious arrangement is obtained by using three groups of prepared cards, as follows: Group 1 consists of 17 short cards, all alike, say Aces of Hearts, as in Fig. 6. Group 2 consists of 17 cards, all alike, say Queens of Clubs, with a portion cut obliquely from the right hand upper corner, as in Fig. 7, making these “short” cards at one corner, only. Group 3 consists of 17 cards, all different (any cards), with a portion cut obliquely from the left hand upper cor­ ner, as in Fig. 8.

To assemble the pack, lay any card from Group 3 face downwards on table; on this place an Ace of Hearts from Group 1; then a Queen of Clubs from Group 2; seeing that the cut corners are all one way, and repeating this order of the cards until the pack is complete. If, now, this pack be ruffled with the finger placed at the right hand upper corner, the cards will appear to be all different. And if, during this same ruffle at right hand corner, a spectator inserts a finger, or knife blade, into the pack, the card under his finger will be a Queen of Clubs.

If it is desired to force an Ace of Hearts, the performer ruffles the pack at the left hand upper corner. TO FORCE THREE CARDS. This pack can not be ruffled for the purpose of showing cards all different. It is arranged precisely like the last mentioned pack, consisting of three groups of cards, except that the indifferent cards in Group 3 are replaced with cards all alike, say Sixes of Diamonds. Thus, by ruffling the pack at the right hand upper corner, a spectator would find a Queen of Clubs un­ der his finger. Again ruffling at the same corner, per­ former would request spectator to note card next above his finger, a Six of Diamonds. Ruffling the pack at the left hand upper corner would force the Ace of Hearts, as before.

ROGERS’ “EVER READY” FORCING PACK.

This is by far the master forcing pack of the modern magician—a forcing pack that can be given a bona fide shuffle. The effects obtained by its use are beyond the divination of any human mind. The performer shows the cards positively all different by running over the pack, face up. The backs are likewise freely shown. He then thoroughly mixes the cards by executing the ordinary over-hand shuffle, faces of cards towards spectators. These preliminaries over with, the magician squares up the pack, holding it face downward in left hand, and requests a spectator to insert the blade of a penknife into the pack, at any place spectator desires, while he (the performer) ruffles the cards. The knife being inserted in the pack, spectator is requested to peep at the card next above the blade, after which the pack is again subjected to a thor­ ough shuffle, and the noted card duly produced according to performer’s fancy. As the reader has undoubtedly surmised, the preced­ ing “long and short” principle of the self-forcing pack en­ ters into the present deception; but the most ingenious part of the invention is the arrangement of the cards whereby the shutting feature is obtained. Every other card is a “force” card, and likewise a “short” card. Say these force cards are Aces of Clubs. Every short Ace of Clubs is glued to the back of an in­ different, long card, across one end only, like a flap (Fig.

9). Thus, while every card is shown different in the pack, there is a force card concealed on the back; but the backs of the cards may be shown with equal impunity, as all cards face same way.

After the cards have been shuffled, and squared up, they may again be shown “all different” by ruffling from the bottom upwards (vide the self-forcing pack) ; but when the cards are presented to the spectator, the performer takes pains to hold the pack rather low, and ruffles from the top downwards. Thus, no matter where the knife is inserted, the card above will be the force card, providing the performer has taken the necessary precaution to see that the glued ends of the cards are all one way, and this prepared end kept nearest the body. For obvious reasons, spectator is only permitted to “peep” at his card. This wonderful forcing pack is of the greatest value in such tricks as the Spirit Slates, Spirit Hand, Skull, etc.; but the cards must be prepared with the greatest care, and for that reason I can not too strongly recommend the reader to purchase one of these packs direct from the in­ ventor, and thus be assured of the highest quality of work­ manship. ROGERS’ RISING CARDS.

