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EASY-TO -LEARN TRICKS

OR
MAGIC MADE SIMPLE
WaLTEK <».
AMERICA'S DEAN OF MAGIC
STERLING
^.
PUBLISHING CO., INC. new york

(%& Tree 7Ze*$ C&-, L&C London & Sydney
BY THE SAME AUTHOR
Original Houdini Scrapbook
Junior Magic
© 1977 by Walter B. Gibson
adapted from "Magic Made Simple"
Copyright ©
1963 by Doubleday & Company, Inc.
Published 1977 by Sterling Publishing Co., Inc.

419 Park Avenue South, New York, N.Y. 10016
Distributed in Australia and New Zealand by Oak Tree Press Co., Ltd.,
P.O. Box J34, Brickfield Hill, Sydney 2000, N.S.W.
Distributed in the United Kingdom and elsewhere in the British Commonwealth
by Ward Lock Ltd., 1 16 Baker Street, London W 1
Manufactured in the United States of America

All rights reserved
Library of Congress Catalog Card No.: 76-58624
Sterling ISBN 0-8069-4546-X Trade Oak Tree 7061-2549-5
4547-8 Library
CO. SCHOOLS
ABOUT THIS BOOK

Have you ever wondered how a magician can
cut a rope into two pieces and restore it to one
long piece before your eyes? Have you ever
marveled at the variety of tricks that can be
performed with a deck of ordinary playing
cards? Have you ever seen a magician swallow
a billiard ball, only to make it reappear be-
hind his left knee? This book tells you the
secrets behind these and many other tricks.
Moreover, you are given step-by-step instruc-
tions, combined with easy to follow illustra-
tions, that will enable you to master even the
most complicated tricks and magical effects.
Many of the tricks are impromptu— they
can be performed on the spur of the moment
with materials supplied by the spectators.
Others take a few minutes' preparation, but
even the most advanced can be performed
with ordinary objects— no special equipment
need be purchased.
Here you will find clear explanations
and directions for making your own "trick"
card packs, bottomless cups, and special thim-
ble holders.
The author of this book, an accomplished
magician as well as an interesting and amusing
writer, takes you on a tour of the entire realm
of magic— from sleight of hand to mind read-
ing. You will learn how tothrow a pack of
cards so that they all land on the floor face
down— except the card a spectator has chosen,
which magically appears face up! You will
learn how to force a spectator to choose just

the card you want him to choose!
You will learnhow to make a pencil rise
from your fist and how to pull a wand which
is two feet long out of a purse which is only
six inches deep.
You will learn how to perform all these—
and many, many more. For this book contains
over 175 different tricks, all designed to help
you become a successful and entertaining ma-
gician.
Magic can be an endless source of fun and
amusement for everyone— for the performer as
well as for his audience. You will be thrilled
by the expressions of amazement on your
friends' faces when you perform these tricks,
and you will derive great pleasure from dis-
playing the wealth of magical knowledge you
have learned from this book.
CONTENTS
CHAPTER ONE
HOW TO MYSTIFY . . . . 13
CHAPTER TWO
CLOSE-UP TRICKS . . . .
17
18
Instant Cut and Restored String . 19
The Climbing Ring . . . . 22
The Rising Pencil 24
The Hypnotized Match Box
(Impromptu Version) . . 26
The Hypnotized Match Box
(Mechanical Version) 27
Vanishing Match Box . 31
The Matchless Match Pack . . 33
Improved Matchless Match Pack . 34
The Restored Match . 36
The "Repeat" Restoration 39
Three Vanishing Knots 42
Ring Off! 43
The Rubbery Pencil . 45
CHAPTER THREE
EASY CARD TRICKS . . . 46
The Double Deal 47
Count-Down Cards 49
Four-Heap Deal 50
Let's Face It! 53
Face Up— Face Down 56
The Red Card 57
You Do As DoI 60
New Do As I Do . . . . . . 63
Coins and Cards 65
Ups and Downs 67
Behind Your Back 72
CHAPTER FOUR
TRICKS WITH ORDINARY
OBJECTS 75
One out of Three 76
The Suction Cup 79
The Knot
Slide-Along 81
Cut and Restored Rope .... 85
Fooled— and Fooled Again! ... 89
Farmer and Sheep 92
Silk Through Wand 97
CHAPTER FIVE
MAGIC WITH CARDS . ... 100
Cuts 100
The Single Cut 100
The Multiple Cut 100
The Undercut 101
Shuffles 102
The Dovetail or Riffle Shuffle .
}Q2
The Overhand Shuffle . . . .
jq3
The Front and Back Shuffle ... \ 04
Dealing Cards 104
The Group Deal 1 04
The Reverse Deal 105

The Turnup Deal 106
False Cuts and Shuffles 107
False Single Cut 107
False Three-Heap Cut 108
False Triple Cut 109
False Dovetail Shuffle 110
False Overhand Shuffles . . . . 110
The Pull Away Ill
Top to Bottom 112
Bottom to Top 112
Stacked Pack Shuffle 112
Overhand Cut Shuffle 112
Front and Back Cut Shuffle . . . 113
The Alternating False Shuffle or Packet
Shuffle 113
Simple Card Sleights 115
The Glide 115
The Slip 118
The Slide 119
The Turnover 120
Turning the Pack 121
The Glimpse 121
The Double Lift. . , < 123
Palming a Card . . 125
Single-Cut Force. . . 126
The Fan Force . 127
The Draw Shuffle . . 129
The Bottom Glimpse . 131
The Flash Force . . 131
Draw-Shuffle Location. . 132
Draw-Shuffle Control . 133
CHAPTER SIX
FINDING A CHOSEN CARD. .
135
The Riffle Glimpse 136
The Wrist Glimpse 137
The Divided Pack 139
Reds and Blacks 140
Two-Suit Setup 140
Odds and Evens 141
The Pointer Pack 142
Bottom-Card Location 144
Count-Down Location 145
Card Controls 147
The Shuffle Pass 147
The Turned-Up Joker 149
The Push-Away Pass 150
The Delayed Cut 151
Automatic Reverse 152
Double Reverse 1 54
CHAPTER SEVEN
REVEALING A CHOSEN CARD. 156
Any Number Down 156
Quick-Count Trick 157
The Card Turns Up 158
The Knockout 159
Double Choice 160
Spell It Out 161
You Can't Get It 162
The Magnetized Card 163
A Hair Raiser 164
Turn It Over 165
Just Say "Stop" 166
Three Heaps—Three Cards . . . . 167
The Seventeen Cards 1 68
Card from a Hat 171

Card on the Wall 172
The Card That Finds Itself. ... 172
Doubled Thoughts 1 75
Four-Ace Deal 176
The Assembled Aces 179
CHAPTER EIGHT
MAGIC WITH COINS .... 182
How to Palm a Coin 183
The Finger Bend 183
The Thumb Palm 184
The Standard Palm 185
Coin Vanishes 187
Simple Vanish 187
The Throw Vanish 189
The French Drop 190
The False Drop 191
Multiple Coin Vanish 194
The Sleeve Vanish . . ... . . .
jgg
The Spin Vanish I97
Simple Coin Productions 1 98
From the Finger Bend .... \ 93
From the Thumb Palm .... jgg

From the Standard Palm ... jgg
Other Effective Productions ... jgg
From Hand to Hand 200
March of Dimes 204
Coin from Wand 205
Double Coin Production 207
CHAPTER NINE
THIMBLE TRICKS 208
The Thumb Palm 209
To Produce a Thimble 210
Production at Knee or Elbow . . . 211
Simple Thimble Vanish 212
Swallow Vanish 213
The Finger Switch 214
The Take-Away Vanish 216
Twist-Away Vanish 218
Eight Thimble Production. . . .
220
Color-Changing Thimble . . . .
227
CHAPTER TEN
MENTAL MYSTERIES .... 231
Tap the Numbers 232
Paired Thoughts 234
Face-Card Fantasy 237
The Ten Pairs 241
Cup, Dish and Saucer 244
The Word-Cards 248
Within the Circle 250
Predicted Thoughts 253
The Nine Slips 255
Mystic Book Test 257
The Repeat Book Test 260
A Sense of Taste 262
The Two Rows 264
Name the Number 268
Cards and Symbols 271
Coins and Colors 274
CHAPTER ELEVEN
PLANNING A MAGIC SHOW . . 279
Index 281
1. How to Mystify
The way to
best learn magic by performing.
is
This makes the process both simple and en-

joyable, which may come as a surprise to those
who suppose that, since tricks often depend on
clever secrets, they must be difficult to per-
form.
More often than not, it is the other way
around. A spectator, not knowing the secret,
looks for something difficult, whereas many

tricks are so easilyaccomplished that keen on-
lookers help baffle themselves by rejecting the
obvious explanation.
To the beginner, this means choosing the
right tricks, which in this case are those re-
quiring little or no but which have some
skill,
neat or helpful feature that will pass unnoticed

or unseen.
From the very outset, it must be noted that
there are two sides to every trick:
the effect, or how the trick appears to
the audience, which you must stress while you
perform it.
the method, which is known only to the

magician, which you must keep constantly in
mind, but never even hint at.
How to Mystify Jf$ 13

In many tricks that follow, these will be dis-
cussed separately, first from the standpoint of

"effect," or the impression that the magician
creates, then from that of "method" which is
how he goes about it.
presentation is a combination of "effect"

and "method," which builds the "effect" and
helps disguise the "method." In some tricks,
it is treated as an added factor, but there are
certain points of presentation that apply to all.
Chief of these is:

misdirection, or the drawing of attention
from the real secret of the trick to something
unimportant. For example, many people have
heard that "the quickness of the hand de-
So the magician uses a quick
ceives the eye."
move to make people look away while he is
accomplishing his real mission in a more de-
liberate fashion.
Another example is "up his sleeve," which
is supposed to be the magician's way of dis-
posing of anything from a thin dime to a fat

elephant. So it is good policy to show that
your sleeves are empty by pulling them up,
every now and then, always when you are
about to do something that will really fool
your audience. That, too, is misdirection.
In short, misdirection is magic. This is a
rule that has no exceptions. But there are
14 Jf$ How to Mystify

lesser rules, which—with due exceptions— are
important, too.
These are:
Never tell your audience what you intend
to do. Keep them guessing from the start, so
that the finish will be a surprise. That keeps
their thoughts away from the very thing you
don't want them to think about: namely, the
secret of the trick.
If they don't know what the effect is to be,
they cannot guess at the method.
Never repeat a trick during a performance
or show it a second time to the same group
too soon. This is the same as telling them
what you intend to do. Instead of watching
for the effect, they will be looking for the
method.
This rule is practically a corollary to the
previous one.
There are exceptions, however, in both
cases. Sometimes by telling people exactly
what is to happen, you can key them up to the

point where they fail to notice something that
is actually more important. As for repeating a
trick, there are many times when you can do

what appears to be the same trick, but either
the effect or method—or both— is different
from the first version.
Such "repeats" are particularly effective, and
How to Mystify A 15
quite a few will be described in the pages that
follow.Always take advantage of such a situa-
tion when you can. That, in itself, is a form of
misdirection.
do until you are
Practice every trick you
sure of it. This applies where "method" is
concerned. Even though the trick may be very
easy, try it over and over until it becomes
second nature. After that:
Rehearse the trick to gain the desired "ef-
fect" that youmust impress upon your audi-
ence. They want to see magic, not tricks; so
it is your job to turn tricks into magic.
Present each trick in a dramatic manner,

suiting it to your own personality or by acting
the part of a magician, if you prefer to do so.
Give special attention to your "patter," or

"talk," which is an essential part of presenta-
tion.
From individual tricks, you can form a pro-
gram suitable to your own personality, your
audience, and the occasion. These factors will
develop after you have learned and tried the
tricks in the following pages.
In order to make sure that you understand
each trick discussed in this book, it is recom-
mended that you follow along, step by step,
working out each trick with the necessary
equipment—cards, coins, etc.
16 A How to Mystify
2. Close-up Tricks
Close-up tricks form a good starting point in
magic, because you can work them for a few
persons at a time, thus limiting the number
of observers and giving you a chance to study
their reactions. From this you will gain point-
ers that will be helpful with more elaborate
or more difficult effects.
Not all close-up tricks are easy, however.
This branch of magic sometimes calls for
more skill than any other; but only for those
who make a specialty of such work. The be-
ginner can limit himself to close-up tricks that
are self-working, or nearly so; and those which
are explained in this section are mostly of
that type.
People who have witnessed magic only at
long range are apt to give you credit for being
very clever when you do close-up tricks. They
do not realize that you are presenting a type
of wizardry especially suited to close-up condi-
do not enlighten them on that score.
tions; so
The more wrong theories that spectators form
regarding your work, the better your chances
of baffling them.
Most close-up tricks are done with common
objects and these must often be given for ex-
Close-up Tricks Jf$ 17

amination. So when you do use special ap-
pliances in close-up work, always be ready to
pocket such items or to switch them for inno-
cent duplicates.
THE RAPID KNOT

Though more of a puzzle than a mystery,
thismakes a very intriguing trick, which can
be done either in tantalizing slow-motion
style, or presented as a quick surprise.
the effect: The magician lays a four-foot
length of string or rope across his hands, which
FIG. 1
18 A Close-up Tricks
are heldpalms up, the rope ends dangling be-
tween thumbs and fingers.
He brings his hands together and draws
them apart, all in one continuous motion,
without releasing the rope ends. A knot ap-
pears instantly in the center of the cord.
the method: The cord is held exactly as
described and shown in fig. i. Pressure of the
thumbs keeps the dangling rope ends in posi-
tion as the hands are turned inward, with the
fingers pointing at a downward angle.
The right fingers go in back of the left hand,
where the two fingers clip the rope end,
first
scissors fashion. At the same time, the first

two fingers of the left hand come in front of
the right and grip its end the same way
(fig. lb).
The hands are immediately drawn apart and
the knot is shown in the center of the rope
(fig. ic).
INSTANT CUT AND RESTORED STRING

A quick, surprising trick, performed with
the simplest of objects, an ordinary piece of
string, this one of the best among close-up
is
effects, yet practically automatic in its working.
the effect: The magician shows a two-

foot length of string, which he doubles to form
Instant Gut and Restored String Jf$ 19

a loop in the center. He takes a knife, cuts
the string in two, then gives the ends a sud-
den pull. Instantly, the string is restored and
may be given immediate examination.
for
the method: Use a cheap but fairly thick
string of the sort that is composed of long
strands that can be easily separated. Draw
these strands apart near the center of the string
(fig. 3a) and form each into a little loop of
its own.
Hook these two loops together by pushing
one beneath the other (fig. 3b) and fix them
in place with a dab of transparent glue or soft
wax (fig. 3c). This now appears to be the
SEPARATE
CENTER
FIG. 3
normal center of the string (fig. 3d) formed
into an ordinary loop.
This is prepared beforehand, and when the
string is shown, the actual join below the cen-
ter "loop" is hidden between the left thumb
and forefinger, as fig. 3c shows. The right
hand "cuts" the loop with a knife blade, the
action merely pulling the joined portions
apart (fig. 3c). A tug on the ends of the
string (fig. 3f) and the two "pieces" are "re-
stored" as a single length!
presentation: From the start, the string
can be handled quite freely, since the join, if
noticed, will appear to be a crossing of the

string, below what looks like a legitimate cen-
ter loop.
Take the two ends of the doubled string,
separate them slightly and let the center dan-
gle, saying, "Here we have a string with two
even ends forming a loop at just about the

center."
Bring the ends together and take them with
the right hand, drawing the doubled string
through the left hand, which forms a loose
fist,palm upward. When you come to the
join, grip it between left thumb and fingers
and drop the ends, holding the loop upward.

It is then possible to separate the hanging
strings a little more by spreading the join be-
Instant Gut and Restored String A 21

tween left thumb and fingers. Then continue:
"All it needs is a sharp knife and a quick
cut like this"— simulate cutting the "loop"
with an upward sweep of the knife blade—
"to make two strings out of one. And all we
need to make one string again is a magic
word"— take one dangling end in the right
hand— "and a quick pull!"
Run the left hand swiftly along the string
toward the other end, drawing the string taut
with a sudden pull and show the string in-
stantly restored.
THE CLIMBING RING

the effect: The magician holds an ordi-
nary pencil upright at the tips of thumb and
fingers of one hand. He drops a finger ring
over the pencil. At command, the ring climbs
the pencil and finally jumps from it. Pencil
and ring may be examined.
the method: A thin black thread is used.
One end is wound around a button of the
coat, the other is clamped to the top of the
pencil by an eraser of the rubber-cap type,
which fits snugly over the top of the pencil
(fig. 4).
Allow about a foot of thread between, so

that when the pencil is held fairly close to
the body, the thread will be so loose that
FIG. 4 MOVE HAND
A FORWARD
^ AND BACKWARD
the ring will drop to the bottom of the pencil.

By moving the pencil slightly away from
the body, the ring will rise as the thread be-
comes taut. As the ring reaches the top of the
pencil, a slight forward jerk of the hand
causes the ring to fly off.
presentation: Fix the thread as described

and have the pencil handy in the coat pocket,
the thread being unnoticed against the coat,
which should be a dark one.
Bring out the pencil, hold it in the left
hand with the rubber cap upward. Show or
borrow a ring, drop it over the pencil and
make magnetic passes with the right hand.
The ring will climb or slide down as you move
the lefthand imperceptibly forward or back.
Meanwhile, you can comment: "Amazing,
isn't it, the way the ring is magnetized. Up
Climbing Ring Jf$ 23

. . . downup . . now a snap of the
. . . .
fingers— and jump!" Here you snap your right

fingers and the ring jumps from the pencil.
Then, add:
"That breaks the contact, so we don't need
the rubber eraser to insulate the pencil." Draw
the rubber cap off the pencil with the right
thumb and fingers, thus releasing the thread.
"Here, you can examine the pencil and eraser
as well as the ring."
With that, the items are given for examina-
tion while the thread drops unnoticed against
the coat front.
As an alternate or follow-up trick you may
perform:
THE RISING PENCIL

the effect: A
pushed down into
pencil is
the fist. It rises point first and repeats this

every time it is pushed down. The pencil also
rises from a bottle if placed therein. At the
finish, the pencil is given for examination:

the method: Identical with that of the
Climbing Ring, except that no ring is used
and the trick is done in reverse. The upper
end of the pencil, with thread attached, is
pushed down into the fist. A forward motion
of the hand shortens the thread and the pencil
rises (fig. 5).
24 Jf% Close-up Tricks

presentation: At used as a sequel to the
Climbing Ring, keep the thread attached.
Or, the Rising Pencil may be done as a trick
of its own, being set up exactly like the
Climbing Ring with the pencil in the pocket.
In either case:
HAND
BACK AND FORTH
FIG. 5
Push the pencil down into the right fist and

cause it to "rise" or "fall" by moving the right
hand while the left makes magnetic passes
above it. At the finish, you state, "And now
the pencil rises completely from the hand,
and here it is—pencil and eraser both." Give
them for examination, adding, "And look care-
fully in the eraser. You will find that it con-
tains an invisible magnet that made the pen-
cil rise!"
note: worked with a bottle, the pencil

If
is pushed down in, eraser end first, exactly as
with the fist. Forward and backward motion

of the bottle will cause the pencil to rise and
fall in spooky fashion. Always keep the motion
Rising Pencil A 25
as slight as possible, drawing the body away
rather than pushing the hand forward. This
adds to the effect.
THE HYPNOTIZED MATCH BOX