This very clever version of the Rising Cards is an­ other invention of Dr. Ford B. Rogers, of Kansas City. It is particularly adapted to the needs of the performer who makes a specialty of parlor, club, and platform work, in that no assistant is required. The cards may be freely shown, front and back, at all times; the drawn cards rise from pack while the latter is held in performer’s own hands; and the cards are at all times under perfect con­ trol. The first 12 or 15 cards on the top of the pack are un­ prepared. The remainder of the pack has a thread run­ ning through a hole punched near one end (see Fig. 10),

one end of thread being secured to the bottom card (which had best be two cards glued together, end of thread glued between). The top card of these punched cards has an additional hole near the bottom (A, Fig. 11), through which the free end of thread is passed, in order to keep the thread at lower end of pack, out of sight. The 12 or 15 ordinary cards are placed on top of the threaded packet, or, what is better, place about ten on top, and five on the bottom for the person who grabs for a bottom card. Make a loop on the free end of the thread, and pass over one of the three lower vest buttons, the proper length between vest and pack being determined by experi­ ment. Jn presenting the trick, performer spreads cards from left to right, face up, to show pack unprepared. This does not reveal the holes in cards, and serves to obtain slack thread between each card in the prepared section, so that a drawn card can be replaced therein without resist­ ance. Always, in spreading the cards out to show them unprepared, and again to allow a person to select one, performer gets his left little finger on top of thread at bottom of pack, and thus keeps thread out of sight. Having shown the cards, performer squares up pack, turns it over, and, slightly fanning the top eight or ten cards, requests a spectator to draw a card. The proceeding is fair, and no difficulty is experienced in inducing spectator to take one of the ordinary cards. He may mark his card if he chooses, and then replaces it in the squared up pack, the conjurer seeing to it that the card goes into the threaded section. It is best for the performer to finish pushing the card into the pack, as there may be slight

resistance if the cards were not spread sufficiently to ob­ tain plenty of slack in the beginning. Performer now holds the pack in right hand, face of cards towards audi­ ence. The thumb is on the left side, near top; first, second

and third fingers on right side; and little finger at bottom. The pack is held just far enough from the body to take up the slack of the thread. The slightest movement of the pack beyond this point causes the drawn card to rise. If there happens to be a white background or light behind the performer, the thread may be easily concealed by plac­ ing the left arm in front of it; a very natural position, especially if the left hand be held a few inches below the cards, and adopts a slight fanning motion as the card rises. As the drawn card rises, the performer may turn his body so that the audience see front, sides and back of pack. This is very convincing, as it proves conclusively that the card really rises from its original position in the center of the pack. The trick may be repeated immediately with a second and third drawn card, but it is best not to reveal more than the latter number in this manner.

ROGERS’ OBEDIENT CARD.

This pretty card effect is a combination of the prin­ ciples involved in the Ever Ready Forcing Pack and Rogers’ Rising Cards. For this reason I have reserved it until the reader was acquainted with both tricks. EFFECT: The conjurer shuffles a pack of cards, showing every card different. A spectator inserts his finger in the pack, anywhere he desires, and peeps at a card at this break. Performer again subjects the pack to a thorough shuffle, squares it up, and, by so-called “mind reading,” names the card noted by spectator, after which he causes that card to rise from the pack. The whole trick is of only a few minutes’ duration, but the result is most startling and convincing. The reader has probably already surmised most of the explanation. The pack is an Ever Ready Forcing Pack, the forcing cards consisting of, say, Jacks of Spades. In addition, the performer has prepared a feke consisting of two cards, made into a sort of envelope open at the upper end, the space in this envelope card being sufficient to hold just one card, a Jack of Spades. A piece of black silk thread is attached to the inner, front side of the en­ velope card, at the open end, and passes out through a

hole in the rear side, also at the open end; thence passes down the back of the envelope card to a second hole, and the thread passes out at the bottom, between the two sides of the envelope. The arrangement, it will be noted, is similar to that obtained in Rogers’ Rising Cards. There­ fore. when the Jack of Spades is pushed into the pocket card, it carries the thread down with it. The free end of the thread ends in a loop, which is slipped over one of the lower three vest buttons; and the envelope card, con­ taining the Jack of Spades, is carried in the left hand lower vest pocket until required. When the conjurer comes forward with the Ever Ready Forcing Pack, he may, if he desires, have the en­ velope card already added to the pack. With very little care in the shuffling of the cards, the feke will not inter­ fere with any of his operations, and the thread is absolutely invisible against the clothing. After shuffling the pack in such a manner that the spectators note that all the cards are different, performer squares up the pack and forces the Jack of Spades in the manner now familiar to the reader. The pack is again shuffled, and, after due dramatic effect, performer names the chosen card, apparently by “mind reading.” Or he may have the name of the card appear on the Spirit Slates, or the trick may be further enhanced by having a Spirit Hand rap the desired information. The Jack of Spades is then caused to rise from the pack.

HOLMES’ “MYSTERY” PROBLEM.

The only originality claimed for this effect is the ar­ rangement and manipulation, as none of the three prin­ ciples made use of are my own. It is offered here to the amateur as an example of the extent to which prepared cards, and similar accessories in card magic, may be com­ bined and utilized to the best advantage. The effect is this: Performer hands a spectator a sealed envelope, to be opened later on as he directs. A pack of cards is shown all different, and a second spectator invited to draw one. Performer then divides the pack in half, stating that he requires only that portion for the trick, and the drawn card is returned to this packet, and shuffled by anyone. Performer then deals the cards in several packets upon the table, “to complete the shuffle,” and leaves pack squared up on table. The spectator is requested to open the en­

velope and read aloud the message it contains. He reads, say. “The Four of Hearts; the 17th card,” whereupon per­ former counts down to the 17th card in pack and turns up the Four of Hearts, spectator’s card, thus predicting the card drawn for the experiment as well as its ultimate posi­ tion in the shuffled pack. EXPLANATION: A self-forcing pack, consisting of 26 long cards, all different, and 26 short cards, say all Fours of Hearts. The 26 long cards are “Ivory” finished cards (Bicycle or Angel backs), while the 26 Fours of Hearts are the “Air Cushion” or “Cambric” finish. The usual arrangement of the self-forcing pack is followed, every other card being a short card, etc. In addition to this, performer snaps a rubber band round the remaining 26 cards of the Ivory pack from which he has prepared the self-forcing pack, and places this unprepared packet in his right hand outside coat pocket. When he has prepared a message reading, “The Four of Hearts; the 17th card,” and sealed it in an opaque en­ velope, he is ready to perform the trick. He places the sealed prediction in the keeping of a spectator, and, going to a second spectator, ruffles the pack, showing cards all different; then forces a Four of Hearts. Leaving the drawn card in spectator’s possession for the time being, performer returns to the table, stating that he needs only one-half the pack for his experiment. He ac­ cordingly deals the cards rapidly into two heaps, one card at a time on each heap. Now when the spectator removed one of the Four of Hearts from the pack, the performer unconcernedly passed all cards above the drawn card to the bottom of the pack; therefore, when he separates the cards into two heaps on the table in manner just explained, all the ordinary Ivory cards naturally fall into one heap, while all the Fours of Hearts (the Air Cushions) fall in the other. When he has dealt all the cards, he snaps a rubber band round the packet containing the Fours of Hearts, and, without showing the face of this packet, drops it unconcernedly into his outside coat pocket on the right hand side, that is, in the same pocket wherein rests the packet of 26 ordinary Ivory cards. Picking up the packet of 26 ordinary cards from the table, he requests the spec­ tator to return his card to this packet, after which several spectators are permitted to shuffle the cards all they like. This indirectly proves that cards are all different. Taking

back the pack, performer returns to the table and rapidly deals the cards into three heaps, face down. To convince everyone that no deception enters into the proceeding, he twice repeats the operation, dealing three times in all. Now, in dealing the first time, performer mentally notes into which of the three heaps the chosen card falls— he instantly recognizes the chosen card by the sense of touch, as it is the only Air Cushion card in the packet, all others being smooth Ivories (Rogers’ “Incomprehensi­ bility”) . After the first deal, he picks up the three packets in such manner that the packet containing the chosen card is second. After the second deal, the chosen card packet is placed first (on the top) ; and at the completion of the third and last deal the chosen card packet is again placed second. He may then square up the cards with the secret knowledge that the chosen card now stands at No. 17 from the top of the pack. This is best understood by reference to my Serial No. 2, “NEW CARD TRICKS,” where the “27 Card Trick” is fully explained at page 24. It will be noted in the present trick that only 27 cards are used. It now only remains for the conjurer to request the spectator to open the envelope and read the prediction it contains, after which performer counts down to the 17th card and turns up the Four of Hearts (or whatever his force card is). Tossing out this card, he carelessly in­ serts his hand into his coat pocket and brings out the other half of the pack, supposedly the half discarded a few minutes before, but really the other half of the ordinary Ivory pack, which is added to the 26 ordinary cards on the table. The pack can then be inspected to the complete sat­ isfaction of the spectators without offering a clue to the secret, so long as the chosen Air Cushion card is not added for comparison, and then only a keen observer is apt to notice the difference in quality. The above method of secretly getting rid of the force cards in the self-forcing pack is both useful and novel, and I have never had the separation of the pack in this manner questioned, for, after the separation of the force cards, nothing but ordinary cards, all different, remain for the spectators’ inspection. The deception will be found of great use wherever either the self-shifting or self-forcing packs are used; for when the prepared portion is gotten rid of, the conjurer has in his hands an ordinary pack with which to proceed.