(Impromptu Version)
the effect: A
match box is held upright
at the tips of the left thumb and fingers. The
right hand makes hypnotic passes above the
box and the drawer rises in a slow, uncanny
fashion. When
pushed down by the right
hand, the drawer rises again and the match
box is handed for immediate inspection.
the method: The position of the left fin-
gers is important. The thumb presses the side
of the box, while the first three fingers slant
upward across the front, the third finger cov-
ering the edge of the lower end.
This forms a screen hiding the little finger,
which is secretly pushed up into the box,

causing the drawer to rise (fig. 6). A slight
forward tilt of the hand helps render the ac-
tion imperceptible.
presentation: The trick should be prac-
ticed so that can be performed naturally and
it
in a slow, smooth manner. One or two repeats

should be sufficient. This impromptu version
makes an excellent follow-up to the mechani-
cal method to be described.
FIG. 6
AUDIENCE'S VIEW
REAR VIEW
THE HYPNOTIZED MATCH BOX

(Mechanical Version)
the effect: A box of safety matches is
placed upright on the outstretched fingers of

the left hand, which is held palm up, fingers
pointing toward the spectators. Slowly, magi-
cally, the drawer of the box rises from the
cover. It is pushed down by the left thumb
and rises again, as often as desired. At the
conclusion, the drawer is taken from the box
cover and both are freely shown.
the method: A hidden lever is required
to supply the "lift" furnished by the little fin-
ger in the impromptu version, as here all fin-
gers are fully in view. This "gimmick" is easily
made with a paper clip and narrow strip of
Scotch tape.
Hypnotized Match Box ^i 27

INNER FLAP
(LOOKING DOWN)
Start the tape about A

l
inch from one end
of the paper clip and run it along the clip,
over the other end, and back beneath, pressing
the two gummed surfaces together, above and
below, firmly imbedding the paper clip be-
tween them. Allow another Vi inch or more
of tape, which is cut along the sides and nar-
rowed like a tongue (fig. 7a).
This tab between the two por-
is inserted
tions of the double side of the match-box
cover. With most wooden match boxes, the
inner part is loose, so the job is quite simple.
Insert the tab so that the gummed side of the
tape is outward, toward the overlapping part
of the match-box cover (fig. 7b).
28 1X1 Close-up Tricks

Add a few drops of glue to fix the sides of
the box firmly with the tape tab between. The
drawer is then placed in the box and the pa-
per clip is pressed against the end, the tape
acting as a hinge and the short end of the clip
projecting at the side of the match box. This
should be at the bottom left, when the match
box is set upright on the extended fingers of
the left hand.
In this position, the box is supported by
the forefingerand little finger, which are
slightly raised to clamp the box between them.
The forefinger is just above the clip end and,

by exerting a downward pressure, the finger
actuates the lever and forces the drawer up-
ward (fig. 7c). This is completely hidden and
the action is so slight that it is imperceptible.
After the drawer has risen about halfway,
it can be pushed down with the extended left
thumb. The rise may then be repeated as often
as desired, the right hand making hypnotic
passes above the box.
presentation: At the start of the trick,
show the match box in the left hand, the lever
end nestled in the bend of the fingers and
covered by the thumb, so that no one can
glimpse the "gimmick." Then set the box up-
right on the left hand, using the right to tilt
it into position, and proceed as described.
Hypnotized Match Box Jf$ 29

At any time during the trick, the box can
be shown apparently unprepared in a simple,
convincing manner. Lever the drawer to its
full extent and remove it from the cover

(fig. yd). As one hand shows the drawer, the
forefinger of the other maintains pressure on
the clip end, while the thumb moves over and
presses the right side of the cover.
The cover may then be turned so the fore-
finger is at the top (fig. ye) and the thumb
at the bottom, giving the spectators a look
clear through it. By holding it slightly below
eye level or tilting the outer end a trifle down-
ward, the "gimmick" will be completely hid-
den against what is now the upper inside of the
cover.
At the finish the drawer may be replaced
and the box pocketed. An ordinary box should
be planted in the pocket beforehand, so that
it can be brought out later, instead of the
special box.One neat plan is to "vanish" the

special match box— as described in the Van-
ishing Match Box— and leave it in the pocket,
bringing out the ordinary box instead.
In either case, once the unprepared match
box has been brought into play, the perfect
follow-up is to cause the drawer to rise again,
this time using the impromptu method. This
can be done while extending the left hand
30 £f$
Close-up Tricks
toward the spectator, the box finally being
placed in his hands for examination.
VANISHING MATCH BOX

the effect: A
box of matches is held up-
right, projecting from the loose left fist. The
right hand tamps the box down into the fist;
the left hand is opened and the match box is
gone. The right hand finds it in the coat
pocket.
the method: At the start, the magician
faces directly toward the audience. In tamping
the box, the right hand is held palm down
BOX IS PALMED
C
FIG. 8
Vanishing Match Box Jf$ 31

and the fingers project over the top end of the
box (fig. 8a).
Once hidden, the box is levered toward the
audience, enabling the right hand to clamp it
in the finger bend (fig. 8b). The performer
then turns toward the left, and the right hand
either points or gestures toward the left hand,
which is shown empty (figs. 8c and d).
The right hand, which secretly retains the
7
"vanished' match box, can then go to the coat
pocket and "find" it there, or produce it in
some other way.
presentation: For a quick or surprise van-
ish, the downward tap and swing to the left
can be done in a single move. For a more de-

liberate vanish, two other procedures may be
used, as follows:
(1) The right hand actually pushes the
match box down into the left fist by a series
of light taps. The hand then goes below

right
the left, brings up the match box and replaces
it in its original position. This is repeated one
or two times, and finally the match box is
palmed away.
(2) The match box is originally held with
the drawer open and extending upward (fig.
8a ) With one tap, the drawer is driven down-
.
ward. With another tap, the box is apparently

driven down into the left fist, but is actually
32 Jf$ Close-up Tricks

palmed in the right hand (fig. 8c) and van-
ished (fig. 8d).
Here, one downward move, resulting in the
closing of the drawer, leads into the next,
creating the illusion that the match box, too,
was driven down into the hand.
THE MATCHLESS MATCH PACK

the effect: A neat, effective table trick
that can be followed up with another that pro-
duces an added climax. In the simple form,
you remove the matches from an ordinary
match pack; then you bend the empty pack in
concave fashion and set it upright on the table,
holding it in that position with your fingers.
When you release the curved match pack,
it rolls over, making a complete somersault on
the table. Clever? Yes. Easy? It should be.
But it isn't, when other people try it. You give
them the match pack, show them how to bal-
ance it, but when they let go, it simply flips
flat on the table and won't do the magic som-

ersault.
But it when you try it,
always somersaults
because you know the magic word— and some-
thing more!
the method: Along with the magic word
(which means nothing) you simply take care
Matchless Match Pack A 33

to set the match pack in an inverted position
before releasing it. That is, the heavy striking
surface is at the top, supplying the needed
weight to carry it clear over when you let it
topple along its curved side, as fig. 9 shows.
i£-1
.THIS END .__^ffl?\
ON TABLE
FIG. 9
When you give the pack to someone else,
telling him you set it upright, with

to try it,
the heavy end down, which is the more natu-

ral position. Not noting the difference, your
audience will try and you use a match
fail. If
pack that does not have printing on it, your

turning it upside down will be less notice-
able.
IMPROVED MATCHLESS MATCH PACK

the effect: While the "somersaulting"
match pack is quite effective when presented
in its simpler form, as just described, the
trick takes on a highly baffling quality in this
34 Jf* Close-up Tricks

advanced version. In this case, you stand the
match pack upright, striking end down, and it
does its tumbling act. When other persons try
it, the trick won't work.
the method: Affix two paper clips in the

upper end of the match pack, fastening them
firmly with a piece of gummed tape, taking
care to have them completely hidden inside
the pack. Thus weighted, the pack will som-
ersault, even when set upright and released
(see fig. 10). C872!C5oj. SCHOUL3
That, however, is only part of the trick. In
this you need three or four ordinary
case,
match packs as well. Begin by setting the
faked pack upright and letting it somersault,
a few times. Take an ordinary pack, invert it,
and it somersaults, too. You hand it to a
friend, saying, "See how easy it is! Try it!"
You demonstrate it again with the weighted
pack and he naturally sets the ordinary pack
upright, copying your example. Your match
PAPER CUPS
FIG. 10
Improved Matchless Match Pack A 35

pack performs the magic flip-flop, but his
won't. So you hand out more to other people,
all with the same result. Your pack alone will
somersault.
Here, you really "have" them, because they
keep setting their match packs upright, like
yours. At intervals, you take one of the other
packs, saying, "No, no, don't push it; just let
it flip over— like this!" Simply invert the or-
dinary pack and let it somersault so promptly

that the victim hasn't time to spot the fact
that it started upside down.
Again demonstrate the "flip" with your own
pack right side up. Later, while again show-
ing a spectator how easily his pack can flip,
you drop your prepared pack in your pocket.
It's good to have a duplicate (unprepared)
pack waiting there, so that you can bring it

out later, give it a flip from the upside-down
position and leave it with the rest.
THE RESTORED MATCH

This is an ideal close-up trick as it requires
the simplest of objects, and is done literally
"under the noses" of your audience; yet it is

one of the easiest of all tricks to perform.
the effect: A large wooden kitchen match
is placed in the center of a handkerchief,
36 jjd Close-up Tricks

FALLS OUT
RESTOREOI
FIG. 11
OUPUGATE MATCH IN HEM
which is wrapped around it. The handkerchief

is held close to a spectator and the match is
broken through the cloth, as fig. na shows.

The magician whispers a magic word, un-
wraps the handkerchief, and the match falls
on the table completely restored (fig. nb).

The handkerchief is shown and shaken
freely
to prove that only one match was used.
the method: Actually, there is a dupli-
cate match, but the manner of its conceal-
ment is very neat. Use a handkerchief with a
fairly wide hem. Beforehand, open a few
stitches near the corner of the handkerchief,

and push another match into the hem, as
shown in fig. nc. This is the match that you
intend to break.
In performing the trick, lay the original
Restored Match A 37
match in the center of the handkerchief, fold
in the corners and roll the cloth into a loose
bundle. In doing so, grip the duplicate match
through the cloth, so you can show its shape
and break it.
After suitable mumbo jumbo, simply unroll

the handkerchief and let the original match
drop out "restored" and as good as ever.
presentation: By first folding in the corner

that contains the hidden match, you can im-
mediately fold another over it, and then pro-
ceed more slowly with the remaining corners,
so as to make you grip the duplicate
sure that
—not the original—when you come to break
the match.
Emphasize the breaking process so there
will be no question later. With some persons,
it is safe to let them feel the match through
the cloth, and in some cases even break it

themselves. Be deliberate when you spread
the handkerchief and show the "restored"
match, letting everyone see that it is empty.
Hold it by two and put it in
corners, shake it,
your pocket; then hand the match for exam-

ination.
added effect: With a really flabbergasted

group of spectators you can baffle them further
by putting the match back in the handker-
chief, folding it up and breaking it again, re-
storing it in the same magical fashion.
Again, the method is simple: Have a sec-
ond extra match in another corner of the hem.
Break one duplicate the first time, the other
when you do your repeat.
In either case, it is a good plan to have
another handkerchief in your pocket, that you
bring out and use in a different trick, before
or after the Restored Match mystery.
THE "REPEAT" RESTORATION

Here is another version of the Restored
Match that will anyone familiar with
fool
the method just described. It is also a good
alternative to the usual effect, as it can be per-
formed with a borrowed handkerchief.
the effect: A wooden match is wrapped
in a handkerchief and broken through the
cloth. The handkerchief is spread; the match
falls out restored and the handkerchief is
given for examination.

the method: Special preparation is re-
quired. First, prepare a small tube of thin

cloth, largeenough to contain a match. The
tube is sewn or glued, but one end is left open
and a match is inserted therein.
The next item is a six-inch length of cord
elastic. One end is tied around the match bag,
"Repeat" Restoration Jjk 39

ELASTIC
TINY BAG t
GRIP BAG
WITH MATCH
5 AND HIDE IN PALM
FIG. 12
the other end to a small safety pin (fig. 12a).

This pinned to the inside of the left coat
is
sleeve above the elbow, so that the dangling

end is a few inches up the sleeve.
Before presenting the draw the match
trick,
tube down to the left hand and grip it cross-

wise in the palm (fig. 12b). For a firmer
grip, the tube can be held by bending the
fingers inward. The back of the hand is kept

toward the audience.
The right hand takes the handkerchief and
drapes it over the left, which is then turned
palm upward. Make sure that the handker-
chief covers the space between the left hand
and the sleeve, so that the cord elastic is hid-
den.
The right hand lays a match in the center
of the handkerchief, then folds the outer edge
or corner inward over the visible match (fig.
12c). The side edges or corners are folded

loosely over the center, and the right thumb
and fingers then grip the bag containing the
duplicate match, by pressing down through
the folded cloth.
The left hand is promptly turned back up-
ward and it also grips the match bag at the
other end; that is, at the left, so that the cord
elastic is hidden beneath the down-turned left
wrist.
Between them, the thumbs and fingers snap
the duplicate match (fig. i2d). The right
hand moves forward, carrying the handker-
chief, letting it unfold at one corner. At the
same time, the fingers release the bag, which
flies up the left sleeve under cover of the
handkerchief and the left wrist (fig. i2e).

The original match falls on the table in its
"restored" condition, while the hands spread
the handkerchief and show it empty. The
handkerchief, if borrowed, is then returned to
"Repeat" Restoration Jf$ 41

its owner. Otherwise, it may be handed for
examination along with the match.
THREE VANISHING KNOTS

the effect: A rope— or piece of string-
is tied with three genuine knots. A simple tug
on the ends of the rope and the knots are
gone!
the method: Start by tying a
knot single
with the right end of the rope toward you
(fig. 13a). Keeping that end still in front,
tie another single knot on top. This forms
what is commonly termed a square knot

(fig. 1 3b) Keep the two loops loose as shown.
.
Now run the right end through the lower

loop from front to back; bring it up in front
and push it through the upper loop from front
to back (fig. 13c). This third "knot" actually
fig. 13
unties the other two. Pull the ends and the
knots will disappear.
presentation: Practice the trick until you
can do it smoothly and easily, but not too
rapidly, as it is deceptive in slow motion. Your
talk can run along the following line:
"Here is a neat knot an old sailor taught

me. ... He one knot, then another, to
tied
make a sailor's knot. Then he tied a
. . .
third knot to hold the two together. . . .
When he wanted to heave away, it was easy.

... He just pulled the ends and the knots
were not knots any longer!"
RING OFF!
Either as an alternate or as a follow-up to

the Three Vanishing Knots, this is excellent,
as combines the disappearance of the knots
it
with the penetration of a solid ring through

the rope.
the effect: A which may be
large ring,
made of metal, or cut from heavy cardboard,
is threaded on the center of a thin rope. Three
knots are tied to hold the ring in place, but

when the ends of the rope are pulled, the
and the knots are gone!
ring falls free
the method: String the ring on the rope;
then tie two knots above it, forming a square
Ring Off! A 43
FIG. 14
knot, with the right end toward you, exactly

as with the Three Vanishing Knots.
Now bring the right end of the rope through
the ring from right to left. Carry it to the
right of the ringand push the end under it-
self, then through the bottom loop of the
square knot, from front to back. Follow the

diagrams in fig. 14.
From there, bring the end out to the right
and thrust it under and over itself, then
through the top loop of the square knot from
front to back. Pull the ends and the trick is
done.
presentation: Follow the same line as with
Three Vanishing Knots, but stress the fact
that the rope is being tied to the ring.Keep
the loops loose, so the ring will drop more
easily. If the rope snarls, a few shakes will free
the ring, making it all the more mysterious.
THE RUBBERY PENCIL
Here is both easy and decep-
a trick that is
tive, yet becomes more intriguing each time
you try it. All you need is an ordinary pencil,

the longer the better, which you handle in
this fashion:
Take the by the ends and work your
pencil
hands back and forth as though trying to
make the pencil pliable. Then hold it by the
point between the extended thumb and fore-
finger of one hand and start shaking it up
and down with a quick, short, wiggly motion.
The center of the pencil will immediately
begin to bend up and down in flexible fash-
ion as though ithad turned to rubber. The
closer people watch, the more rubbery the
pencil seems to be, and the more amazing
the trick. Yet at the finish it proves to be a
solid, ordinary wooden pencil.
It is all an optical illusion, and a good one.
Hold the pencil as described, wiggle it up

and down, but keep it fairly level, so that the
free end covers about the same range as the
end you are gripping.
The result is that seems to
the center
wobble, rather than the ends, which the eye
tries to keep in a somewhat constant position.
The observer literally baffles himself.
Rubbery Pencil Jfk 45

3. Easy Card Tricks
Card tricks come in the close-up category, par-
ticularly those that can be performed when
you are seated at a table, or when spectators
are called upon to shuffle or deal the cards
themselves. Such tricks, too, can be very sim-
ple to perform, when they are dependent upon
subtle principles rather than a display of skill.
The tricks comprising this section have been

chosen for that very reason. All you need is a
pack of cards and you can start doing most of
them immediately, either as part of your
close-up repertoire or as an act of their own.
No intricate shuffles, no deft deals are nec-
essary. But here is an important tip, one that
applies to other types of magic as well. The
more smoothly, the more neatly you handle
the cards, the more effective your tricks will
be.
When a performer handles a pack of cards

clumsily, people take it for granted that his
tricks must be he couldn't do
easy; otherwise
them. Conversely, brisk shuffles and rapid
deals give the idea that skill is needed in even
the simplest of tricks.
So you should cultivate that style with

these Easy Card Tricks, and when you go
46 Jf$ Easy Card Tricks

on to the more advanced forms of card magic,
you will find that many of the earlier effects
will still be good numbers on your program.
In the instructions for doing many of the
tricks in this chapter, you will be told to
square the pack. Squaring the pack simply
means to even it up or make it neat. The
pack is squared when it is adjusted so that the
cards fall directly on top of each other, face
down in the dealer's hand.
THE DOUBLE DEAL

This trick is based upon a neat but simple
mathematical stunt and becomes a real puz-
zler when presented as a card trick in which
a spectator practically mystifies himself.
the effect: A person is given a pack of
cards and is told to deal any number up
off
to twenty, while the performer's back is

turned. When that is done, the person is told
to deal another heap with the same number
of cards, to make sure he will not forget it.
The performer then tells him to deal a
third heap of ten cards, gather all the heaps
together and deal them into two separate piles,
alternating left and right. The spectator then

picks up either pile and from it deals the
original number of cards onto the other heap.
Finally, the spectator counts the remaining
Double Deal jf$

47
cards he has in hand and concentrates upon
that number. The magician immediately tells
him how many cards he holds.
The entire trick is done with the magician's
back to the audience.
the method: The trick hinges on the
third heap of cards the person is told to deal,
in this case ten. At the finish, the spectator
will have just half that number, so by an-
nouncing, "Five/' the performer is sure to be
correct.
For example, the spectator deals off eight
cards. Told to deal the same number again,
he deals off eight more, making sixteen. Now
the performer says, "deal ten more," and those
are added, bringing the total to twenty-six.
The cards are then dealt into two heaps
which will contain just thirteen each. From
one of these, the spectator deals his original
number, eight, into the other. That leaves him
exactly five cards, the number which the ma-
gician proceeds to name.
presentation: Since the result is "set" be-
forehand, the performer should stress the fact
that the spectator has free choice of any num-
ber. He casually tells him to "deal ten more,"
as though those extra cards did not particularly
matter. In repeating the trick, that number
should be changed. If the spectator is told to
"deal six more," the final total will be three.
48 A Easy Card Tricks
If told to "deal twelve more/' the total will
be six, and so on.
COUNT-DOWN CARDS
the effect: The magician hands the pack
to a spectator and tells him to deal off be-
tween 10 and 20 cards while the magician's
back is turned. That done, he is to add the
figures in his number and deal that many
cards from his packet back onto the pack,
noting the final card dealt. For example, if
his number is 15 he adds the digits together
and deals six cards back ( 1 5 consists of 1 and
5, or 6). If the number is 19, he deals 10
cards (19=1+9 or 10).