HOLMES’ FOUR ACE TRICK.

The usual effect, in which the four aces, dealt faces down on table, with three indifferent cards on top of each ace, mysteriously assemble in one heap. The methods by which this superb card effect are obtained are almost as numerous as those constantly in­ vented for the Rising Cards. The present version of the Four Ace Trick is my own, originality being claimed only for the method of secretly bringing the four aces together in the desired packet. The beauty of this method rests in the fact that, after the spectators have chosen the packet, performer is enabled to show such packet to consist of three indifferent cards, with an ace on the bottom. These four cards are laid to one side on the table, and are not again touched by the performer until he turns them up and exhibits them as the four aces, showing them sepa­ rately, front and back, as ordinary cards. The following cards are used: Four aces, all being short cards. Prepare three additional aces (the Aces of Hearts, Clubs and Diamonds) by gluing across one end only, on the back of each ace, an indifferent card. (See Fig. 9.) These indifferent cards are short cards, and face same way as the aces to which they are attached. An ordinary pack, from which the aces have been dis­ carded. To prepare for the trick, distribute the four short aces in the lower part of the pack. Turn pack over, and on top, face down, place the prepared Ace of Diamonds. On this any three indifferent cards; then the prepared Ace of Clubs; three more indifferent cards; then the pre­ pared Ace of Hearts, ending with two indifferent cards on top of pack. Thus the prepared aces will be found at the third, seventh and eleventh cards, counting down from top of pack. Performer announces the Four Ace Trick and, run­ ning through the pack, removes the four (short) aces near bottom. Showing them freely, front and back, he places them, face down, in a row on table, Ace. of Hearts first, then Clubs, Spades and Diamonds. Regardless of the order of the other aces, the Ace of Spades is always the third ace, from the left, in the row. Performer now takes an indifferent card off the top of the pack, and places it, face down, on the Ace of Hearts; another on the Ace of Clubs, and likewise on the Aces of Spades and Diamonds.

Owing to the prearranged order of the pack, the supposed indifferent card that falls on the Ace of Spades is, of course, one of the prepared duplicate aces, and as this card is an ace on its face, the performer artfully neglects to show this card as he places it on the table. One indiffer­ ent card having, apparently, been dealt on top of each ace, the process is repeated a second, and then a third time, resulting in three cards being placed on each ace. This also results in the three prepared aces secretly assem­ bling on the Ace of Spades; but this deception is never sus­ pected if the conjurer indirectly shows the faces of the true indifferent cards now and then as he draws them off the pack. Calling attention to the fact that the four aces are now upon the table, with three indifferent cards on top of each ace, performer forces, by the system of elimina­ tion, described elsewhere in this book, or otherwise, the Ace of Spades packet. Picking up the three discarded packets, he removes the three (short) Aces of Hearts, Clubs and Diamonds from these cards, and pushes one after the other of these aces into the pack in the ordinary manner—that is, facing same way. The discarded indiff­ erent cards are then added to the pack to get them out of the way, and the pack squared up by knocking one end on the table. This knocking of the cards on the table serves to settle the three short aces into the lower end of the pack, which is very important. The pack is then laid on the table. Taking the chosen (Ace of Spades) packet, per­ former advances to one of the spectators and slowly ruffles the four cards, showing them to consist of three indiffer­ ent cards with the Ace of Spades on the face. Now he ruffles these cards after the manner of ruffling Rogers’s “Ever Ready” forcing pack. The lower ends of the cards are held on their edges between the left hand middle finger and thumb, with the Ace of Spades, at bottom of packet, squarely facing audience. The right hand now approaches, and the thumb is rested at the upper end of cards, the fingers below. The thumb of right hand then executes the ruffle from the rear card, forward to the Ace of Spades on the front; the cards being bent downwards sufficiently for the spectators to note each card as the thumb releases it. This operation brings the long and short principle of the cards into play, and thus only the three indifferent cards, and the ace on the front, are re­ vealed, the three duplicate aces passing in concealment behind each indifferent card and the visible ace.

Replacing the packet face down on table, performer picks up the pack and pronounces the mystic word. Pass­ ing before the spectators, he slowly ruffles the pack, prov­ ing, according to conjurer’s logic, that the three aces have really left the pack. This he is enabled to do because the three short aces are invisible when the long cards of the pack are ruffled. Returning to the table, he shows the four aces assembled in the chosen packet. Three of these aces are double cards, but may be shown, front and back, with impunity if properly prepared.

THE “TRIANGLE” TRICK.

Having invited a gentleman to occupy a chair facing the audience, the performer commences the experiment by calling this gentleman’s attention to a complete pack of cards displayed on a blackboard on an easel at one side of the room or stage. His attention is likewise directed to a quantity of wide ribbon gathered on the chair back. The performer removes the two top rows of cards (half the pack) from the board and drops them face downwards on a tray, and asks his volunteer assistant to take these cards, cut them, and turn the two packets thus formed face to face; then to twist the center part of the ribbon, which the conjurer takes from the back of the chair, sev­ eral times around the cards. The performer then offers the two ends of the ribbon to two ladies seated at extreme right and left of the audience. This arrangement of the ribbon forms, so the conjurer explains, The Triangle, the gentleman being called The Apex. The other half of the pack the performer removes from the blackboard and spreads, face up, on the tray. He advances to the ladies holding the ribbons and requests each of them, in turn, to look at the 26 cards on the tray and mentally note any one of them. The ladies each having indicated that they have made a choice, the conjurer places the tray temporarily in the keeping of a spectator and gathers together the cards in a packet. He does not manipulate the cards in any way, but asks the ladies, each in turn, to hold the packet for a moment at the end of their ribbon, and to wish the cards they thought of to leave the rest of the packet. “Now,” says the performer, “if the experiment has succeeded, the two cards that the ladies merely thought of will have left the pack I am holding. Will you, sir,” ad-

dressing the spectator in whose keeping the tray was left, “kindly scrutinize the cards as I pass them before you, and tell me if the ladies’ cards are in this pack?” The ladies are asked of what cards they thought, and these cards are found to have mysteriously left the pack. The performer then returns to the gentleman seated at the apex of the ribbon triangle, requests him to unwind the ribbon from the cards in his possession, and deal these cards on the tray, for the purpose of finding the ladies’ thought cards. Naturally the two cards in question are found in the gentleman’s packet. FIRST METHOD. Devant. A prepared pack of 52 cards, several yards of wide ribbon, an easel, with a blackboard arranged with four thin strips tacked horizontally across its surface to hold the cards, a small oblong Japanese tray, and a chair com­ prise the requisites for the presentation of this startling card problem. One-half the pack consists of double-faced cards, the cards on the back being duplicates of the unprepared half of the pack. The pack is arranged beforehand on the easel, all cards different, the two top rows being the ordi­ nary cards; the two bottom rows the double-faced cards. The ribbon is gathered on the chair back; the tray on seat of same chair. A gentleman being induced to take the chair, per­ former invites his attention to the complete pack on black­ board ; then the ribbon. The cards overlap one another a trifle in the rows on the board, for convenience of re­ moval, and when the performer sweeps off the two top rows and hands these cards to the assistant, the latter re­ ceives the unprepared half of the pack. Following the conjurer’s instructions, he cuts the packet and turns the halves face to face and winds the center part of the rib­ bon around them. The ends of the ribbon are then passed to the two ladies, as already explained, and the performer removes the two remaining rows of cards (the double­ faced cards) from the blackboard. As he turns to place them on the tray it is an easy matter to turn the packet over without detection, thus bringing the duplicates of those cards in the gentleman’s packet uppermost. Per­ former spreads the cards all over the tray and has each lady in turn mentally note one card. After they have made mental selections, he gathers up the cards, always holding the cards low to prevent the revelation of their double-faced character, and during the course of his patter,