All done with the pack face down
this
until the turnup of the final card, which may
then be buried in the pack and shuffled there.
Still, the magician names the card!
the method: Beforehand, the magician

notes the tenth card down in the pack. He can
either "plant" it there, or get a glimpse of it
while illustrating how he wants the cards to

be dealt. This should be in single fashion, each
card going on the one before, reversing their
order.
Suppose the spectator deals off 15 cards.
Adding 1 and 5 gives him 6, which he deals
from his packet onto the pack in the same
Count-Down Cards A 49
reverse fashion. That brings him back to the
tenth card, the one the magician knows or
has predicted.
The same applies to any number between
10 and 20. With 11, he would count back 2
(the eleventh and the tenth), while with 19,
he would count back 10. So he is sure to hit
the known card.
variation: you note the nineteenth card,
If
the spectator can be told to deal a number

between 20 and 30, then add its figures and
deal that many from his packet, looking at
the final card.
FOUR-HEAP DEAL
the effect: A borrowed pack is thoroughly
shuffled and spread face down along the table,
so a spectator can remove any four cards,
which are also laid face down, in a row.
The magician gathers the pack and hands
it to the spectator. He turns his back and tells
the person to turn up the first of the four

cards and note its value: 1 for Ace, 2 for
Deuce, and so on, all face cards. (Jacks,
Queens and Kings) simply counting 10 each.
On that first card, the spectator is to deal
enough additional cards to total 12. Thus, on
a 7, he would deal 5 cards; on a 10 or a King,
50 Jft Easy Card Tricks

2 cards. These cards are to be dealt face down,
slightly overlapping.
The spectator is then to turn up the next
card in the row and repeat the process, con-
tinuing on with the third and fourth card.
Here is a sample result:
2 OF KING OF OF
5 JACK OF
CLUBS SPADES DIAMONDS CLUBS
(10 (^ (7 (^
cards cards cards cards
face face face face
down) down) down) down)
Finally, the person is told to count down

into the pack and turn up the card at that
number. He is to look at it and remember it.
The performer calls the name of a card, say
"Queen of Hearts," and it proves to be the
chosen card!
the method: A pack of exactly 52 cards
must be used, so make sure to remove the
Joker beforehand. All you have to do is glimpse
the bottom card after the shuffle— in this case
the Queen of Hearts— and the rest is auto-
matic.
For example, if four Aces were turned up,
the spectator would have to deal 11 cards on
each, making 48 in all and leaving only 4
cards in the pack. He would then gather the
Four-Heap Deal jf$

51
44 face-down cards, drop the 4 cards from
the pack on top, and count down the total of
the Aces, which would be exactly 4.
With four 10s, or face cards, he would deal
2 on each, making 12 in all. That would leave
40 cards in the pack. He would gather the 8
face-down cards, drop on the bulk of the pack,
and count down the value of the 10s (or face
cards ) which would come to 40.
That done, the spectator is told to gather
the face-down heaps in any order that he wants
and to place the rest of the pack face down
upon the pile. He is then to add the totals of
the face-up cards and lay them aside, face
down, for later verification.
In this case, the cards would add up: 2 for
the 2 of Clubs, 10 for the King of Spades,
5 for the 5 of Diamonds, 10 for the Jack of
Clubs, for a total of 27.
In most instances, as in the example first
given, the total falls somewhere in between,

but the result is the same in every case.
presentation: It is usually best to illustrate
beforehand just what you want the spectator
to do. Deal a card face up, then add enough
face down to bring the total to 12, saying that
you will have him do that with several heaps.
Show him how to gather the face-down cards
and drop the pack on them.

Then have the pack shuffled, spot the bot-
tom card, and go right into the routine. If
you are using this method to "force" a card,
or as a "mental test," it is best to turn away as
much as possible.
However, if you turn the trick into a "pre-
diction" by writing the name of the bottom
card on a folded slip of paper before the spec-
tator even draws the four cards from the pack,
you can watch the process, even helping in
the gathering of the face-down piles.
As long as the spectator does most of the

dealing or is convinced that you could not
have manipulated the cards in any way, the
trick is 100 per cent effective.
LET'S FACE IT!
the effect: The magician spreads a batch

of cards, showing that some are red cards,
others black, and that some are face up and
others face down, all in haphazard fashion.
To mix them further, he squares the packet,
cuts it, and turns over the two top cards to-
gether. Another cut, another turnover of the
two top cards. He allows other persons to con-
tinue this process, cutting the pack and turn-
ing over the two top cards, time after time.
This is done behind the magician's back, so
he has no way of knowing whether two cards
Let's Face It A 53
are turned face up or face down. In some
cases,one card is already face up and the other
face down, complicating matters still more.
Finally, the magician takes the packet be-
hind his back, stating that he will pick out
each card by its color: red or black. A few
moments later, he brings out the packet and
spreads it, showing all the red cards face up
and the rest face down. He turns over the fan
and sure enough, all the black cards are faced
the other way!
the method: The trick is practically auto-
matic, which makes it all the better, as the
system itself is well concealed from the start.
First, your packet must contain an even num-
ber of cards, half red, half black. These colors
must alternate through the entire packet of
about twenty cards.
To conceal the arrangement, cut the packet
and turn over the two top cards. Do this a
few times and you are ready. Show the packet
"well mixed/' and let people cut the packet
and turn over the two top cards together. Re-
peat this as often as you want.
Behind your back, deal the top card face
down from your left hand to your right. Deal
the next card face up. Continue thus through
the entire packet. Bring out the cards, fan
them and you will find one color all face up,
the other color all face down.
.
presentation: After showing the cards to

be well mixed— as they actually appear to be
—you must stress the business of cutting the
packet and turning over the two top cards to-
gether, as any slip-up here will spoil the trick.
Turn the top cards over together. If one has
its face up and the other has its face down,
turn both over so that the card which was

face up is face down, and the card which was
face down is face up.
One plan is to hold the pack behind your
back and let someone cut it; then turn over
the two top cards yourself. But once you have
found a trustworthy helper, you can let him
go ahead with it on his own.
If anyone asks why only two cards can be
turned, simply say that you are keeping "men-

tal count," even though you don't see the
cards. This makes it all the more mysterious

After placing the packet behind your back,
you can give it a false shuffle (explained in
Chapter Five), letting the spectators watch
what appears to be an additional mixing. But
always face your audience before you start to
deal the cards from hand to hand.
In the deal, the simplest way is to push off
the cards with the left thumb, turning the left
hand over and back as you do so. Practice this
so you can do it rather rapidly and with very
little excess motion.
Let's Face It Jf$ 55
As a follow-up or repeat, you can demon-
strate the next trick:
FACE UP-FACE DOWN

the effect: A packet of red and black
cards is shown, with colors well mixed and
some of the cards facing up, others facing
down. The packet is cut and the two top
cards are turned over. This may be done re-
peatedly, as in the preceding trick.

Behind his back, the magician divides the
packet into two heaps. He brings them out
and shows that each packet contains exactly
the same number of face-up cards as the other
—say six in each! Furthermore, all the face-up
cards in one packet are red, while all the face-
ups in the other group are black!
the method: Follow the exact procedure
used in Let's Face It! but with one addi-
tional action. After dealing the packet in
"face up— face down" fashion behind your
back, count off half the cards with the right
hand and retain the rest in the left. With
20 cards, this would mean 10 in each hand.
Then turn over the entire group in the left
hand before bringing the two batches into

sight. Each heap will have the same number
of face-up cards: reds in one, blacks in the

other.
56 Jf% Easy Card Tricks

presentation: This follows the pattern of
Let's Face It! up to the final point. There, the
best plan is to lay the heaps side by side on
the table and spread one heap, saying, "6
face-up cards in this Then
heap— all black!"
spread the other and announce: "And the
same number in this heap— 6— all red!"
You have to spread one heap to find out
exactly how many face-up cards it contains,
and which color they are. Afterward, you can
turn the heaps over and show that each has
the same number of face-down cards, reds in
one heap, blacks in the other.
note: This trick offers a good "out" if you
have trouble setting up the reds and blacks in
alternate fashion, or if someone should give the
packet a shuffle instead of a cut.
In that case, go through with it as usual, but
at the finishannounce: "7 face-up cards in
this heap" (or whatever the count may be)
and "7 face-up cards here— exactly the same
number!"
In short, avoid all reference to reds or blacks
until you see whether they show up as they
should. That way, you can't lose!
THE RED CARD

the effect: Four cards are laid in a row,
the center cards face down, the end cards face
Red Card A 57
up. A spectator is given a folded slip of paper
and is told to name any number from 1 to 1 5,
so the performer can count back and forth

along the row to reach the card thus desig-
nated.
This is done and the slip is opened. It
states: "Your choice is the red card." The re-
maining cards are turned over and the chosen

card proves to be the only red card in the row.
the method: Use three cards from a
blue-backed pack and one card from a red-
backed pack, for example the 10 of Clubs,
the Jack of Spades, the 8 of Hearts and the
5 of Spades. These are lined up as follows:
5 OF 10 OF 8OF JACK OF
SPADES CLUBS HEARTS SPADES
Face Face Face Face

up down down up
Red Blue Blue Blue

back back back back
an odd number is called, count from left

If
to right and back again; as "1-2-3-4"— and re "

turning— "5-6-7," ending on the 5 of Spades.
If an even number is called, count from right
to left and back, in the same fashion.

Whatever the number, you are sure to end
on the face-up 5 of Spades or the face-down
8 of Hearts. If you hit the 5 of Spades, turn
both end cards face down, showing that you
stopped on the only card with a red back, thus
fulfilling the prediction. If you hit the 8 of
Hearts, turn the two middle cards face up,
showing that you stopped on the only red
card in the row. This also verifies the folded
slip.
presentation: Using a blue-backed pack,

place the 10 of Clubs on top and the 8 of
Hearts just below it. On the bottom, put the
Jack of Spades and then, beneath add the it,
5 of Spades from a red-backed pack. Having

thus "set" the cards, you are ready to begin.
Deal the top two cards face down, left and
right. Turn the pack face up and deal the 5
of Spades to the left of the center cards, and
the Jack of Spades to the right of them. Then
tell a spectator:
"I want you to think of any number from
1 to 15, but don't tell me what it is! Later,
we will count along the row from left to right
and back—like this. . .
."
Here use the right forefinger to count the

tips of your extended from left fingers fore-
finger to little finger and back toward fore-
finger, showing what you intend to do.
You continue: "Until we reach your card.
. . . But first, take this slip, as it predicts the
very card which will be at your number!"
Red Card A 59
Hand the person the slip and have him
name his number. If it is odd, you do the
counting from your left to your right. If even,
have him do the counting from his left to his
right. Since he is on the other side of the
table, the count will go the opposite way.
YOU DO AS I DO
This is a classic among impromptu card ef-
fects,one that will really bewilder your audi-
ence. Yet it is easy to do, once you have
learned to handle a pack of cards in a fairly
convincing style.
the effect: You take two packs of cards

—those from a bridge set may be used— and
let a spectator choose either pack. You pro-
ceed to shuffle one pack; he shuffles the other.
To show that all is fair, you then exchange
packs, so each shuffles the other's. Finally,
you hand your pack to the spectator and say:
"From now on, you do as I do— and let's see
what happens!"
You cut your pack in three heaps on the
table, so your friend does the same with his
pack. You then lift the top card of the middle
heap and peek at its corner. He does the same,
as you remind him: "I am remembering my
card, so I want you to remember yours."
Now, you gather the heaps and give your

pack two or three complete cuts, the other
person does the same with his pack. Remark-

ing that the noted cards are now "well buried,"
you exchange packs again. You then say:
"I am going to look through your pack and
take out the card that I found in mine. So
you look through my pack and find yours.
Then we'll put them face down on the table."
That is done and the packs are laid aside.
Dramatically, you turn up the two cards. They
are identical. By an amazing coincidence, you
have each taken the same card from a differ-
ent pack!
the method: After a few shuffles and ex-
changes, note the bottom card of the pack
that you hand to the other person, for example,
the 9 of Clubs. You take his pack and say:
"Now, do as I do." Lift off about two-thirds
of the pack, set it to the right, then lift off
the top third and put it further to the right.

The spectator does the same with the pack you
gave him.
Peek at the top card of the middle heap, but
don't bother to remember it. Still keep think-
ing of that bottom card of the other pack.
Pick up the bottom heap of your pack, now
the furthermost-left heap, put it on the mid-
dle heap and place both heaps on the top heap.
Your friend does the same with his pack.
You Do As I Do Jf$ 61
In the process, he plants the bottom card—
the 9 of Clubs that you secretly noted—
squarely on the card at which he peeked!
The pack may be cut repeatedly, yet the
two cards will remain together. So after you
exchange packs again, you simply look through
your friend's pack for the 9 of Clubs and re-
move the card just below it, say the Jack of
Diamonds.
That will be the card he looked at. Mean-
while, he is looking through your pack, finding
the Jack of Diamonds and taking it out as
you instructed. So the two cards turn out to be
identical.
presentation: This trick must be done in

a confident manner, with the performer shap-
ing the pattern as he proceeds. If you miss a
chance to note a bottom card, or it gets lost in
a chance shuffle, simply exchange the packs
again and proceed from there.
Sometimes you may "spot" the bottom
card of the pack that the other person is
shuffling, and in that case you don't have to

note yours. Instead of exchanging packs, you
would say: "Just put your pack on the table
and cut it as I do mine."
Don't worry about which pack is which after
the trick has passed the preliminary stage.
Just refer to a pack as "your pack" or "my
62 $jk Easy Card Tricks
pack/' according to convenience or the way
circumstances develop.
After you receive the other person's pack,
you can give it a "false shuffle" in which the
pack is merely cut, not shuffled. (False
shuffles are described in Chapter Five.) You
would then remark: "Fll shuffle your pack
while you shuffle mine." Your friend gives
your pack a real shuffle, but it doesn't matter.
You have now reached the point where you
are each going to look for your own card in the
other's pack.
If the other person starts to shuffle his pack
after looking at his card, don't give up the
trick. Just say: 'That's good, now let me
shuffle your pack while you shuffle mine." At
the same time, hand him your pack, pressing
the exchange.
It generally takes a good shuffle to separate
the chosen card and the "key" card above it,
so the chances are the trick may work despite

it. If it "misses," try it again, preferably with
the New Do As I Do, which follows:
NEW DO AS I DO
Here, the effect is almost identical. Two
packs are shuffled and exchanged by the per-
former and a spectator. Each notes a card,
New Do As I Do jfa
63
and these, when drawn from the other per-
son's pack, prove tobe the same.
the method: During a shuffle, note the
top card of your pack before handing it to the
spectator. Then tell him: "Now do as I do."
In this case, lift off two-thirds of the pack and
carry it well to the right. Then lift off the
top third and bring back a short way, setting
it
it between the other two, so that it becomes
the middle heap.

You do this with the spectator's pack; he
does the same with your pack. Now, you say:
"Look at the top card of the middle heap and
remember it." Your friend looks at the card
you noted, say the 4 of Clubs, while you are
peeking at a card in his pack.
Again, the packs are exchanged. He looks
for his card in your deck, you look for your
card in his deck. You both come up with the
4 of Clubs.
presentation: This version has the advan-
tage that the card is "forced" on the specta-
tor, so the trick cannot possibly miss. Further-
more, you can include a shuffle in the routine
middle heap has been
after the top card of the
noted by your friend. You simply say: "Now
do as I do and shuffle the pack thoroughly."
Then you follow with the final exchange.
The best plan is to work the original You

Do As I Do and save the newer version for
a repeat. In the original trick, the spectator

actually takes a random card from deep in
the deck. The newer trick, while artful, de-
pends upon an odd handling of the heaps,

which works best when dealing with a smart
spectator who is looking for something else.
COINS AND CARDS
the effect: The magician runs through

the faces of a pack of cards, showing that they
are well mixed. He says that he will predict
the card that a spectator will select at ran-
dom. He writes something on a slip of paper,
folds it and lays it beside the pack, which he
places face down on the table.
Now, the magician tells a spectator to take
any coin from his own pocket and add the
figures on the date. "Whatever the total," the
magician says, "we will count down that many
cards in the pack and use the number of spots
on that card to find our predicted card/'
The person looks at a coin and names the
date, which we will suppose is 1961. When
added, the figures 1, 9, 6, 1 give a total of
17. The spectator counts17 cards and down
happens to turn up the 7 of Clubs. So the
magician tells him: "Go right ahead and count
down seven more/'
Coins and Cards A 65
The up the seventh card. It
spectator turns
is the 10 of Diamonds. The magician tells
him to open the slip of paper. To his astonish-

ment, the spectator finds the written message,
"10 of Diamonds/' which hits the prediction
on the nose!
the method: Beforehand, you must ar-
range 13 cards in descending order: King,

Queen, Jack, 10, and so on down to Ace. These
cards can be of any suits, hence the "setup"
is quickly and easily arranged. Put this set on
top of the pack, then count any 10 cards from
the bottom and put them on top of that.
Run through the face-up pack, showing it
well mixed, and watch for the card just below

your setup— in this case the 10 of Diamonds.
That card, which is at the twenty-fourth posi-
tion, is the one you must predict.
The trick is sure to work every time, pro-
vided the spectator's coin is dated 1901 or
later. The lowest possible total will come from
1901 or 1910, bringing the count to the
eleventh card. There he will find a King,
which stands for 13, so a count of 13 more
will bring him to the twenty-fourth card.
Other dates work just as well. The higher
the sum of figures contained in the coin's
date, the lower the value of the card from
which the count is continued. Thus, 1-9-6-0

would end on the sixteenth card, an 8, which
would cany the count on to 24.
A date of 1—9—5—9 wou ^ t°tal 24 and
bring the count squarely on the twenty-fourth
card, so there is no need to go on further.
Just tell the person to read the prediction; and

there it is!
presentation: In running through the

pack, thumb the cards rather rapidly as you
reach the setup group, and no one will notice
their numerical arrangement. After the specta-
tor has dealt the twenty-fourth card, take the
rest of the pack from him and shuffle it while
he is reading the prediction and turning up
the card. That will really mix the setup group.
UPS AND DOWNS

the effect: Two cards are dealt face
down on the table. The Joker is placed face
up beside them. The pack is then shuffled and
twenty cards are counted off.
Someone pushes the Joker face down into

the packet of twenty (fig. 15a). The ma-
gician spreads the packet facing the spectators
and lets one person note the card above the
Joker, while another person notes the card just
below the Joker (fig. 15b).
Now, the magician squares the packet and

lets anyone cut it. He then holds the packet
Ups and Downs A 67

upright, face toward the audience. He slides
the top card up, the second card down, the

third card up, the fourth card down, and con-
tinues thus through the entire packet (fig.
15c).
He spreads the cards in a double fan and
asks the first person to note whether his card
is in the top half or the bottom half, but not
to mention which. The magician then "weeds"
the bottom half by drawing it downward
(fig. i5d), and places it on the top half,
squaring the two into a single packet (fig.
15c).
Now, he repeats the "up-down" process and
spreads the double fan so the second specta-
tor can see whether his card is in the top or
bottom half. Again, the magician draws the
bottom portion clear and places it on the top,
squaring the entire packet.
He then fans the packet and lets someone
remove the Joker (fig. i5f). The pack is cut
at that point (fig. i5g), the magician counts
off the top ten cards (fig. 15I1), placing them
face down in front of the first spectator. He
places the remaining ten in front of the sec-
ond spectator.
Originally, the magician dealt two cards
facedown. He turns up the first and it proves
to be the 5 of Clubs, so he has the first
68 fSf% Easy Card Tricks

6 PACK CUT AT POINT
WHERE JOKER REMOVED
ONE CHOSEN CARD IS 6 DOWN
OTHER CHOSEN CARD IS 5 DOWN
FIG. 15
COUNT OFF TOP TEN CARDS
Ups and Downs Jj% 69

spectator count down five cards in his heap.
The other card is the 6 of Diamonds, so the
second person is told to count down six cards
in his heap.
They turn up their cards and each proves to
be the very card that the spectator noted. The
magician has scored a double "hit" in pre-
dicting the exact number at which each chosen
card would appear!
the method: The 5 and 6 are secretly
placed on top of the pack beforehand, as they
represent the numbers at which the chosen
cards will appear without fail if the trick is
done exactly as described.