and while moving from one lady to the other, secretly turns the packet over once again; therefore, needless to state, when a spectator scrutinizes the cards as performer deals them, face up, on the tray, the two cards thought of by the ladies are found missing, and as duplicates of these cards have been from the beginning in the gentle­ man s packet, the trick comes to a successful termination without further effort on the part of the conjurer. While the gentleman is scrutinizing his cards, the performer has ample opportunity to secretly exchange his own packet of double-faced cards for 26 ordinary cards, which are care­ lessly handed to the assistant for his inspection, the two packets, when joined, comprising an unprepared pack. SECOND METHOD. Holmes. The general effect of this, my own version, does not differ materially from Mr. Devant’s; but different means are employed, and there is less risk of detection, which is always a prime requisite in close work. To begin with, my own pack may be shown, front and back, at any time, as no double-faced cards are used. Twenty-six cards are unprepared, and all different. The other 26 cards of the pack are really double (not double­ faced) cards, being prepared on the principle of Rogers’ Ever Ready Forcing Pack. That is to say, each of these 26 cards, which are all different (comprising those cards not found in the unprepared half) has glued across one end on the back, and facing same way, an indifferent. short card. And these short cards are duplicates of the 26 cards contained in the unprepared half of the pack. Therefore, by reason of these 26 double cards, the entire pack really consists of 78 cards; but inasmuch as the two halves of the pack are never joined together during the experiment, there is no opportunity for comment on the extra thickness of the pack, and no notice is ever taken of the thickness of performer’s packet, even though it con­ tains 52 cards. The trick proceeds along the lines laid down in the First Method. The two top rows of cards on the black­ board are the 26 ordinary cards; while the two bottom rows are the 26 double cards. The cards in the two upper rows are swept off the board, and placed in the keeping of the volunteer assistant, who wraps the center portion of the ribbon around the cards. When I advance with my packet of cards to one of the ladies holding the ends of the ribbon, I slowly ruffle the cards before her eyes, so

that she can see every card is different. Squaring up the cards, I repeat the ruffle, inviting the lady to mentally note any one card, but not to let me get a clue to its identity. When I ruffle the packet the first time, showing cards all different, the sleight is executed from the bottom upwards; when I again ruffle the cards for the lady to make a mental selection, I ruffle the cards from the top downwards; and this latter ruffle reveals to the lady’s sight only the short cards, all of which are duplicated in the gentleman’s packet. The ladies are then required to go through the for­ mality of “thinking” their cards along the ribbons to the Apex of the Triangle, after which a spectator holds the tray while I pass the cards, one by one, face up before him. While attention is centered on the man at the Apex, in his search for the chosen cards, the prepared packet is secretly exchanged for 26 ordinary cards. ANOTHER “MARVELOUS COINCIDENCE.”

This trick was contributed by the author to the American conjuring magazine, “Magic," now discontinued, under the title of “A Card Mystery.” I have made one or two minor improvements in its working since that time, and will therefore include the trick here. Two packs of cards are shuffled, and one placed in the hands of a spectator, performer retaining the other. The spectator is requested to mentally select any number; then to privately count down the cards in his pack to such num­ ber, and turn up the card next in order. The performer follows his example by counting down the cards in his own pack until stopped by spectator, when it is found that the two cards turned up are exactly alike in suit and value. Obtain two packs of cards, and from one remove any card you may elect, say the Three of Spades. Cut a corner off this card of such size that the missing portion may easily be covered with the ball of the thumb. Place this prepared Three of Spades on top of the pack, the missing corner of card at upper right hand corner of pack. This pack, which I shall designate as No. 1, is the one you re­ tain in your possession during the trick. Pack No. 2 is unprepared, except that just previous to the beginning of the trick, you take pains to have the Three of Spades of this pack on the top.

You come forward with Pack No. 2, carelessly shuf­ fling the cards, but taking care that the Three of Spades remains undisturbed at top. Hand the pack to a spectator and request him to mentally select any number desired and to count a like number of cards, one after the other, off the top of his pack. You caution him to count his cards noiselessly, so that it will be impossible for you to determine the precise number chosen. Meanwhile, you may turn your back as an extra precaution in his favor. When your assistant announces his task accomplished, you request him to replace the counted packet on top of the pack. (Note: The mere process of counting the cards off the pack shifts the top card—the Three of Spades— to the bottom of the packet. Therefore, when assistant has counted packet and replaced it on the pack proper, the Three of Spades rests in the pack at the number mentally chosen.) You then take the pack in your own hands, plainly showing, without verbally calling attention to the fact, that your hands conceal nothing. You place the pack, face up, in view on a plain water goblet on table. Now, before­ hand, you have secretly placed on the top of this goblet one card (any card) from Pack No. 2, this card being absolutely invisible to the spectators, as already explained in my Serial No. 2, “New Card Tricks,” page 7. This card rests face up on the glass, therefore when the pack is dropped, face up, thereon, the concealed card is secretly added to the number counted by spectator. Introducing Pack No. 1, you shuffle it, but retain the cut corner card on the top. Holding the pack in left hand, in position for dealing, with the missing corner of pre­ pared card at upper right hand corner, you state that you are about to deal a few cards off this pack, and you will ask the gentleman to call “Stop” when you have dealt off a number of cards corresponding to the number origi­ nally chosen by him. You proceed to draw one card at a time off the top of pack, dropping them in a heap on the table; but in every case you draw the card directly under the prepared Three of Spades, the missing corner of this card permitting the tip of the right thumb to withdraw the card next below it with ease. This is a makeshift “second deal,” which answers the purpose perfectly if the performer is unable to execute the genuine sleight of sec­ ond dealing. When the spectator calls “Stop,” you draw the top card (the prepared Three of Spades) off the pack, the thumb and fingers concealing the missing corner. Per-