The Joker may be inserted anywhere in the
packet of 20 cards. The card just above it will
eventually come 5 down; the card just below
it will be 6 down in its group.
There are two "up and down" deals or

"weaves" of the cards, and in each case the
portions are pulled apart intact and one is
placed on the other. The Joker is then removed

and the pack must be cut at that point and
the cut completed.
In counting off the top ten cards, keep them
exactly as they are. That heap will have the
chosen card at position five; the other chosen
card will be at position six in the lower heap.
presentation: Two points must be stressed.

First, that you do not see the cards noted by
the two spectators, as the faces are facing for-
ward all the time. Second, in making the up
and down weaves, insist that each person in
turn must note which portion of the packet
contains his card.
You do this because it has no bearing on the
result and, therefore, is a good "throw off."
But the up-and-down interlacing is itself es-
sential, so you need an excuse for it, particu-
larly as it must be done twice.
You can vary the numbers at which the

cards appear in their respective packets simply
by sliding a card from the upper section to
the lower section at the time the Joker is re-
moved, and making the cut at that point.

That will put the first chosen card at posi-
tion six in the top ten, the second chosen card
at position seven in the bottom ten. Or if you
slide a cardfrom the lower section to the up-
per section when the Joker is removed, you
will put the first card at number 4 in the top
10 and the second card at number 5 in the
bottom 10.
This is useful when working the trick for

people who have seen it before. In either case,
cards of the proper value should be placed on
top of the pack beforehand.
Ups and Downs A 71

BEHIND YOUR BACK
the effect: A pack of cards is shuffled
and handed to the magician behind his back.
He brings out the pack, with its front or bot-
tom card toward the audience, and asks some-
one to call the name of the card that appears
there.
Again behind his back, the magician shuf-
fles the pack to another card, brings out the
pack, and has the audience name the front
card. After a few more times the magician
begins to call them himself, as "9 of Clubs-
Ace of Hearts— 10 of Spades"— and he is al-
ways right!
the method: Behind his back, the magi-
cian counts off 6 cards and lays them face up
on the pack. In showing the front card and
letting someone name it, the magician notes
the back card, which is turned his way, for
example, the 9 of Clubs.
Putting the pack behind his back again, he
moves that card to the front. When he shows
the pack, he calls, "9 of Clubs," and notes the
next face-up card, the Ace of Hearts. He con-
tinues thus, concluding the trick when he runs
out of face-up cards.
presentation: Ask someone to shuffle the
pack. Turn your back, saying, "Let me have
them now, so I can mix them still more."
72 Jh Easy Card Tricks

Behind your back, continue shuffling with the
cards face down, letting everyone see what you
do.
Turn toward the audience, bring out the
pack face front and say to someone: "Name
the card you see there." Put the pack behind
your back, saying, "Let's shuffle to another
card." Repeat the process of having someone
name the front card when you show it.
About the third or fourth time you do this,
count off the six cards and lay them face up
on the pack. Have someone name another
card and this time note the back card as you
show the front one. Next time, move that card
(say the 9 of Clubs) to the front and state:
"Don't name the next card you see. Just keep
thinking of it while I concentrate on it. Maybe
I can guess it."
This time, you name the card (9 of Clubs)

and meanwhile note the next (Ace of Hearts)
and continue in that fashion. In naming each
card, you can pretend to grope for the thought,
saying, for example:
"This is a black card; I'm sure of that. A
spot card, too, it's thick with them: 8—9—10
—no, only 9. But it's hard to tell whether
they're Clubs or Spades. Just a tossup, but I'll
say Clubs— the 9 of Clubs."
Behind Your Back Jf$ 73

To continue past the sixth card, do as fol-
lows:
In naming the fifth card, spot the sixth (say
the King of Hearts) and, as you put the pack
behind your back, turn it face down on the
pack. Immediately bring out the pack, saying:
"That's enough. Let's try something else."
Then, inquiringly, you add: "You want me to
call more cards? All right."
You are holding the pack face down, as
everyone can see, making it seem impossible
that you could know any of the cards, except
the bottom one, which you just named. But
it happens that you know the top card, too.
So behind your back, you move it to the
bottom and turn up more cards on top of
six
the pack, thus picking up where you left off.

At the point where you decide to continue,
you can give the pack an overhand shuffle of
the type that brings the top card to the bot-
tom. That will put it where you want it, so
behind your back you simply turn up the 6
top cards and you will be ready.

4. Tricks with
Ordinary Objects
There are two advantages to doing tricks with
ordinary objects. First, your appliances are
usually easy to obtain; second, they lack the
suspicious look of special or fancy apparatus.
This puts your audience off guard at the start,
because you can introduce "faked" articles or
hidden "gimmicks" without their realizing it.
In short, some of the simple objects used

in the following tricks are not as "simple" as
they seem; but the tricks themselves are sim-
ple, in fact all the more so, thanks to special
preparation or some hidden device.
In other instances, some secret manipula-
tion or unsuspected "move" will enable you
to create the magical effect. Even though these
are comparatively simple, the method should
be carefully practiced, and the effect itself re-
hearsed so that there will be no hesitation at
the vital point.
Some of the tricks in this section are adapt-
able to close-up work; they may be regarded
as extensions of close-up tricks, so they can be
used when performing that type of magic. But
they are mostly suited to somewhat longer
Tricks with Ordinary Objects Jjk 75

range and before an audience larger than one
or two persons.
These are good tricks to work at a party or
before a small social group. You need a will
table for some of them, so this should be "set"
in advance, along with the needed articles.
ONE OUT OF THREE

This creates an excellent effect because it
can be repeated, always with the same suc-

cess. What
seems to be a "one out of three"
chance actually becomes one out of many
more.
the effect: Three paper cups are inverted
on the table. The magician borrows an object,
such as a ring, and asks someone to place it
beneath one of the cups while his back is
turned.
Then, the person is told to change the posi-
tion of the other two cups, moving each to
the spot where the other was. In this way, all
chance of noting any exact position of the cups
will be completely eliminated.
The magician passes his hand back and
forth over the cups, finally stopping and lift-
ing one of them. Under that cup is the ring!
the method: One of the cups has a slight
identifying mark, made by the performer and
known to him alone. For example, the bot-
76 A Tricks with Ordinary Objects

torn lip can be bent slightly with the thumb.
He also notes the exact position of this cup in
the row; for example, that it is at the left end.
After the ring has been placed beneath a
cup and the positions of the other two cups
transposed, the wizard takes another look. If
the marked cup is still in its original position
(in this case at the left), he knows that the
ring is under it.
What if the marked cup has been moved?

It's still easy to find the ring. You eliminate
both the marked cup and the one that replaced
it. The ring is under the remaining cup. If
the marked cup was on the left at the start

and is now in the center, the ring must be
under the cup on the right.
The test may be repeated with the cups
exactly as they are. Use the marked cup's
present position as the start for the repeat.
Again, someone puts the ring beneath any cup
and transposes the other two while your back
is turned. You find the ring just as you did
before. Thus, if the marked cup begins in the

center and winds up on the right, the ring is
under the cup on the left.
presentation: Much depends on neatly

stressing the exact procedure of the test. You
can do this by casually showing what is to
One Out of Three A 77

be done and giving a logical reason for it. You
may say:
"Here are three paper cups and a ring. I
want you to lift one of the cups, place the
ring beneath it and then think of that
cup. . .
."
Here you lift the cup and place the ring

under it.
"To aid your concentration, I want you to
switch the other two cups, like this. . .
."
You go through the action of transposing the

two cups. "That will clear your mind of any
doubt and my mind, too, when I sense the
thought impression, as it will focus your at-
tention on the cup that hides the ring."

At this point, you raise the cup, bring out
the ring and leave it beside the cups. Then
turn your back, as you add:
"Remember, you can place it under any
cup, but keep thinking of that cup alone while
you reverse the positions of the other two.
. Ready? Don't look at the cup that hides
. .
the ring. Just think of it. . .

."
Here, you turn about, run your hand back

and forth above the cups you comment: "I as
gain the impression that the ring is under
here—" Slowly dip the hand at the correct cup
and lift it, revealing the ring.

THE SUCTION CUP
the effect: The magician takes two very
ordinary items, a paper drinking cup and a
table knife, and proceeds to demonstrate the
impossible. He sets the cup on the flat blade of
the knife and presses his free right hand on
the rim of the cup; then he turns both over,
takes his hand away, and the cup adheres to
the knife blade!
This, the magician claims, is due to suction
created in the cup. He brings his right hand
up beneath the cup, gives the left hand a
slight twist, and the cup drops from the knife,
both items being given out for immediate ex-
amination.
the method: A small but strong magnet
does the trick. Secretly drop the magnet in the
cup beforehand. Set the cup on the knife
blade, which, being steel, grips the magnet
through the paper bottom (fig. 16a). Place
the palm of the free hand on top of the cup
and pretend to create suction as you invert
knife and cup.
The cup sticks to the blade in a mysterious
fashion (fig. 16b) and heightens the effect
as you bring your hand up beneath the cup
and make the reverse twist. As you hold the
rim of the inverted cup, simply lift the knife,
releasing the magnet, which drops unseen into
Suction Gup Jf§ 79

START THUS
*J&
KNIFE BLADE
_i
^ MAGNET IN CUP
FIG. l6
=? MAGNET
SECRETLY DROPS
INTO PALM
the right palm (fig. 16c). hand then The left
picks up the cup along with the knife and

gives both for inspection.
presentation: Test the type of cup before-
hand, to make sure it does not have too deep
a bottom flange or rim, as close contact is re-
quired between the magnet and the blade
through the cup (fig. i6d). Make a great
pretense of creating suction when you place
your hand flat on top of the cup. Talk about
compressed air and its peculiar properties and
add any other scientific "hokum" that you may
think up.

.
But mention magnetism,

don't, of all things,
or your audience may catch on just as fast as
the blade and the hidden magnet!
note: Before you perform this trick, test
the magnet with the knife to be sure that the
magnet will adhere strongly.
THE SLIDE-ALONG KNOT

A good trick in its own an
right, this is also
excellent opening for a rope routine or a good
preliminary to Cut and Restored Rope
( P .
3 8).
the effect: The magician stretches a six-
foot length of rope and shows a knot tied in
the center. He takes the knot in one hand and
slides it along the rope to the end. With an-
other sweep, he slides it to the other end,
then back to the center where the knot in-
stantly vanishes.
the method: Beforehand, three slipknots
are tied in the rope. Such a knot is easily
made by forming a loop in the rope (fig. 17a),
then bending the upper portion beneath the
loop, and pushing it up through (fig. 17b)
and tightening it there (fig. 17c)
Two such knots are tied near the ends of
the rope; the third is tied at approximately the
center (fig. iyd). The rope is held in the
hands, middle knot hanging down for the audi-
Slide-Along Knot A 81
ence to see, end knots hidden in the hands
(fig. 17c).
The magician picks up the rope with one
end knot (A) in his left hand and the other
end knot (B) in his right. He shows the center
knot (C) and grips it with his left hand, carry-
ing the end knot (A) along. With his left
thumb, he pushes out the center knot (C)
and draws his hand toward the end of the
rope, revealing the knot there (A). This is
illustrated in the two sketches in fig. 17L
Holding that end with his left hand, the
magician takes its knot (A) with his right
hand and pushes out the knot; then he slides
his right hand along the rope to the other end,
showing the knot there (B).
Letting the rope dangle from his right hand,
his left hand grasps the knot (B) and secretly
pushes it out, then pretends to draw it to the
center of the rope, letting the ends dangle.
The right hand grabs both ends together,
shakes the rope, showing that the knot is gone,
and the left hand takes one end of the rope so
that it can be stretched to prove it.
presentation: By bunching the rope on the

table, the end knots (A and B) can be con-
cealed beneath it. The two ends can be picked
up together by the right hand, both knots
(A and B) being concealed in the right fist,
as the left forefinger points to the dangling
center knot (C) and the magician states:
"Here we have a rope with a knot in the
center, a solid, well-tied knot"—he tugs at it
lightly with his left hand— "as you can see/'
He raises his left hand to his right, and grips
the left end of the rope with its knot (A)
and spreads the hands, the right retaining its
hidden knot (B).
"Now all we need is the magic touch/'
He brings his left hand to the center of the
rope, grips the knot there (C) and secretly
pushes its loop free. "Then slowly, steadily,
Slide-Along Knot A 83
we draw the knot along to the end of the rope"
—the left hand slides along as though taking
the center knot with it— "and leave it here
on the end of the rope, as solid and firm as
ever!"
Here, the left hand knot (A)
displays its
for the first time, as if it were the center knot

(C), and the right hand, still hiding its knot
(B), lets the rope dangle. The left hand then
raises its end of the rope, displaying its knot
(A), and the magician continues:
"So we take the knot again"— here the right
hand moves over and grips the left knot (A),
pushing its loop free— "and give it a long,
quick slide." The right hand, all the time con-
cealing its knot (B), runs along the rope and
reveals the knot (B) as it reaches the end.
"And that brings it clear to the other end."
The right hand lets the rope dangle and
the left comes over and grips the knot (B)
while the magician states: "So once again we
grip the knot and whisper the magic word
while we draw it to the exact center of the
rope." As he he pushes out the knot
speaks,
and pretends to draw it to the center of the
rope. "There— that's about it."
"And now, taking both ends"—he grips
them with the right hand— "so the knot can't
get away, we give the center a single slap, like

this"—the magician releases the center of the
rope with his left hand, slaps it against his
left hand with his right— "and the knot is
gone!"
The left hand comes over and takes one end
while the right retains the other. The hands
and the rope is shown between
are spread apart
them, with no trace of a knot
CUT AND RESTORED ROPE

This is a simplified version of perhaps the
most popular trick in magic today. A fairly
thin, soft rope is best for this real baffler,

which has the added feature that it can be re-
peated immediately with the same surprising
result.
the effect: The magician shows a five- or
six-foot length of rope. He holds the ends in
his left hand, brings up the center loop be-
tween the ends and uses a pair of scissors to
cut the rope in half. He then presses the cut

ends together, spreads his hands wide apart
and the rope is restored. Not only that, it can
be given for examination.
the method: Hold the rope in the left
hand, gripping it near one end. Draw the
right hand down along the rope, stretching it
full length. Do this a few times, then:

Gut and Restored Rope A 85
Bring the right hand up to the left. Grip
the rope between right thumb and fingers
(fig. 18a). Then double a small loop upward
with the right hand, gripping it in the bend of
the left fingers (fig. 18b). The left thumb
aids in retaining the loop there.
Immediately, the right hand is drawn clear
along the rope to the other end. This is an
exact copy of the original stretching process,
so no one suspects that the left hand conceals
a loop near the upper end of the rope.
Bring the right end up and place it in the
left hand so that both ends protrude. Both
ends are gripped by the left thumb and fingers

with the hidden loop between (fig. 18c).
Now, the right hand dips down into the cen-
ter loop, fingers going through to the front,
thumb in back (fig. i8d). The
hand right
brings the big loop up into the left hand and
plants it there, taking the little end loop in-
stead (fig. i8e). This is done in one con-
tinuous move. The little loop is then brought

up above the left hand, between the ends
(fig. i8f).
This appears to be the center loop. It is cut

with the and the magician
scissors (fig. i8g),
announces that he now has two ropes with
four ends (fig. i8h). Actually, he has a short
bit of rope with two ends (A and B) and a

FIG. l8
rope almost as long as the original with two

ends (C and D).
The right hand lays the scissors aside and
Gut and Restored Rope Jf% 87
takes a long end and a short end (as A and
D) and presses them together (fiq. i8i),
thumb in back, fingers in front. The left hand
releases the rope and runs down along it,
catching it halfway down and stretching it
level, holding it almost at the end (fig. i8j).
The rope is now shown to be "fully" re-

stored, but actually the right hand is holding
the short extra piece as though it were the
rope end. The left hand's position is identical
and the fact that it is holding a real end—
which was openly shown— draws any suspicion
from the right.
To dispose of the tiny extra end: The right
hand approaches the and folds the extra
left
bit of rope there. In the same action, the rope

is gathered up and wadded in the left hand,
which lays it aside, the odd end going with it.

Or: The right hand leaves the long ends in
the left hand, gathers up the center and then
the ends, carrying the rope away and leaving
the extra bit in the left hand. To dispose of
the extra piece, the left hand
up the picks
scissors and pockets them or lays them some-
where out of sight, dropping the odd end with
them.

FOOLED-AND FOOLED AGAIN!
the effect: Three cards are shown, each
of a different color: red, green, and blue. They
are dropped in a hat or simply covered with
a handkerchief. In the latter case, the magician
still retains them in one hand.
Two cards, the red and blue, are brought out
and laid aside. When people are asked to name
the remaining color, they say "Green," but
when the magician shows the card, it is a
white one, with the word FOOLED printed
on it.
By then, smart spectators are figuring that

the card is green on the other side, so they
demand, "Turn it around!" The magician
does, showing the card still white, with the
words FOOLED AGAIN in big bold letters!
the method: Three cards are used: One
is red, another blue, while the third is white,
withFOOLED printed on one side and
FOOLED AGAIN on the other. Also, there
is a special fake, consisting of a green card cut
to about half the width of the others.
This "half card" is pasted to one side of
the red card, being set at a slight angle toward
one edge. It should be shortened a trifle, so
that its corners do not project past any edge of
the red card.
By arranging the colored cards in a fan,
Fooled —and Fooled Again! A 89

they appear to be three cards— red, green, and
blue, thanks to the special fake. The
FOOLED card is behind the
set lengthwise
others, thus hidden from view. fig. 19 shows
how the "fake" card is made and how the
cards are held.
In bringing the cards from the hat or cloth,
the blue may be shown on both sides, but only
the back of the red card is shown, so the
green fake is hidden. That leaves the
FOOLED card all set for the double-barreled
finish.
presentation: With the hat, small cards
should be used, about the size of playing
cards.Simply show the "three" color cards and
drop them in the hat. Bring out the blue first,
carelessly turning it over as you transfer it to
the other hand. Then bring out the red, show-
ing only its back, and place the blue with it.
Put both in your pocket, so you can pick up

the hat with one hand and reach into it with
the other when you ask the color of the re-
maining card.
If you intend to use the handkerchief in-
stead of the hat, you can make up the cards in
a larger size. This is good for platform presen-
tation since they can be seen at a distance.
After covering the "three" color cards with the
cloth, turn them around and extend them to-
ward the spectators.
RED GREEN BLUE
FINAL CARD
BLUE RED
RED 1/ GREEN If BLUE
MOW CARDS ARE HELD

BACK VIEW
FIG. 19
This automatically brings the back of the

blue card to the front, so it can be drawn
straight down from the cloth, shown, and laid
flat on the table. Good comedy can be intro-
duced by pretending to show the cloth empty
after removing the red and blue cards.
You say that the green card has vanished
and you let the cloth drape downward, but
the audience can see the outline of a card
behind it. With your other hand, you bring
the lower half of the cloth up in front and
shift the card behind it; then you let the rear
Fooled—and Fooled Again! Jf$ 91
portion of the cloth drop. The clumsier this
is done the better, as you want the audience
to know that you are trying to hide the "van-
ished" card.
When you finally take away the cloth and
show the card, first front and then back, the
double impact of its FOOLED and FOOLED
AGAIN message will be all the stronger.
These cards are easily made up from colored
cardboard and the words FOOLED and
FOOLED AGAIN can be boldly marked on
a white card. It is a good idea to have an
ordinary red card that can be switched for the
fake card, either in the pocket or behind some
object on the table. All the cards can then be
shown as ordinary, later.
FARMER AND SHEEP

Here is an intriguing trick involving a story
with a magical climax. The only requirements
are a pack of ordinary playing cards and two
hats. A pair of paper bags, or boxes, or similar
receptacles may be used instead of the hats.
the effect: The wizard places the hats
on the table, openings upward. Between them,
he deals five spot cards, which he turns face
down, saying they represent five sheep, out
grazing in a pasture between two barns, repre-
sented by the hats.
He two Jacks from the pack, saying
deals
that they are a pair of tramps who want a
place to sleep, so each goes into a barn. He
places a Jack in each hat and lays the pack to
one side.
The tramps decide to steal the sheep, so
they call them into the barns: First one on the
right, then one on the left, then right, left,
right— until all the sheep are in the barns. The
performer illustrates this by dropping the
"sheep" cards into the hats in alternating
fashion.
Just then, the farmer's daughter looks from
the house and sees that the sheep are gone.
Here, the magician turns up the top card of
the pack and shows it to be a Queen, rep-
resenting the farmer's daughter. So she goes
to tell her father. The Queen is replaced face
down on the pack.
Immediately, the tramps become worried
and they let the sheep out again— one from
one barn, one from the other, and so on. To
indicate this, the wizard brings a face-down
card from the hat on the left, then one from
the right, then left, right, left, making five in
all.
By then, the farmer arrives with his

daughter. The magician turns up the two top
cards of the pack: one is the Queen, the other
a King, representing the farmer. The sheep
Farmer and Sheep Jf% 93
are back, but the farmer is suspicious. He goes
to get the sheriff, while his daughter stays and
slyly keeps watch.
Here, the magician turns the King face
down on the pack and places the Queen face
up under the pack, but extending partly out-
ward, as though keeping watch.
Right away, the tramps steal the sheep
again, just as before— right, left, right, left,
right. The magician puts the sheep cards into
the hats in that order. Then he turns up the
two top cards of the pack, showing the King
and with it a Joker. To these he adds the
Queen.
The magician states that the farmer's
daughter (Queen) tells the farmer (King)
and the sheriff (Joker) exactly what happened.
So the farmer goes into one barn— the King
is dropped in the hat on the right— and the
sheriff goes into the other— the Joker is

dropped in the hat on the left— expecting to
catch the tramps red-handed with the stolen
sheep.
But instead, the farmer finds all his sheep
together, in one barn. From the hat on the
right, the wizard brings out the King and the
five spot cards. In the other barn, the sheriff
finds only the two tramps, sound asleep. Here,
the magician brings out the Joker and the two

Jacks from the hat on the left. He then shows
the hats to be empty.
the method: The trick hinges on the fact
that an odd number of cards (five) are used
to represent the sheep and that they are put
in the hats and taken out face down. This en-
ables you to proceed as follows:
First, in placing a Jack in each hat, turn
the Jacks so their faces are toward you and tilt
them forward. When

you come to the sheep
cards— the spot cards—put them in the hats,
right, left, right, left, right, as described, keep-
ing their faces toward you and tilting them
backward.
In replacing the sheep on the table, when
they are released from the barns, take out
the Jack from the hat on the left and lay it
face down. Then take the Jack from the hat

on the right and lay it face down, slightly
overlapping the first Jack.
Next, take a spot card from the hat on the
left and lay it to the right of the face-down
Jacks. Take a spot card from the hat on the
right and lay it to the right of the Jacks. Take
a spot card from the hat on the left and lay it
between the Jacks and the other two spot
cards.
People think that you have replaced the orig-
inal sheep cards, or five spot cards, on the
Farmer and Sheep Jf$ 95

table and that a tramp card, a Jack, is still in
each hat. Actually, the Jacks are on the table,
the hat on the left is empty, and there are two
spot cards in the hat on the right.
When the sheep are again taken into the
barns, you begin by picking up a spot card
and dropping it in the hat on the right; then
a Jack into the hat on the left; a spot card into
the hat on the right; a Jack into the hat on
the left; finally, a spot card into the hat on the
right.
If you laid them down correctly, they will

be in position for this series of pickups. By
keeping the backs of the cards toward the spec-
tators, no one will know that two of the sup-
posed "spot" cards are really Jacks. This puts
the five sheep in the right barn and the two
tramps in the left.
presentation: Follow the routine exactly
as describedand the presentation becomes al-
most automatic. Use the right hand for moving
cards in and out of the hat on the right; use
the left hand with the hat on the left. This
enables you to handle them in a smooth,
rapid fashion that is both easy and natural.
Rehearse the routine along with the story
line so that there no fumbling or hesitation.
is
Then no one is apt to notice that you pick up

the "sheep" beginning with the right, and lay
them down beginning with the left.
96 Jf$ Tricks with Ordinary Objects
Use of the Queen, King and Joker provides
further byplay that diverts attention from the
secret of this highly entertaining trick.
SILK THROUGH WAND

the effect: A spectator holds a wand
while the magician wraps a silk handkerchief
twice around the center and ties the ends in a
firm knot. He sudden tug and
gives the cloth a
pulls it through the wand. Both ends of the
wand may be held during this surprising dem-
onstration.
A pencil or a ruler can be used instead of
the wand. A pencil is all right with a silk, but
in using a handkerchief of heavier cloth, such
as a bandanna, a ruler is better and a cane is
particularly good. The larger the handkerchief,

the better.
the method: Use a rather large handker-
chief and twist it rope fashion. Hang the silk
over the wand so that the ends dangle.
Now grasp the ends and bring them up un-
der the wand and over it, so that the wand is
completely girded by the silk, each end dan-
gling from the same side where it hung be-
fore (fig. 20a).
Have the spectator place his finger on the
crossing above the wand, so that you can pull
Silk Through Wand A 97
the ends tighter. He holds the wand with his
otherhand while he does this.
Take the ends of the and bring them

silk
back over the finger, down under the wand,

and up over the top, where you tie them in a
tight knot (fig. 20b).
Have the spectator draw his finger from the
folds of the silk and grip both ends of the
wand. Give the knotted ends of the silk a sharp
upward pull and it will come clear of the
wand, apparently passing right through the
wand (fig. 20c).
By reversing the direction of the ends when

the finger is placed in position, you actually
unwind the handkerchief while apparently
wrapping it more tightly. Once the finger is
drawn away, a sharp tug will pull the knotted
handkerchief clear of the wand.
presentation: Although this is an easy
trick, it must be done smoothly to be convinc-
ing, so it should be practiced to acquire that

knack. As you bring the handkerchief back
across the spectator's finger, change the ends
from one hand to the other. This speeds the
action and prevents the ends from crossing,
which would ruin the release. It looks natural
and gives the impression that you are about to
tie the ends in a knot, which you actually do
after carrying them around again (fig. 20b).

WIND ENDS BACK AROUND-
TIE KNOT-DRAW OUT FINGER
SPECTATOR'S
FINGER
HELD LIKE THIS
HANDKERCHIEF
PULLED
THROUGH WAND
\J
FIG. 20
Once the knot is tied, make

"show" of a
having persons hold the ends of the wand and
play up the "pull through" at the climax. This
is one trick in which a strong presentation is
essential.
Silk Through Wand A 99

5. Magic with Cards
Card whole field of magic in
tricks represent a
themselves, ranging from simple puzzles to
difficult sleights. It is important to learn the
proper handling of a pack at the very outset,
since an easy trick, well presented, may ap-
pear to be a display of great skill. On the other
hand, any bungling with the cards may ruin
an otherwise clever effect
CUTS
the single cut: This consists of lifting a
group of cards from the pack and laying them
alongside the rest. Sometimes the lifted group
is replaced, which puts the pack back in its
original condition. But if the lower group is

placed on the upper group, the cut is said to be
"completed."
Actually, the completion of a single cut
does not mix the cards, though it does bring
a new card to the top of the pack. But if cer-
tain cards are clustered together— for example,

all four Aces— they will still retain that for-
mation despite any number of single cuts, as
long as the deck is not cut where the clusters
occur.
the multiple cut: Here the pack is di-
100 Jk Magic with Cards

vided into three or more heaps which are then
assembled in a completely different order. Or,
a batch of cards may be pulled from the cen-
pack and placed on the top or bot-
ter of the
tom, which has the same effect as a Multiple
Cut.
the undercut: This is a single cut in
which the bottom portion of the pack is
drawn from beneath the rest and placed on
top to complete the cut.
The usual way is to hold the pack face down
in the left hand, thumb at left side, forefinger
at far end, other fingers at right side. The
right thumb and second finger then grip the
sides near the inner end (fig. 21a), draw
out the bottom portion and place it on top
(fig. 21b).
Another way is to pick up the pack between

the right thumb and second finger as just de-
scribed, then use the right forefinger to raise
the top half of the pack, tilting it so the other
side can be pressed against the thumb.
With the halves thus separated, the right
Guts A 101
hand drawn back quickly, carrying the lower
is
portion between the thumb and second finger,

while the forefinger releases its pressure on the
upper portion, which drops to the table.
The lower half is promptly placed on the
upper and the pack is squared, completing a
neat one-hand cut that looks quite skillful,
which it really is, as some practice is needed

to do it well.
SHUFFLES
A shuffle mixes the cards quite thoroughly,
though it may be limited to a degree to suit
the purposes of a particular trick.
THE DOVETAIL OR RIFFLE SHUFFLE: The

pack is cut into two heaps, which are brought
together end to end, the thumbs at the inner
ends and the fingers at the outer ends of their
respective heaps.
The thumbs bend the ends of the packets
upward, then release them simultaneously in
a downward riffle, at the same time pushing
them together so that they interlace in "dove-
FIG. 22
102 Jf$ Magic with Cards

tail" fashion, as fig. 22 shows. The packets
are then squared into one.
Sometimes the packets may be riffled at the
inner corners instead of the ends, the fingers
being at the far sides. Also, the forefingers
may aid by pressing down on top of the pack-
ets.
the overhand shuffle: The entire pack

is held in the right hand, fingers at one end,
thumb at the other. The pack is tilted to an
upright position and the left thumb is pressed
against the upper edge, where it peels a few
cards downward, letting them fall into the
bend of the left fingers (fig. 23a).
fig. 23
This is repeated, so that another small batch

of cards drops upon the first group, and so on.
The shuffle thus consists of a series of small
cuts in which each new group or packet goes
on the one before (fig. 23b).
There is a variation, however, known as the
front and back shuffle:
Shuffles A 103
THE FRONT AND BACK SHUFFLE: This Starts
like the Overhand, but after the second

batch of cards is deposited on the first,
the left hand tilts forward, throwing its cards

against the base of the left thumb.
Now, the right hand brings the pack down
in back of those cards, so when the left thumb
peels off the next batch, it falls behind those
already shuffled off.
The next batch goes in front, the next in

back, and so on, in alternating fashion, until
the shuffle is completed.
DEALING CARDS
Dealing is another common procedure
which has several variations. Since these var-
iations are important in card tricks, they will
be described in detail.
In most deals, the pack is held in the left

hand, with the thumb slanting across to the
outer right corner. The left thumb pushes the
top card outward and to the right, where it is
taken between the right thumb and forefinger,

which complete the deal by drawing the card
farther from the pack.
the group deal: This consists of pushing
two, three, or more cards from the pack to the
right hand (fig. 24a), which them in
receives
a group, exactly as they are. The right thumb
104 A Magic with Cards
FIG. 24
is above and the right fingers are beneath the

cards thus dealt, so they can be taken in threes,
fours, fives, or any number desired (fig. 24b).
This type of deal is sometimes termed a
count off, because it enables a person to
count off any number of cards— almost up to
fifty-two in some cases— and put them back
on the pack the same way they came off!
Another method is to drop the cards on the
table in a group, exactly as they were counted
off, and then replace them upon the pack in
their original order. This is essential in cer-
tain tricks.
In dealing two or more heaps of hands, the
Group Deal may be used to complete one
heap, then the next, and so on; or cards may
be dealt singly, either completing each heap,
or going from heap to heap. This may in-
volve either the Reverse Deal or the Turnup
Deal. If important to the trick, it is generally
specified in the instructions.
the reverse deal: The Reverse Deal in-
volves dealing off the cards one by one, each
Dealing Cards A 105

going on the card that was dealt before it, so
that their order is reversed. This is also highly
important in certain card tricks, but is so
simple that it escapes general notice, which
makes it all the more valuable in some cases.
With the Reverse Deal, you can have a
group of cards running in value from Ace up
to 10. After dealing them and replacing them
on the pack, they will run from 10 down to
Ace, yet no one will realize it— except you,
the magician.
the turnup deal: The Turnup Deal is a
"one-by-one" deal which does not reverse the
order of the cards for the simple reason that
you turn up each card as you deal it.
Thus, each new card goes on the one be-
fore, but since they fall face up, they will be in
their original order when you pick them up
together and replace the entire group face
down on the pack.
Here, a special point should be stressed: In

dealing cards face up, the right hand must
flip them forward (fig. 25a), then upward
(fig. 25b), if it takes them in the usual man-

ner, with fingers below and thumb above.
This method is good if it is done neatly. A
still better system, however, is to bring the
right thumb below the card and the right
fingers above. In this case, the card is first
flipped,upward with the thumb (fig. 26a),

then forward (fig. 26b), which is neat in it-
self, giving the deal a deft touch.
FALSE CUTS AND SHUFFLES

After acquiring a natural manner of cut-
ting and shuffling a pack, it is easy to intro-
duce "false" cuts and which appear
shuffles
to mix the pack, yet enable you to keep cer-
tain cards just where you want them.
One of the simplest yet most deceptive is
the following:
false single cut: Lay the pack on the
False Guts and Shuffles A 107
table and lift off the top half with the right
hand, placing that portion closer to you. Im-
mediately pick up the far heap with the right
hand and place it in the left hand; then pick
up the near heap with the right hand and drop
it on top.
This apparently completes an ordinary sin-

gle cut, but actually leaves the pack exactly
as it was originally.
false three-heap cut: The pack is on

the table. Lift off about two-thirds of the pack
and lay this group six inches to the left. In
the same action, lift off about half of that
group and drop it in the center. The packets
now will be:
LEFT CENTER RIGHT

Middle Top Bottom
With the right hand, pick up the heap at
the and drop it on the heap at the right.
left
Then pick up both heaps and drop them in

the left hand. Pick up the remaining heap
(the center one) and drop it on the rest. The
pack will be as it originally was.
variation: After laying out the heaps, use
the right hand to pick up the left heap and
drop it on the right heap; then drop both on
the center heap. This looks like a multiple
cut but is actually only a single cut.

false triple cut: Hold the pack face
down and lengthwise between the hands, the
thumbs pressing the back edge, the fingers the
front. Thumbs and fingers are pointed down-
ward and inward, as fig. 27a shows.
With right thumb and forefinger draw off
the bottom third of the pack (fig. 27b). Carry
above the pack and with the right thumb
this
and second finger draw off the top third
(fig. 27c). The left hand retains the middle
third.
fig. 27
The right thumb and forefinger drop their

heap on the table with a slightly forward flip,
and a quick inward whisk of the hand so that
the falling heap clears the other heap. The
left hand immediately plants its heap on the

first one. The right hand then drops the re-
maining heap on top.
Despite this seemingly intricate cut, the
pack is in its original condition.
false dovetail shuffle: This is a very
effective way of keeping certain cards where
you want them, because the shuffle is actually
a standard Dovetail or Riffle Shuffle, but is
handled in a special way. Simply cut the pack

and bring the ends together. Then, to keep
a card on the bottom of the pack, start the
riffle with a few cards from the lower half,
so that the bottom card drops first. To keep

a card on the top of the pack, retard the
riffle of the upper half, so that the top card
falls last.
By combining the two processes, cards can

be kept on both the top and bottom of the
pack, though that is seldom necessary. More
important is the fact that entire groups of
cards— up to a dozen or so— can be kept intact
on the bottom or top by using the False Dove-
tail.
In such cases, it is wise to cut off a larger

upper packet when keeping a group on top, or
a larger lower packet when keeping a group
on the bottom. This will allow for a more
convincing riffle.
false overhand shuffles: These are used

to retain the top or bottom cards—as well as
entire groups—in position. In every case, the
false shuffle simulates the genuine to a degree
that defies detection.
For top or bottom control of a single card,
the following is one of the neatest methods:
the pull away: To keep the top card in
place, stand with your right side toward the
audience and hold the pack lengthwise be-
tween the thumb and fingers of your right
hand, which are at opposite ends. The top of
the pack is toward your right palm.
Now, the left hand approaches from in back
and draws down a batch of cards from the bot-
tom of the pack, as with the simple Over-
hand Shuffle. But at the same time, the left
fingers come up between the pack and the
right palm, where they press the top card and
draw it down along with the bottom batch.
The left hand continues to draw off clumps
of cards until the shuffle is completed, with
the top card still in place. This may be re-
peated as often as desired.