mit all to see that this card is actually taken off the top of the pack. Laying aside your own pack, but retaining the Three of Spades in your hand, request your assistant to take his cards off the glass and count down from top of pack the same number of cards he directed you to count. When he has complied, request him to turn up the card next following on top of his pack, and he will be amazed to find the Three of Spades occupying the identical position in his pack as the card of the same suit and value occu­ pied in your own pack. It is to be understood, in both cases, when the number of cards corresponding with the number mentally chosen by spectator have been counted off the packs, it is the next card exceeding this number that is turned up.

A NEW CHAMELEON PACK.

Consists of about 32 cards. The top half contains ten red spot cards, all different, and six prepared cards whose upper ends represent black face cards, all different, while their lower ends represent red face cards, all different. The Ten of Hearts is on the bottom of this section. The bottom half of pack contains ten black spot cards, all different, and six prepared cards whose upper ends represent red face cards, all different, and their opposite ends black face cards, all different. The Ace of Clubs is placed at bottom of pack. These face cards are prepared by gluing on the face side of any card a half section of two different face cards,

divided diagonally as in Fig. 12. The cards should not be split before gluing together, as the added thickness of pack is desirable. It is understood that these prepared

cards are to represent the 12 face cards of an ordinary pack at either end, but where one end of a card is a black face card, the opposite end represents a red face card, and this arrangement is followed throughout. Every other card, or two, should be a spot card, followed by a face card. The fact that all the red spot cards are in one end of the pack, while all the black spot cards are in the other is never noticed, owing to the opposite color of the face cards. Now if the entire pack be fanned from left to right, the cards appear well mixed. (Fig. 13.) Performer di­ vides the pack in half, removing all cards below the Ten of Hearts and placing them, squared up, in view against a goblet with the Ace of Clubs on bottom, facing audience. As he places this packet on the table he secretly changes ends. In like manner he places the remaining packet against a second goblet, also changing ends, the Ten of Hearts at bottom and outermost. The black cards now mysteriously assemble in the Ace of Clubs packet, while the red cards assemble in the Ten of Hearts packet. Each packet is fanned, showing such to be the case, after which the two packets are again placed together, the red cards on top of the black. Re­ questing a lady to breathe on the cards, performer secretly changes ends with the pack and fans the cards once more, when they are found thoroughly mixed, red and black to­ gether, as in the beginning. (Fig. 13.) This is a very satisfactory Chameleon pack. It may be introduced as an interlude in almost any series of card effects. A NEW X-RAY TRICK.

In my Serial No. 2, “New Card Tricks,” I described two methods of my own for working DeLand’s well-known X-ray pack. The present method (likewise my own), while not requiring the aid of prepared cards, calls for a certain preparation of the pack, hence is included here. Arrange your pack beforehand according to the old “Eight kings threatened to save” formula. Exchange for a pack that has previously been in the hands of the spec­ tators. Advance with the prearranged pack, and spread the cards for a spectator to select one. Pass all cards above the drawn one to the bottom and get a glimpse of the bottom card, which gives you the name of the card