To keep the bottom card in position, turn
your toward the audience. Pack is in
left side
right hand, but with top upward, or away from
the palm, as with the usual Overhand Shuffle.
The left thumb draws down a batch of
•
cards from the top of the pack, while the left

fingers go up beneath and bring along the
bottom card same action. Shuffle off
in the
the rest of the cards on top of the first batch.
top to bottom: Using the Overhand Shuf-

fle, you can shuffle the top card to the bottom
of the pack by simply drawing off the top

card alone, with the left thumb, then shuf-
fling the rest of the pack onto it.
bottom to top: This done with a

is
straight Overhand Shuffle until you come to

the last few cards. Then, the left thumb simply
draws them away one by one, so that the last
card can be dropped on top of the pack.
stacked pack shuffle: When working

with a pack in which the cards are "stacked,"
or arranged in some special rotation, a false
shuffle is needed to keep the setup intact. Here
is one type:
overhand cut shuffle: Hold the pack

for the Overhand Shuffle, but draw off about
half the cards with the left thumb. Bring the
bottom half over with the right hand and
drop the entire group on top.
Continue this in a fairly rapid but irregular
fashion, varying the size of the batches drawn
off by the left thumb. The result is simply a
series of single cuts which look like a shuffle

but do not mix the pack at all. Even better
is the next one:
front and back cut shuffle: This re-
tains the order of the entire pack and even
keeps the top and bottom cards in their origi-
nal positions. Draw off a small batch of cards
with the left thumb and bring the pack down
over the front with the right hand, but do not
draw off any cards.
Instead, the right hand carries the pack over
to the back and leaves some cards there, as
in the Front and Back Shuffle. Continue thus,
never leaving any cards at the front, but drop-
ping some at the back. This looks exactly like
the regular Front and Back with the cards
diminishing in number as you go on.
Drop the final batch in back and the pack
is undisturbed. By throwing the final batch
on top, you give the pack the equivalent of a
single cut. This is a very convincing way to
end the false shuffle.
With a small group of cards that must be
kept in rotation for some special trick, here
is a shuffle you can use:
THE ALTERNATING FALSE SHUFFLE OR

packet shuffle: Hold the cards in the left
hand as though about to deal and slide a
batch of cards from the top with the left
thumb, receiving them in the right hand,
False Guts and Shuffles ^ 113
LEFTTHUMB PUSHES TOP LEFT FINGERS.PUSH BOTTOM
CARDS INTO RIGHT HAND- CARDS ON TOP OF
RIGHT-HAND PACKET
LEFT THUMB PUSHES

TOP CARDS UNDER CARDS FIG. 28
OF RIGHT-HAND PACKET
which is in the same position as the left

(fig. 28a).
Now bring the right packet beneath the
left and slide some cards from the bottom of
the left packet onto the top of the right one.
This is done with the left fingers and the
right thumb (fig. 28b).
Bring the right packet above the left and
slide some cards from the top of the left
packet to the bottom of the right one, push-
ingthem with the left thumb and drawing
them into place with the right fingers
(fig. 28c).
Continue in this manner and the cards will
seemingly be shuffled, but actually the group
is being cut at different places, with the cards
still in rotation. You can vary this by pushing
114 jf$
Magic with Cards
cards from right to left as well as left to right,
but as long as you follow the regular process
of "top to bottom" and "bottom to top" it
makes no difference.
This is perhaps the most deceptive of all
false shuffles, but looks unnatural and awkward

when done with the entire pack, so it should
be used only with smaller batches of cards.
SIMPLE CARD SLEIGHTS

Any secret move with a pack of cards is
termed a "sleight," and some of these are

"slight" as well, being almost impossible to
detect. They are very useful in many card
tricks and it is important to learn how they are
performed.
THE GLIDE
This simple move enables you to "change"
one card into another, neatly and effectively.
The pack is held face up in the left hand,
thumb at the left, fingers at the right, curled
slightly across the front card of the pack
(fig. 29a).
The left hand turns the pack face down
and the right fingers end
go beneath the far
of the pack, where they draw out the bottom

card and lay it face down on the table, the
Simple Card Sleights A 115

FIG. 29
right thumb aiding in this simple maneuver

(fig. 29c).
Later, the card is turned up, and proves to
be entirely different from the original bottom
card!
the method: As the left hand turns the
pack face down, the tip of the third finger
"glides" the bottom card back toward the in-
ner end of the pack (fig. 29b). This enables
the right fingers to draw out the card just
above the bottom card and lay that on the
table instead.
The projecting end of the bottom card is
hidden by the left hand. Later, the left third
finger "glides" the actual bottom card forward

to its original position.

variation: If difficulty is experienced in
gliding the card with the left third finger, the
move can be accomplished in a slightly dif-
ferent way:
The left hand turns the pack face down
and the right fingers, coming beneath, press
the bottom card lightly and push or glide it
back toward the heel of the left hand
(fig. 30a). This leaves the front end of the
next card available so that the right fingers can

draw it out in the manner described earlier
(fig. 30b). The right fingers can bring the
bottom card back to its original position later.
11 Q >
*'
**7"T
r>»
•«*•
1
FIG.
> > +
30 j.h4- to*
When performing various card tricks, it is

a good plan to show certain cards on the face
of the pack, then turn the pack down and
draw off the required card in normal fashion,
laying it face down or face up.
Simple Card Sleights—Glide A 117

Later, when the Glide is used, its employ-
ment will be natural and the "change" of one
card to another will seem amazing indeed, as
no one will link it with the dealing process
that took place earlier.
THE SLIP
This is another effective way of "changing"

a card. It also enables the magician to bring a
card from the top of pack to the middle, with-
out having anyone guess what happened.
The pack is held in the left hand, face down,
as though about to deal. The right hand takes
the ends of the pack, thumb at inner end,
fingers at outer, and tilts the top half slightly
upward, as though hinged at the back edge
(fig. 31a).
The right hand then removes the upper por-
tion of the pack, but in that simple, natural
action, the top card of the upper packet is
fig. 31

secretly transferred to the lower picket, becom-
ing the top card of that portion.
the method: As the right hand tilts the
top portion upward (fig. 31b), the left fingers
press lightly against the top card and retain it,
so that, when the upper half of the pack is
drawn away, the card drops on the lower half.

To hide this, the lower half should be tilted
upward at the same time and the performer
should turn his toward the audience.
left side
With both halves of the pack face front at the

finish, no one is the wiser.
By gesturing the left hand toward the right,

or pointing the left forefinger in that direction,
the whole movement of the Slip looks like
a simple cutting process and no sleight will be
suspected.
THE SLIDE
This move is used to bring a card from the
top of the pack to the bottom, turning it face
up in the process. Hold the pack in dealing
position in the left hand, then lower the left
thumb beneath the pack and tilt it forward
to a face-up position against the left fingers.
The right hand approaches the pack and
grips it between the thumb at the near end
and the fingers at the far end. The right hand
draws the pack slightly forward and upward,
Simple Card Sleights— Slide ^ 119

FIG. 32
turning it face down on the left hand (fig.

2 )-
3
During this action, the left fingers press
lightly against the top card of the pack, which
remains face up as the pack is laid upon it.
In fig. 32 the 4 of Spades is the top card

which, after execution of The Slide, will now
be at the bottom of the deck, face up.
THE TURNOVER
This is a simple way of reversing the bottom
half of the pack, bringing it face to face with
the top half. Hold the pack in the left hand,
face down. Grip the top half with your right
fingers at the far end, thumb at the near end.
a b

As the right hand lifts the upper half a few
inches (fig. 33a), the left thumb comes be-
neath the lower half and flips it over in a
forward direction. The hand promptly
right
replaces the top half face down on the face-up
cards and squares the pack (fig. 33b).
This Turnover can be used with a single

card or small packet at the botom of the pack.
TURNING THE PACK

This an easy and useful move when two
is
portions of the pack are "faced" so that either

can appear to be the top of the pack.
Hold the pack in dealing position in the left
hand, but bring the left thumb beneath it.
Bring the right hand above the pack and at
the same time "kick over" the entire pack
with the left thumb, in the fashion of the
Turnover, with the right hand concealing the
action.
The right hand either grips the pack by the
ends or goes directly into a deal, while the
left hand retains the pack. A slanting motion
of the hands, downward and to the right,
brings them into a natural dealing position.
THE GLIMPSE
Glimpsing a card at the top or bottom of
the pack is necessary in certain tricks, and
Simple Card Sleights — Glimpse A 121

fig. 34
should be practiced so it can be done casually,

without attracting notice.
the top glimpse: Push the top card with
the left thumb so the card comes over the
right edge of the pack, just as though you
were starting to deal it. There, pause and
press the fingers inward and upward, squaring
the card with the pack, but raising its edge
slightly (fig. 34a).
Now, tilt the pack end upward and you can
look right down at the index corner of the
top card. A little extra pressure from the fingers
will bend the card slightly, giving a better
"peek," as this glimpse sometimes termed.
is
Once the index has been noted, relax the

pressure of the fingers and square the card on
the pack.
the bottom glimpse: The bottom card
of the pack can often be noted while handling
the pack in a casual way, such as transferring
itfrom hand to hand, or while pulling up one
sleeve and then the other. Such mannerisms
should be cultivated for that very purpose.

.
The best Bottom Glimpse can be made

when least expected; that is, when the pack is
held in the left hand, ready for the deal, with
thumb at the left side, forefinger at the far
end, and other fingers at the right side.
Tilt the left hand forward and downward
and you will note that it is almost impossible
to "spot" the bottom card, which is why this
glimpse is so effective. Just squeeze the left
hand slightly and the fingers will slide the pack
inward, past the base of the left thumb, bring-
ing the lower index into sight (fig. 34b)
The hand is immediately tilted to the left,
so that only the backs of the cards can be

seen, as in the usual dealing position.
THE DOUBLE LIFT

the effect: The magician takes the top
card from the pack and shows it to be the
6 of Spades, for example. He replaces it face
down on the pack and later deals on the
it
table. When turned up, it has changed to an

entirely different card, such as the Jack of Dia-
monds.
the method: The pack is held in dealing
position in the left hand. The right hand ap-
proaches as though to square the pack at the
ends. This move is similar to the one used in
Palming (see below).
Simple Card Sleights—Double Lift A 123

Meanwhile, the left thumb pushes the top
card and the second card very slightly to the
right, where the right hand covers the two
cards and squares them as one (fig. 35a).

The left thumb, pressing the left side of the
cards, and the left forefinger, pressing the right
side, assist in this operation, holding the cards
while the right thumb comes beneath the
inner end and the right fingers press down
from above (fig. 35b).
This enables the right hand to turn over the
two cards as one, so the spectators see the
face of the lower card (the 6 of Spades in
fig. 35c). The right hand immediately turns
the card face down on the pack. Later, the

top card drawn off and proves to be the
is
Jack of Diamonds. Of course, any cards can be

used in this trick.
variation: Some performers prefer to lift
the two cards between the tips of the right

thumb and forefinger, bending the cards
slightly to hold them neatly together, as in
fig. 35&
PALMING A CARD
the effect: By palming a card, the magi-
cian can secretly remove it from the pack,
later producing it from his pocket, or leaving
it there if he wants to dispose of it, as in the
case of an extra or duplicate card.
the method: The move itself is quite sim-
VIEW FROM BELOW

(AUDIENCE, OF COURSE.
DOES NOT SEE THl$)
FIG. 36
BACK OF HAND WITH CARD PALMED
Simple Card Sleights —Palming a Card A 125

pie. Hold the pack in the left hand as if to
deal. The right hand comes above the pack
from the right, as if to square the cards by
pressing them with the fingers at the far end
and the thumb at the near end (fig. 36a).
The left thumb pushes the top card to the
right so that it comes beneath the right hand,
and the second finger of the left hand presses
the card up into the right palm and the bend
of the right fingers, which curve inward
slightly to retain it (fig. 36b).
Two palmed in this
or three cards can be
manner, the left hand pushing them slightly
to the right, one by one, with the right hand
squaring them as it covers them. When the
cards are in position, the left second finger
presses them up into the right palm in a group.
SINGLE-CUT FORCE
the effect: A person cuts a pack of cards
and notes the bottom card of the upper packet.
Later, the magician reveals the name of the
card.
the method: Glimpse the bottom card
of the pack or shuffle a card to that position.
Tell the spectator to cut off any number of
cardsand place the rest crosswise upon them.
While you turn your back, he is to glance at
the card above the break.

That, of course, is the original bottom card,
which you already know.
presentation: Done boldly, this is very ef-
fective, as you emphasize that the pack can be
cut "anywhere/' and the business of laying one
packet crosswise, plus the slight delay when
you turn your back, makes people think that
the card came from the middle.
As a "prediction," you can write the name
of the bottom card on a slip of paper, then
tell someone to cut the pack so you can put
the prediction in between its halves.

When the paper is opened, it bears the
name which you can
of the card just above it,
show by turning up the heap, making a very

convincing effect.
THE FAN FORCE

This is the best way of forcing a card from
an ordinary or borrowed pack, since it cannot
fail, yet is done in a most nonchalant and
natural fashion. Furthermore, the "force" can

be accomplished even if the subject changes
his mind as to the card he wants, something
quite impossible with the more standardized
force.
the effect: The card to be forced is on
the bottom of the pack. The magician begins
by spreading the pack between his hands to
form a wide fan. The pack actually rests on
Simple Card Sleights —Fan Force A 127
the fingers of the left hand, so that the thumb
can push the cards to the right, which helps
in the spreading process— thumb above, fingers
below.
A spectator is asked to touch any card dur-
ing this fanning process, so that the pack may
be cut at that spot. This is done, and the per-
former lifts the upper portion, showing the
card so designated, which is naturally at the
bottom or face of the upper packet.
That card, however, is actually the bottom
card of the pack, the one to be forced! Here
is the reason why:
the method: During the spreading proc-

ess, the fingers of the left hand secretly slide
the bottom card of the pack a small distance

to the right. There, the fingers of the right
hand draw it a little farther beneath the
spreading fan.
When a spectator touches a card in the fan,
the left thumb pushes it slightly to the right,
so that the right hand can away that card
lift
with all the rest that are above it. But in doing
this, the right fingers secretly bring along the
bottom card of the pack, hidden beneath the
part that represents the upper portion.
The left hand tilts its packet slightly in-
ward, so that the performer can "square" the
upper packet by tapping its left edge against

the lower half. He then raises the upper packet
to give the spectator a full front view of its bot-
tom, or facing card, without the performer
seeing it.
Actually, the magician doesn't have to see

it. He knows it already, for this is the card that
he is forcing upon his unsuspecting victim,
who takes be the card at the exact spot
it to
where the cut was made.
The spectator can change his mind, even
going back along the fan if he wants to, be-
cause in cutting the pack, the bottom card is
always drawn to the desired spot.
THE DRAW SHUFFLE

Known as the Running Cut, the Hindu
Shuffle, and by various other names, this is a
very useful device for magical purposes. Like
the simple Overhand Shuffle, it consists of
cutting off little groups of cards from the top
of the pack and dropping them on those that
went before. With the Draw Shuffle, how-
ever, the pack is held flat and the cuts are
made endwise.
Rest the pack face down in the left hand,
thumb against the left side, fingers at the right
side, with the forefinger at the far end. The
right thumb and fingers take a pincer grip at
the sides of the pack near the inner end; the
Simple Card Sleights—-Draw Shuffle A 129

fig. 37
a
right hand then draws the bulk of the pack

inward group of
(fig. 37a), allowing a small
cards to drop from the top of the pack into

the left hand.
The right hand comes forward, drops its
packet on top of the cards remaining in the

left hand, and repeats the action, the left hand
again retaining a group of top cards, which
fallon those below. This is continued until
the entire pack has been shuffled off, the right
hand dropping the last small group on top
(fig. 37b).
Though the action by the right

is chiefly
hand, the slight opening and closing motion
of the left thumb and fingers makes it look
as though they, rather than the right hand,
were drawing off the cards. This creates the
illusion that the right hand is pulling its cards
from the center of the pack, whereas they
really come from the bottom, so the bottom
card remains the same until after the final cut.

The magician uses this to his advantage
with the Bottom Glimpse:
the bottom glimpse: This enables the
performer to sight and note the bottom card
during the first stage of the Draw Shuffle. After
letting a few clumps fall into the left hand,
the magician tilts the bulk of the pack up-
ward and inward, so tamp the inner end
as to
of the left-hand cards and square them into
a neat packet (fig. 38).
fig. 38
This simple, natural action gives the magi-

cian a glimpse of the bottom card as he ex-
tends his hands straight toward the specta-
tors.Knowing the bottom card, the wizard can
then employ the Flash Force, which follows:
the flash force: While making the
Draw Shuffle, the magician says to a specta-
Simple Card Sleights —Draw Shuffle ^Si 131

tor, "Tell me when you want me to stop."
The word and the magician
spectator gives the
raises the right-hand heap so the person can
see its bottom card.
The magician states, "Remember the card
you see there." He turns his head away at the
same time and drops the right-hand cards on
the pack, which he gives to the spectator to
shuffle his own way.
The magician already knows the noted
card, since it came from the bottom. The spec-
tator, however, thinking it came from some-
where in the middle of the pack, supposes

that he had a free choice of a random card,
which, of course, he did not.
draw-shuffle location: The magician

spreads the pack so a person can take a card.
Or he riffles the outer end, allowing the spec-
tator to insert a finger among the cards and
remove one.
The magician then squares the pack and
goes into the Draw Shuffle, using the Glimpse
to learn the bottom card, if he does not al-
ready know it. Shuffling slowly, he invites the
chooser to drop his card anywhere in the pack.
As the person does this, the magician sim-
ply drops the remainder of the pack on top
with the right hand (fig. 39). This puts the
bottom card directly above the chosen one, so
132 Jf% Magic with Cards
SPECTATOR LOOKS AT
TOP CARD OF THIS HEAP
AND REPLACES IT
MAGICIAN KNOWS
BOTTOM CARD
OF THIS HEAP
(ORIGINAL BOTTOM
CARD OF PACKJ
fig.
39
the magician can find it later by looking for

the known card.
After the card you can follow
is replaced,
with another Draw Shuffle, but in this case let
the center portion of the pack fall in one
big clump, rather than run the risk of separat-
ing the chosen card from its locator.
draw-shuffle control: This is a neat and

effective way of bringing a chosen card to the
top during the course of the Draw Shuffle. It
is not necessary to note the bottom card in this
case. Simply and pause wher-
start the shuffle
ever a person wants you to, so he can look at a
card by lifting it from the lower packet and re-
placing it.
From there, the Draw Shuffle is continued,

but in this fashion: The right hand places its
packet on top but keeps a "break" at the inner

end, the thumb and second fingers gripping a
few cards just below that space (fig. 40a).
The right hand then is drawn back, se-
Simple Card Sleights—Draw Shuffle A 133

RIGHT HAND KEEPS "BREAK"
BETWEEN UPPER & LOWER PACKETS..
8 .. AND DRAWS OFF SMALL PACKET!

.
FROM TOP OF LOWER PACKET

-_„ . _ (CHOSEN CARD IS ON TOP
FIG. 4O OF THIS SMALL PACKET)
cretly bringing away a little packet with the

chosen card on top (fig. 40b) The right hand
.
continues the Draw Shuffle until it reaches

the break. Then it drops the little group on
top, putting the chosen card on top of the
pack.
note: In using this shuffle prior to a trick,
it is good plan to tilt the pack edge upward
a
and actually draw clumps of cards from the
middle, and put them on top, letting people
see this as you do it slowly.
They will then think that your later and
more rapid horizontal shuffle is done in the
same haphazard way, eliminating any suspi-
cion regarding the bottom card.

6. Finding
a Chosen Card
There are three basic ways whereby you can

find or learn the identity of a card selected at
random from an ordinary pack. Those three
ways are:
(1) By glimpsing or spotting the card in

the course of its removal from or return to the
pack, so that you can find it by looking
through the pack later.
(2) By locating the card through its posi-

tion in the pack, or by its nearness to other
cards or groups of cards that may help to
identify it.
(3) By controlling the card through some

skill or subtle device so that it may be pro-
duced when required, even though its exact

identity may still be unknown.
All of these simply lead to the great climax,
which is the "discovery" of the chosen card,
wherein the performer, by some apparently
magical means, reveals or discloses the card
itself.
One of the simplest, yet most clever ways of

learning a chosen card is by the Riffle Glimpse:
Finding a Chosen Card Jf$ 135

THE RIFFLE GLIMPSE
the effect: The pack is gripped by the
left hand at the lower end, so that the cards
can be held upright, facing the spectator. The

right fingers press the lower end of the pack;
the right thumb bends back the upper end,
releasing it card by card as the left hand tilts
the pack forward (fig. 41a).

During this "riffle/' the person is asked to
note and remember a card that he sees. That
is done, and later a card is named or produced
by the magician. It proves to be the very card

that was mentally selected by the spectator!
the method: During the riffle, hesitate
slightly on one card. That will be the card
that the spectator remembers and, since you
are watching the cards, you can note it too.
That is the card that you produce later.
The riffle should be neither too fast nor too
FIG. 41
SIDE VIEW OF a
SHOWING HOW
RIGHT HAND
RIFFLES THE PACK
136 A Finding a Chosen Card

slow. A sudden stop, allowing only one card to
be seen, is too obvious. Conversely, it is a mis-
take to show too many cards too long. With a
reasonable amount of practice, you will find
the right in-between speed.
Gradually slowing the good policy,
riffle is
as the later impressions are more apt to be

remembered. Also, the card that you partic-
ularly note is the one that the spectator is
most apt to pick.
THE WRIST GLIMPSE
the effect: A card is selected and the

magician riffles the pack slowly, allowing it
to be replaced anywhere that the chooser

wants. Slowly, deliberately, the magician
squares the pack and gives someone to
it to
shuffle. By then, the wizard knows the chosen
card!
the method: Hold the top portion of the
pack in the right hand, the fingers at the outer
end, the thumb at the inner end. Advance the
hand slightly as the card is replaced, so in
lowering the upper packet, the tip of the right
thumb presses down on the chosen card
(fig. 42a).
To square the pack, the upper portion is
brought inward, causing the chosen card to
Wrist Glimpse A 137

a
CHOSEN CARD
REPLACED
ON LOWER HALF
THUMB PUSHES CARD BACK LEFT HAND

TURNS OVER
GLIMPSE CARD
AT WRIST
aiP PACK FORWARD

RIGHT HAND AND OVER WITH FOREFINGER
PRESSES
CARD IN
FIG. 42 EXTEND PACK FACE DOWN

FOR SHUFFLE
project in that same direction (fig. 42b). The

right hand serves to hide this.
The left hand
immediately turned back
is
upward. This enables the magician to glimpse

the chosen card and note its index, just below
the base of the left thumb (fig. 42c). This,
too, hidden from the spectators.
is
The right hand promptly comes up from

below, thumb projecting upward behind the
pack, fingers extended in front of the pack.
The right thumb presses the chosen card for-
138 Jf% Finding a Chosen Card
ward into the pack, which is gripped between
the right thumb at the back and the right
fingers at the front (fig. 42d).
The left hand moves away and the right
forefinger doubled beneath the pack, which
is
is now shown face up and is extended toward

a spectator (fig. 42c). Slowly, the right fore-
finger levers the whole pack forward, almost
flipping it into the spectator's hands (fig.
42f). In this easy, natural procedure, you have
learned the chosen card while asking someone
to shuffle it into the pack.
Coming now to card locations, we have a
basic method with various applications known
as the Divided Pack.
THE DIVIDED PACK

the effect: The pack is divided into two
heaps, each of which is separately shuffled. A
card drawn from one heap, placed in the
is
other and shuffled there. Looking through

that heap, the magician finds the chosen card.
the method: Beforehand, secretly divide
the pack into two distinctive groups. The Joker
can be placed as a "divider" between these, so
that by looking through the pack and removing
the Joker, you can automatically separate the
cards at the right place.
Divided Pack A 139

When a card is taken from one half and
shuffled into the other,you find it by simply
looking through the group and picking out the
"odd" card that does not belong there.
The simplest of such setups is Reds and
Blacks.
reds and blacks: Put the red cards in one

half, the black cards in the other. You can do
this quickly, often with a borrowed pack, some-
times while looking through it for certain
cards that you want for another trick.
Finding a card is quick, too, since a red
shows up conspicuously among the blacks, and
vice versa. But that is this trick's weakness.
You can't risk letting a spectator handle a
packet or even see the faces of the cards, or he
will note the arrangement. Therefore it is bet-
ter to use a Two-Suit Setup.
two-suit setup: This takes a little longer
to arrange and you can't find the chosen card,
or cards, quite as quickly, but it is much safer
than Reds and Blacks. Use a red and black
suit in each division, for example, Spades and
Diamonds in one half of the pack, Clubs and
Hearts in the other. Each pair of suits is
shuffled together beforehand, so there is little
chance of the ruse being detected.

However, if the cards are shown face up too
often, the absence of certain suits in one group

may be noted by an observant spectator. This
can be counteracted by dividing the pack into
odds and evens.
odds and evens: The "odd" cards are Ace
(1), 3, 5, 7, 9, Jack (11), and King (13). The
"evens'* are Deuce (2), 4, 6, 8, 10, and Queen
(12). This makes an unequal division, but
that can be remedied by classing the "one-
eyed" Jacks (Jack of Spades and Jack of
Hearts) as "odd" and switching the other pair
(Jack of Clubs and Jack of Diamonds) to the
"even" group. This also equalizes the face
cards and the setup will stand the closest
scrutiny.
handling the pack: This presents another

problem, because the constant insertion of a
card from one group into the other is both
unnatural and suspicious. One way of over-
coming this is to keep the pack intact, but
with one group— say the "odds"— on top, and
the other group— the "evens"— on the bottom.
The pack is spread for the selection of a
card. If the spectator takes it from the upper
half, the magician simply fans the lower half
for its return, or vice versa. Thus the card goes
into the other group, where it can be located.
In this case, a false shuffle will have to be
used.
Divided Pack A 141

A more subtle location technique is known
as the Pointer Pack and is described below.
THE POINTER PACK

the effect: The pack is divided and a
card is taken from one shuffled group and
put into the other, or replaced in its own
group which can again be shuffled. The magi-
cian finds the chosen card.
the method: One group is composed of
"pointer" cards consisting of:
A* 2* c* 6* 7* 8* 9*
A* 5A c A 6* 7* 8* 9^
A<? 3<? 5<? 6<? 1* 8<? <?
9
7o Joker
These are termed "pointers" because each

card has a majority of its spots pointing in one
direction, as a study of the cards will show.
They are arranged so they all point upward,
the 7 having its odd point at the top and the
Joker being upright.
With some packs, certain face cards can also
be classed as pointers, the commonest being
the K* with a central ornament shaded at the
top; the Q* with a belt of tiny Spades point-
ing to the right, which can be regarded as up-
ward; the J
A with its belt of Spades pointing
upward.

Also, the K* sometimes has a shaded cen-
tral ornament; the KO has one high and to
the right; the K^ has a wider belt band at the
top. These can be used as pointers when
available.
The performer spreads the pointer packet so
a card can be selected, then squares the packet,
turns it around, and spreads it again for the
card's return. The packet can then be shuffled.
In looking through it, the magician promptly
finds the chosen card because it is pointing
the opposite way. By turning the card back to
its original position the packet is made ready
for a repeat.
If too many pointers get turned— this may
happen from a "wrong" shuffle— the other por-
tion of the pack can be brought into action:
A card taken from the pointer group and
placed among the "ordinaries" can be easily
located.
With the pointer packet as the top half of
the pack, a card taken from that portion may
be replaced anywhere after the pack is turned
about. If the card goes into the top half, it
willbe pointed the wrong way; if it goes into

the lower half, it will be among cards of the
nonpointer type. Thus, it can be easily located
in either case.
Pointer Pack A 143

BOTTOM-CARD LOCATION
the effect: The pack is shuffled and cut

into two heaps. A spectator notes the card at
the cut, places it on the other heap and com-
pletes the cut. The pack is given several more
cuts. The magician looks through the pack
and finds the chosen card.
the method: After the shuffle, glimpse
the bottom card, say the 8^. When a person
cuts the pack, takes a card from the center and
places it on the top, the mere act of completing
the cut puts the bottom card (8^) directly
above the card he noted.
The pack can be given any number of single
cuts, without separating the two cards. Simply
spread the faces of the cards toward you, find
the original bottom card, and the card just
before it will be the chosen one.
variation: Note the bottom card, spread
the pack and allow a card to be drawn. Square
the pack, undercut about half the cards and
extend the top half of the pack, telling the
chooser to place his card there. Complete the
cut by dropping the lower packet on the upper.
The chosen card will be just below the bottom
card that you noted.

COUNT-DOWN LOCATION
the effect: A
pack is shuffled and a spec-
tator draws a card from any place he wants,
notes the card (say the 10*) and lays it face
down on the table, at the performer's instruc-
tion.
The spectator is then told to deal additional
cards onto his, stopping after he has dealt the
exact number indicated by the value of the
card itself (in this case, 10). He does this
while the magician's back is turned. At the
finish, he is to drop the entire pack on the
pile just dealt, square the pack, cut it anywhere
and complete the cut.
In fact, the pack can be given a few more
cuts to confuse the performer completely; yet
when he looks through the pack, he finds the
chosen card!
the method: Note the bottom card (say
the K^ ) after the shuffle. Spread the pack and
let the person take a card from anywhere, or
hand him the pack and tell him to draw out
a card himself.
When he down, deals its
lays this card face
own number on it and drops the pack on top,
he puts just that many cards between your
locator (K^ ) and his own card (10* ). Single
cuts will not change this, so all you have to
Count-down Location A 145

do is find your known card (K^) and call
the card just below it "zero/' then start count-

ing: i, 2, 3 and on
you reach 13.
so until
When you reach his card, you will score a
direct "hit" with your number; that is, in this
case, your count of 10 will come exactly on the
10 of Clubs, which you can produce later as
the chosen card.
There is just one hitch. Sometimes other
cards accidentally fall into exact numerical
position. For instance, on your count of 3 you
might strike the 3 of Diamonds and, after
reaching 10 and finding the 10 of Clubs, you
might go on to 12 and hit the Queen of
Spades.
Knowing the chosen card be the 3O, to
10*, or Q*, you would announce, "Your card
is a black one." The reply being, "Yes," you
would add, "and a Spade." Getting a "No,"

your comment would be, "That makes us
even. Concentrate completely on your card and
you won't go wrong again." Knowing now
that the card must be the 10*, you proceed to
reveal it.
In instructing the person at the start, be

sure to tell him to count an Ace as 1, a
Jack, 11, a Queen, 12, and a King, 13.

CARD CONTROLS
Getting a chosen card to the top in a single
hidden action requires some form of ckrd
control. The most direct way is by a sleight
called the Pass, or Shift, whereby halves are
transposed as in an ordinary cut, only se-
cretly.
Actually, the Pass is unnecessary, as the

shifting of half a pack to transfer a single
card to the top is very cumbersome. Since the
Pass is usually followed by a shuffle of the
pack, the whole operation can be simplified
into the Shuffle Pass.
THE -SHUFFLE PASS

the effect: A card drawn is from the
pack, noted and replaced. The magician, who
holds the pack spread for the card's return,
immediately closes the pack and gives it an
Overhand Shuffle which secretly brings the
card to the top of the pack.
the method: The pack is spread with the
fingers of both hands below and thumbs above.
In closing the pack, insert the left little finger
just above the chosen card, holding a "break"
there. Only the tip of the finger is required
(fig. 43a).
The right hand squares the pack, thumb at
Card Controls Jf% 147

LTTTLE FINGERHOLDS BREAK
ABOVE CHOSEN CARD
AUDIENCE
FACES
BACK OF CARDS
fig. 43
inner end, fingers at outer end, where they can

give the pack a quick Turn your right
riffle.
side toward the audience; in the same move

the right hand begins a shuffle, lifting the
front or top portion of the pack and carrying it
over and behind the back or bottom section,
which is promptly tilted forward on the left
fingers (fig. 43b).

That is, the right hand lifts all the cards
above the break, and the left thumb then peels
cards from the bottom of that packet, con-
tinuing this bona fide Overhand Shuffle until
the right-hand cards are exhausted (fig. 43c).
The hands can be extended toward the audi-
ence, as the "break"no longer being used,
is
the chosen card now being on top of the

pack. It can be kept there by a series of false
shuffles and cuts, as desired.
THE TURNED-UP JOKER

the effect: A card is selected, replaced in
the pack, and the magician spreads the cards
face down, to find the Joker turned face up in
the pack. He removes the Joker and promptly
discovers the chosen card.
the method: The Joker ruse secretly
aids in bringing the chosen card to the top of
the pack. Beforehand, find the Joker and slide
it to the bottom of the pack, placing it there
face up.
Spread the pack, have a card selected and
square the pack. Draw out the bottom half
with an Undercut and extend the upper half to
receive the card, as in the Bottom-Card Loca-
tion. Drop the upper half on the lower, so the
Joker comes on top of the chosen card.

Give the pack a few cuts, spread it again,
and when you come to the face-up Joker, re-
mark, "Somebody must have put the Joker in
the pack— anyway, we don't need it." With
that, lift away the lower half of the pack with
the left hand and thumb the Joker so it falls
on the table. Openly place the lower half on
the upper half and the chosen card will be on
top.
Turned-Up Joker A 149

THE PUSH-AWAY PASS
the effect: A selected card is replaced
on the lower half of the pack. The magician
happens to show the bottom card of the upper
half, so he puts that half beneath, rather than
have it next to the chosen card. He then
buries the chosen card in the middle of the
pack and proceeds to find it when needed.
the method: When the chosen card
(say the 4*) is replaced on the lower half,
tilt the upper half upward, edgeways, flashing
itsbottom card, for example, the 10 0. Notic-
ing this, you comment: "I wouldn't want to
put this 10 of Diamonds right on your card,
because then we'd know where it was."
With that, you draw away the upper heap,
at the same time executing the Slip, which
secretly brings the top card of the pack onto
the chosen card (4*), which is on top of the
bottom half.
You then add: "We'll put this whole heap
underneath." Here, you put the top packet
under the bottom packet. "And we'll push your
card into the very center of the pack." While
the left hand holds the pack, the right draws
off the top card and pushes it face down in the
center.
The spectator thinks that his chosen 4 of
Clubs is being buried in this convincing fash-

ion, but actually it is the unknown card that
you "slipped" from the original top of the
pack. The chosen card is now actually on top,
where you can control it until needed.
THE DELAYED CUT

the effect: A card is selected and re-
turned to the pack. A second card is then taken

by another person, who retains it so that it
can be used in a later trick. By then, the ma-
gician has obtained the first card and can pro-
duce it as needed.
the method: This is a neat way of de-
laying a special cut that controls the first card
chosen. The first card is 10*,
selected, say the
and removes it
as the spectator you draw the
two sections of the pack apart, sliding the
upper or right-hand portion beneath the lower
packet in the left hand.
This is simply an excuse for a later action.
Spread the pack and have the card (10*) re-
turned. Close and square the pack, keeping the
tip of the left finger above the chosen card.
Now turn to a second person, spread the pack
again and ask him to take a card.
As he draws his card (say the JO), you again
separate the pack as you did before and natu-
rally slide the upper portion under the lower.
But instead of separating the halves at the
Delayed Cut jf%

151
spot where the second card was, you draw the
pack apart at the break that you are holding
with your little finger. In placing the lower
packet on the upper, you automatically put
the first chosen card (10* ) on top of the pack.
AUTOMATIC REVERSE
This is a combination of card control and
card discovery, a complete trick in itself,
wherein the act of locating a chosen card re-
sults in its revealing itself.
the effect: A card is selected and pushed

into the very center of the squared pack. Be-
hind his back, the performer finds the card
and turns it face up, where it is seen staring
at the spectator when the magician spreads
the pack along the table.
the method: Beforehand, slide a card
from the top of the pack to the bottom, turn-
ing it face up beneath (fig. 44a). Spread the
pack, allowing the free selection of a card
(fig. 44b). Turn slightly to your* left while
the chooser is looking at his card, square the
pack, and give it a complete turnover (fig.
44c).
Hold the pack squared in the left hand,
where it appears to be face down, but is actu-
ally face up, with a single card face down on
the top. Have the spectator push his card

PACK SPREAD-
BOTTOM CARD
PACK FACE DOWN- <FACE UP) IS NOT SHOWN
BOTTOM CARD FACE UP
fig.
44
face down into the center of the pack (fig.

44(d). If he has trouble, take the card from
him and push it into the pack yourself.
Square the pack, showing that it is impos-
sible to tell just where the chosen card went,
but add that you can find it magically— and
behind your back! Put the pack behind you,
Automatic Reverse A 153
.
turn the top card face up, and then turn the
entire pack face down (fig. 44c).
Bring out the pack, spread it along the
table,and the chosen card will appear trium-
phantly face up in the center (fig. 44f).
DOUBLE REVERSE
the effect: Two cards are selected by

different members of the audience. Each is
returned to the pack, which is given a magic
riffle, causing both the chosen cards to turn
face up in different parts of the pack!
the method: Here, the Delayed Cut and
the Automatic Reverse are worked together to
produce a double-barreled climax. Have two
cards selected, bringing the first (say J*) to
the top of the pack while the second person
is looking at his card (say 3 ^ )
You do this by the Delayed Cut and turn

away to your left, telling the second person
not to let you see his card.
Now you go into the Automatic Reverse,
sliding the top card to the bottom—where it
comes face up— and giving the pack a turnover
so only the top card is face down.
But in this case, that card happens to be
the card already selected by the first spectator.
So when you push the second person's card
into the pack, you have two chosen cards face
up instead of only one.
It is not necessary here to put the pack be-
hind your back. As the right hand covers the
pack, the left gives it a full turnover and the
about a dozen cards from the actual
right lifts
top of the pack and puts them underneath,
with a simple, sideward cut. The left hand can
then make an undercut near the middle of the
pack, which is handled openly and casually.
The right fingers riffle the pack and it is
spread along the table, showing both chosen

cards face up. Sometimes it takes a little while
to find them, which makes the trick all the
better!
Double Reverse A 155

7. Revealing
a Chosen Card
In most card revelations, the card is first
brought to the top of the pack, then revealed

in some you already know
surprising way. If
the card, or can locate it, all you have to do
is look through the faces of the pack and cut
just above the chosen card, thus bringing it to

the top.
If you have controlled the card after its re-
turn to the pack, that very process may have
brought it you can proceed di-
to the top, so
rectly to the discovery. There are cases, how-
ever, where the chosen card does not have to
be brought to the top of the pack. These will
be discussed individually.
One of the simplest of card revelations is
the following:
ANY NUMBER DOWN

the effect: The performer asks a specta-
tor at what number he would like his card to
appear. The spectator says, "Five." The magi-
cian counts to the fifth card in the pack, but
it is not the chosen card.
156 A Revealing a Chosen Card

That's when the magician remembers that
he forgot to snap the pack five times. He does
it now and counts down to the fifth card,
once again. This time it is the right card.

the method: First bring the chosen card
to the top of the pack. Then count down the
required number—in this case five—by revers-
ing the order of the cards as you draw them
from the pack. Show the fifth card. It is not
the chosen card. But when you replace the
cards on the pack, you automatically put the
original top card— the chosen one— at fifth po-
sition. Repeat the count and hit it.
QUICK-COUNT TRICK
the effect: Any number is named, from
1 to 15. The performer counts to it quickly
and turns up the chosen card.
the method: This is similar to Any
Number Down, but is done in a bolder, faster
style that makes the repeat count unnecessary.
Start with the chosen card on top of the pack,
then count off the cards quickly, reversing
their order as you take them in the right hand.
At the person's number— say, 8—simply turn
over the whole batch and slap it face up on
the pack, announcing: "And there's your
card!"
Since the chosen card is showing face up,
Quick-Count Trick Jf$ 157

everyone takes it for granted that it is the
eighth, as they do not realize that the count
was reversed. But you settle that by immedi-
ately turning the whole batch face down.
Then the card is at the eighth position, if
any one wants to know. In fact, you can hand

the pack to the chooser and let him verify
your count.
THE CARD TURNS UP

the effect: Here is a card discovery that
literally lives up to its title. The magician
squares the pack and drops it on the tafcle.