just removed. Request a second spectator to draw a card, but stop him, saying, “Or perhaps you would rather make the selection with the cards in your own hands. Take a good share of the pack, please, and shuffle the cards.” See that he takes about half the pack, you retaining the other half. His shuffling destroys the prearrangement and prevents any embarrassing results, while the pre­ arrangement in your own half remains intact. Go to first spectator and have him replace his card in the pack as you ruffle it. Have other spectators replace drawn cards in like manner. The trick then proceeds along the lines of the orthodox X-ray Trick, but the following will be found a pleasing variation: When all drawn cards have been returned to your portion of the pack, drop the latter in a glass goblet on table and cover with a borrowed handkerchief. Proceed with your discourse on mind reading, and, after due dra­ matic effect, name the first drawn card. This, of course, you already know, thanks to the prearranged pack. Say it is the King of Hearts. You remove the handkerchief from the glass, and run over the cards, faces up to locate the King of Hearts. But combining business with pleasure, you do not at once take out the named card. Instead, you note the special order of the cards, mentally saying to yourself, “Eight, King, Three, Ten,” etc. Any break in this order reveals the presence of one of the other drawn cards. Say it is the Six of Diamonds. You pass on to the King of Hearts, which you have just named; remove it from the pack and toss on the table. Returning the cards to the goblet and covering with the handkerchief, as before, you finally call “the Six of Diamonds.” Again re­ move the handkerchief and cards from the glass, run through the cards, passing over the Six of Diamonds in your search until you secretly locate another foreign card in the prearrangement; and so the trick continues until all the drawn cards have been “read,” after which you carelessly shuffle the cards and pass out for inspection. I believe this method is just as effective as the punc­ tured X-ray pack, and surely more convincing when the cards, in conclusion, are offered for inspection.

New, Original and Exclusive Magic You have probably bought card tricks that were absolute­ ly useless because of poorly printed cards on thin stock, or be­ cause they were imperfectly made. All of my card decks are made of BICYCLE CARDS (enough said), are all the same size, color, properly printed, and mechanically perfect. Every one is NEW and PRACTICAL—tricks that you will use when you get them.

ROGERS’ RISING CARDS. $1.00

PRICE, complete, “EVER READY” FORCING DECK. PRICE, complete deck

$1.25

I have many new and original effects never listed.

Correspondence solicited. Address, FORD B. ROGERS, No. 3041 Park Avenue,

Kansas City, Mo.

H O L M E S ’ C O N JU R IN G S E R IA L N o. 1

“Some Modern Conjuring" A SERIES OF ORIGINAL EXPERIMENTS IN THE MYSTIC ART

By Donald Holmes. Containing new versions of old-time favorites, involv­ ing the use of handkerchiefs, flags, dice, etc. Not de­ voted to any special branch of the art, but a series of practical tricks, lucidly explained. About 77 pages, with many half-tone cuts, printed on fine book paper, in art covers. A FEW SPECIAL FEATURES:

WATCH, HANDKERCHIEF AND BRAN. A clever transposition, involving the use of borrowed articles. A new idea in tumbler manipulation, followed by several pleasing combinations. A valuable principle, applied to any branch of the art. THE WEDDING RING TRICK. A ring trick that is just a little bit different than anything ever before at­ tempted. It will mystify every time. THE LAMP CHIMNEY COLOR CHANGE. Some­ thing new in this popular handkerchief effect. Changes color right before their eyes, and it will bear close in­ spection, too. HOLMES’ INVISIBLE SERVANTE. You can re­ volve your table top all you please without “giving any­ thing away.” And it’s simple, too—simple to construct and simple to operate. Some 1800 copies of “Some Modern Conjuring” al­ ready sold. Only a limited number of copies now on hand. Do not miss the opportunity to add this valuable work on conjuring to your collection before it is “out of print.” PRICE, POSTPAID, ONE DOLLAR. DONALD HOLMES, No. 3709 Olive Street,

Kansas City, Missouri.

HOLMES’ CONJURING SERIAL No. 2.

NEW CARD TRICKS By DONALD HOLMES, Author of “Some Modern Conjuring.” Forty pages devoted to new and original card prob­ lems, exclusively. Printed uniform with this volume. Read table of contents below, and order a copy today, either from your dealer or the author. CONTENTS.

Holmes’ “Marvelous Prediction:" Holmes’ “Marvelous Coincidence;” a Simple Card Force; the Flying Cards; Holmes’ New Card Discovery; the Card and Candle; Holmes’ Mental Test; Holmes’ X-Ray Test; Another XRay Trick; a Mathematical Trick; the “27” Card Trick, improved; Holmes’ “Simplex” Rising Cards; Holmes’ “Perfection” Rising Cards; the Cards Rising at Chosen Number; the Spirit Fortune Teller; Holmes’ Nimble Knave.

Price, Prepaid, Fifty Cents

DONALD HOLMES, No. 3709 Olive St.,

KANSAS CITY, MO.