A chosen card instantly appears face up on
top of the pack.
the method: The chosen card is first lo-
cated and brought to the top of the pack. In
squaring the pack, the left thumb secretly
pushes the top card over to the right as if
dealing it. This is covered by the right hand

which moves along with the card, the thumb
pressing the inner end of the pack, the fingers
at the outer end (see fig. 45).
The right hand drops the pack flat on the
table and the air catches the projecting card
and flips it face up. The exact amount of pro-
jection and proper distance for the drop can be
determined by practice.

fig. 45
If the card jumps clear of the pack, the

effect is just as good. Its appearance comes as
a surprise, too quick for the eye to follow.
THE KNOCKOUT
the effect: Here is another quick and
effective discovery of a chosen card. In this
case extend the pack and ask someone to strike
it downward to the table. The spectator does
so and knocks all the cards from the perform-
er's hand, with the exception of one, which
proves to be the chosen card.
the method: The chosen card is first
brought to the bottom of the pack. If the

pack is gripped firmly between the thumb and
fingers, thumb above, fingers below, a sharp
stroke will knock out all but the bottom card.
Knockout ifr 159

The grip is confined to an inner corner of
the pack and, if the spectator fails to knock
away all the cards, he is told to "hit the rest"
in thesame fashion. Or the magician himself
can knock the cards away.
With a chosen card on top of the pack,
the Knockout can be delivered while the
pack is held face up. The card is then at the
bottom of the reversed pack and is revealed in-
stantly when the others are knocked away.
DOUBLE CHOICE
In certain tricks, a chosen card may be
learned through a process of elimination, un-
til only one of two choices remains. Or oc-
casionally, the performer may be uncertain as
to which one of two cards was selected. When
confronted with such a situation, a "two-way"
discovery is the answer. The magician places
one card on top of the pack, the other on the
bottom. He then says to the chooser: "Name
your card."
If the spectator names the top card, the ma-
gician gives the pack a snap, turns up the top
card and says: "There it is!" If the bottom
card is named, the wizard pack as slaps the
though driving the card to the bottom, then
turns the pack face up and shows the card.
Another procedure is to use the Knock-
out, described previously, leaving either the
top or bottom card, according to how the pack
is held.
The Turnup discovery can be used if the
spectator names the top card as the chosen
one, while the Knockout is reserved in case the
bottom card is named.
SPELL IT OUT
the effect: After a chosen card has been
shuffled into the pack, the performer asks the
chooser to name it. Suppose the person says,
"9 of Spades."
Rapidly, the magician counts cards from the
top of the pack, spelling "N-I-N-E O-F
S-P-A-D-E-S" (a card for each letter), and
turns up that very card!
the method: Have the chosen card on

top. Simply deal off cards reverse fashion, as
with Any Number Down, but in this case you
spell the name instead of counting to a num-
ber. When the wrong card turns up, replace
the packet, snap the pack and spell again, this
time arriving on the card.
Or, do a quick spell as with the Quick-Count
Trick, showing the 9 of Spades on the face of
the dealt packet when you turn it over all to-
gether.
variation: Spell the person's name instead
Spell It Out A 161

of the name of the card. It works out the same,
but apparently you don't know what the card
is until it finally turns up.
YOU CANT GET IT
the effect: The magician places a pack

of cards against his forehead and tries to con-
centrate on a chosen card. He finally says, "I
just can't seem to get it. What was it?" As
the spectator says, "3 of Diamonds," the ma-
gician draws the pack away, repeating:
'Tunny, I just can't get it."
And it is funny, because the chosen 3 of
Diamonds is sticking to the performer's fore-
head. Somehow, he did manage to "get" it!
the method: This comedy climax is easily
maneuvered. Bring the chosen card to the top,
then turn the pack face toward the audience
and press the pack against your forehead with
your right hand.
At the finish, tilt the head back and draw
the pack slowly downward, so the top card will
adhere to the forehead. Pause long enough to
push the top edge of the pack against the card,
which will help make it stick.

THE MAGNETIZED CARD
the effect: The magician holds the pack

upright in his left hand, the bottom card fac-
ing the audience. He rests his right forefinger
on the upper edge of the pack, then raises the
right hand slowly. The chosen card rises from
the pack as though magnetized.
the method: The chosen card is on top
of the pack. The right forefinger is pointed
straighttoward the spectators when it is placed
on the upper edge of the pack. This enables
the performer to extend his right little finger
and press unseen against the top or rear card
it
of the pack, namely, the chosen one.

Raise the right hand slowly and the card
will rise automatically as though drawn by
the forefinger, thanks to the constant pressure
of the little finger. From a little distance, it
will appear to be rising from the center of

the pack rather than the back, which makes
it. more deceptive.
For a finish, either lower the right hand
slowly, letting the cardgo back in place, or
extend the right thumb and second finger, one
on each side of the chosen card, so they can
grip the card quickly and hand it to the spec-
tator.
Magnetized Card Jjk 163

FIG. 46
AUDIENCE'S VIEW
MAGICIAN'S VIEW
A HAIR RAISER
the effect: The magician holds the pack
in his left hand, front of pack toward the audi-
ence. He pretends to take a hair from his head
and attach it to a card somewhere in the pack.
He pulls the imaginary hair with his right
hand and a chosen card swings up out of the
pack (fig. 46).
the method: Hold the pack with its long

side toward the floor, with fingers in front,
thumb in back. As the right hand goes
through its pretense, the left thumb simply
presses the top card (which is the chosen one)
and pivots it upward. From in front, the ef-
fect is very surprising.

TURN IT OVER
the effect: A card is chosen and re-
placed in the pack. The magician starts deal-

ing cards from the top of the pack, turning
each card face up and dropping on the it
card before, as he warns the chooser: "Don't

tell me your card— just let me find it!"
Soon, the chosen card— say the King of

Clubs—turns up, but the performer keeps on
dealing, insisting, "Don't tell me your card,
Fll soon get to it" Finally he slows the deal
and stops, saying: "The next card I turn over
will be your card!"
When the spectator smiles or shakes his
head, the magician reaches among the cards
already dealt and turns the chosen King of
Clubs face down. He has turned over the
chosen card as he said he would!
the method: Force or glimpse the card,
so you know it beforehand, or have it next to
a locator. No need to look for it, just let it
turn up in the deal. Keep on past it, then
gradually slacken the dealing speed and study
the backs of the cards before you turn them
up, as though that had something to do with
it. Then pull the "turnover" surprise as de-
scribed.
Turn it Over Jf% 165

JUST SAY "STOP"
the effect: A card is chosen and re-
turned to the pack, which the performer turns

face downward in his left hand. He shows the
bottom card, draws it off with his right fingers
and flips it face up on the table.
He continues this with a few more cards,
then speeds the deal a trifle as he tells a
spectator: "Just say 'stop' whenever you
want/' Soon, the person says, "Stop!" and the
wizard stops. He drops the next card face
down, the persons turns it up and finds it to
be the chosen card!
the method: Find the card, preferably
by a locator method, and place it fifth from
the bottom of the pack. Draw off the bottom
card, tilting the pack slightly upward as you
do, and deal the card face up on the table.
Do the same with the second card, but don't
tilt the pack as you deal the third card. That's
when you announce: "Just say 'stop' when-

ever you want." Draw off the fourth card and
then draw back the fifth card (the chosen one)
by means of the Glide (page 49).
From then on, you keep drawing out cards
just above the chosen one. When the person
says, "Stop!" draw off the chosen card next,
and that's it.
note: If a quick spectator says, "Stop!" as
166 Jjk Revealing a Chosen Card

you are about to deal out the fourth you
card,
are still all right. Just glide that card back and
pull out the chosen card instead!
THREE HEAPS-THREE CARDS

the effect: A selected card— say the Ace
of Hearts—is returned to the pack, which is
cut into three heaps. The magician shows the
bottom cards of the heaps—for example, the
9 of Clubs, King of Diamonds, 5 of Diamonds
—and deals them in a face-down row.
The spectator then designates one card-
say the King of Diamonds— and the other two
(9 of Clubs and 5 of Diamonds) are turned
face up, the performer asking in each case,
"Is that your card?" To which the spectator
replies, "No." The magician gestures to the
final card and says, "Then that must be it-
turn it up."
Again, the person is saying "No" when he
turns up the supposed King of Diamonds,
only to find that it is his card— the chosen
Ace of Hearts!
the method: Using a locator system,
look through the pack and put the chosen
card (Ace of Hearts) second from the bottom.
In this case, weassume that the bottom
will
card is the King of Diamonds.
Lay the pack face down and cut off a small
Three Heaps —Three Cards A 167
group—about one-third—to the and a
right
similar group to the left. Show the bottom
card of each group in turn and apparently
deal it face down on the table.
But with the center group use the Glide to
draw back the bottom card (King of Dia-
monds) so that you draw out the chosen card
(Ace of Hearts) face down instead. Now tell
the spectator to place his hand on any card.
Usually, he takes the center one, so you turn
up the others and he finds that he has his
chosen card.
note: Ifhe takes an end card, tell him to
slide it away and take another. If it's the other
end card, have him slide that away, too,
which leaves him the center card.
But if his second choice is the center card,
you immediately turn up the third card and
say, "Is that yours?" When
he says, "No,"
you turn up the first card, and ask, "Is this
yours?" Again, a "No." So you tell him:
"Then you must have it, yourself." And he
has!
THE SEVENTEEN CARDS

the effect: A spectator is given a batch
of cards and told to shuffle them and deal
them into two heaps. If there is an odd card
left over, he is to look at it, then place one

heap on top of the other with the odd card
in between. There happens to be such a card,
which we will suppose to be the 9 of Clubs,
which the person remembers.
The magician takes the packet and deals
several rows of five cards each, giving the
spectator the choice of any such row. The
five cards are dealt so the spectator has a
choice of three, and he takes one of
finally,
the three cards. It proves to be the chosen 9

of Clubs.
the method: You use 17 cards but do
not mention the exact number. Since the
spectator deals them into two heaps and puts
the odd card between them— after looking at it
—the chosen 9 of Clubs becomes the ninth
card in the packet.
You proceed to deal the cards face down
to form the following layout:
1 2 3
4 5 6
7 8 9 10 11
12 13 14
15 16 17
You then "Take a row of 5 cards—

say,
across, up and down, or diagonally." Actually,
Seventeen Cards A 169

there are only 4 such rows, consisting of the
following arrangements:
1, 4, 9, 14, 17; 2, 5, 9, 13, 16; 3, 6, 9, 12, 15;
7,8,9, 10, 11.
Whichever row is taken, the ninth card
(the chosen 9 of Clubs) is sure to be in the
center. But by rushing the choice, you can
gather up the chosen row before the average
person realizes that fact. Then lay out your
5 cards: ^
* 9 * *
Again, the cards are face down and when

you say, 'Take either row of 3 cards," the 9
of Clubs will again be the middle card. Deal
them in a row:
* *
g
Then, proceed to "force" the center card,

exactly as described with Three Heaps-
Three Cards. When the person turns up the
final card, it will be his chosen 9 of Clubs.
note: You can use this as a regular dis-

covery of a card taken from the entire pack
by simply counting off 17 cards and making
sure that the chosen card is among them.
Or you can work it as a prediction by writ-
ing the name of a card on a slip of paper and
letting someone hold it, while you lay out 17

cards as described. The predicted card is
placed in the center and, after the rest have

been eliminated, the paper is opened and
found to contain the name of the card that
was finally turned up.
CARD FROM A HAT

the effect: A card chosen, the
is pack is
dropped into a hat, the magician snaps his
finger from beneath, and the chosen card sails
out (fig. 47a).
the method: Bring the chosen card to
the top. In placing the pack in the hat, drop
the pack in one section and slide off the top
card so it goes in the other section (fig. 47b).
A well-delivered flip beneath the side con-
taining the single card will send it scaling
through the air.
fig. 47
CHOSEN
CARD
FUP HERE
Card from a Hat jfa

171
CARD ON THE WALL
the effect: The magician throws a pack
of cards against the wall. All the cards fall to
the floor, with the exception of the chosen
card, which stays on the wall. This is a very
startling climax.
the method: Have a dab of gum or soap
handy on a coat button. Bring the chosen card
to the top of the pack and, as you turn away,
press the gum or other sticky substance on
the back of the chosen card.
Throw the pack squarely and cleanly against
the wall, back first; its weight will cause the
chosen card to stick there, while the rest fall.
THE CARD THAT FINDS ITSELF

the effect: A dozen red cards and a
dozen black cards are shuffled in alternating
fashion, the reds face up, the blacks face
down. The performer cuts the packet and
turns over the two top cards together. He
repeats this a few times, showing how it
mixes the cards still further. He hands the
packet to a spectator and lets him continue
the process.
The performer turns his back and tells the
spectator to cut the pack again, adding: "If
the top card is facedown, turn it up and
remember it; then cut the pack once more. If

it happens to be face up, simply remember it
and turn it face down; anyway, cut the pack."
That done, the spectator can resume his
former procedure, turning over two cards to-
gether, cutting the pack and turning over a
new top pair. Finally, he hands it to the
performer, who runs through the cards behind
his own back.
Bringing out the packet, the performer
spreads it face up on the table. Reds and
blacks are well mixed, but all are face up
with the exception of one card. The face-
down card is removed from the packet and,
when turned up, it proves to be the- chosen
card!
the method: Arrange the cards alter-
nately face up-face down at the start. Colors

do not matter, but you put them in red, black,
red, black rotation to draw attention from the
real secret. Whenever you turn over two cards
as one, you change the color sequence, but
the face up-face down setup is not disturbed,
except when the spectator turns over his single
card.
Receive the pack behind your back with
the left hand and proceed thus: With the left
thumb, push the top card into the right hand.
Turn over the packet with the left hand and
push the next card into the right. Go back to
Card That Finds Itself A 173

the original position with the left hand and
push another card. Turn the packet over
off
and push off another card. Continue thus
throughout.
This will bring the cards all face down—or
face up— with the exception of the single card
that the spectator noted and turned over him-
self.
presentation: At the start, the red packet

can be turned face up and actually shuffled
into the black packet, dovetail fashion. If you
miss on one or two cards, simply go through
the double packet and arrange them alter-
nately face up and face down, but referring to

"reds" and "blacks;'
Or you can simply set them that way to be-
gin with, as long as you stress the reds and
blacks and the you intend to mix
fact that
them. In turning over pairs, you can show how
sometimes a red and black card are turned
over together, or two reds, or two blacks.
Make sure that you impress upon the spec-
tator exactly what he is to do* when he con-
tinues your procedure, and later stress the
turning of the single card. Then the trick is
sure to work.

DOUBLED THOUGHTS
the effect: The magician shuffles a pack
of cards and spreads it face down, clear across
the table, so that two persons, seated or stand-
ing opposite, can each take a card.
This done while the magician's back is
is
turned and he tells each person to hand his

card to the other, so that each will know both
The cards
cards. are then replaced in the pack.
The magician up
turns to the table, gathers
the pack and glances through it while the two
persons concentrate on their cards. Thanks to
their "doubled thoughts" the wizard finds
both cards and brings them from the pack.
the method: This involves a very clever
use of the Divided-Pack principle. At the out-
set, the magician has the pack separated into
two groups (say reds and blacks) and he keeps

them that way with a special shuffle.
When he spreads the pack across the table,
all the red cards are at one end and all the
black cards at the other. So each person natu-

rally draws a card of an opposite color. When
they exchange cards and put them back, the
red card automatically goes among the blacks
and the black goes among the reds. Thus the
performer easily finds both when he runs
through the faces of the pack.
presentation: In spreading the pack, make
Doubled Thoughts ^St 175

sure that the cards near the middle still over-
lap, although those near the ends can be
widely spaced. You simply state:
"111 spread the pack across the table so you
can take a card from your end"— this to the
person on the left— "and you can take one
from your end"— this is to the person on the
right. "But I want you both to wait until my
back is turned."
Once you have turned away, you say: "You
each have a card? All right, look at your card,
remember it, and hand it to your friend across
the table. You each have the other's card?
Good. Look remember
at the card, it, place it
in your own end of the pack and straighten

the cards so I where you put the
can't tell
ones you chose. Then let me know."
When the word is given, you turn around,
gather the cards together and look through
the pack as though concentrating deeply, fi-
nally drawing out the chosen cards.

note: Instead of reds and blacks, the two
groups may consist of odds and evens,
pointers and non-pointers, or whatever com-
binations you prefer.
FOUR-ACE DEAL
Although one of the simplest of card
tricks, this is really a surprising effect and well
worth including in any routine.

the effect: The magician shuffles a pack
of cards and asks someone to cut it into four
equal heaps. As the heaps are not exactly equal
in size, he has the spectator move cards from
one heap to another until they are equalized.
The top cards of the heaps are then turned
up and they prove to be the four Aces!
the method: The four Aces are on top of
the pack at the start. They are kept there dur-
ing a simple riffle shuffle, though false shuffles
and cuts may be added. After the pack is cut

in four heaps, the magician follows a set rou-
tine in telling the spectator to transfer cards
from heap to heap.
As a result, the magician keeps track of the
Aces so that at the finish, there is one on top
of each heap.
presentation: Here is a suitable routine
which may be varied as required. Get the four
Aces to the top of the pack and use the Riffle
Shuffle, letting the top cards fall last. False
and cuts may then
shuffles follow, keeping the
Aces on top. Then:
Have a person cut the pack in half, then
into quarters. He may set the heaps as he
wants, but we will assume that he forms them
in a square, with "A" the Ace heap:
A B
C D
Four- Ace Deal £k 177
Have him move a few cards from the top
of C to D, and then from D to B; then one
from C to A; and a few from D to B or D to
C, whichever seems to balance best.
Next, you decide that D needs a few more
cards, soyou have him move three from A to
D, one at a time. This puts two Aces on top
of D. The other two are still on A.
Now move cards one by one from B to C,
or vice versa, until they just about balance.
You then decide that C needs one more card,
so have him move a card from A to C. Now,
B looks a bit short, so you tell him to move a
card from D to B.
All is ready for the climax. Tell him to turn
up the top cards of the various heaps and he
will be surprised to find that he has dealt him-
self four Aces!
What makes this simple trick so effective
is the fact that no one expects what is going
to happen. They are thinking in terms of
heaps, not Aces. For that reason, never show
the trick after another Ace Trick.
It makes a good preliminary, however, to a
trick such as The Assembled Aces, which
follows.

THE ASSEMBLED ACES
the effect: The magician deals the 4 Aces

in a row, face down. On each Ace he deals 3
more face-down cards. The heaps are gathered
and replaced on the pack, which is genuinely
shuffled and cut.
The magician then deals cards face up until
he comes to the Joker, which isn't needed,. so
he discards it and proceeds to deal 4 heaps of
4 cards each. A person is given a choice of a
heap.
That heap is turned up and is found to con-
tain the 4 Aces!
the method: Simplicity is again the key-
note. Have the Joker on the bottom of the
pack. Deal 4 Aces with 3 odd cards on each,
put the heaps on the pack and cut the pack.
This brings the Joker just above that group.
You can now shuffle the pack, overhand
style,about halfway down and simply throw
the balance, or bottom half, onto the top.
Dealing cards face up soon brings you to the
Joker. There you deal 4 heaps of cards, one
by one, with 4 cards in each, so that they
form a square:
B C
A D
Assembled Aces Jf$ 179

Assuming that you dealt them B-C-D-A,
the Aces will be in heap A. Now, ask some
one to call any number, 1, 2, 3 or 4, so you
can count to that heap.
If his number is 1, tap Heap A and say,
"One." If he takes 2, count from B to A,
saying "One— two." If his choice is 3, count
from C to D to A, saying "One— two— three."
In the case of 4, start at B, going to C, D, A,
as you count off, "One— two—three— four."
Always, Heap A is the one turned up and
there are the Aces, all magically assembledl
presentation: At the outset, you stress that
are dealing four separate piles with an Ace in

each. After the gathering, the shuffling, and
so on, announce that you will again deal four
cards, just as you did the Aces, and then deal
three more on each— one by one around the
square— as you did before. The Aces arriving
in a heap together will then be a surprise, al-
though the action is automatic.
In undercutting the pack just before the
shuffle, draw more than half the cards and
put them on the top. The original heaps, with

their Aces, only run down to the twelfth card,
so the more you put on top, the more you
have for your shuffle.
After the brief but genuine shuffle, you can

follow with a false shuffle and a couple of

genuine cuts— each about half the pack in
depth—which will keep the pack almost as
it was.
Instead of the Joker, you can use any bot-
tom card as your "key" and simply stop deal-
ing face-up cards when you come to it. But the
Joker is usually more effective and gives a
good reason for the halt.
Assembled Aces A 181

8. Magic with Coins
Tricks with coins run from close-up effects to
showier manipulations in which coins are
made to vanish and appear at the finger tips in
very surprising style. Similarly, the sleights
used in this type of magic range from those
which are simple and comparatively easy to
some of the most expert of all manipulative
work.
In this section, you will become acquainted
with the basic sleights on which some of the
simpler yet very baffling tricks depend. Here,
skill is needed, as you will see when the tricks
themselves are studied. At the same time, the
methods and routines have been kept as sim-
ple as possible, so that you can devote yourself
chiefly to effect and presentation.
What makes a good coin trick is facility,
as much as dexterity. You can't just try a coin

trick a few times and expect to impress au-
diences with it, because it is apt to seem slow
and laborious when done that way. Just pick-
ing up a coin can be a clumsy action, as you
may have found out when trying to make
change in a hurry.
So the first step in coin magic is to learn
to handle coins with a light, easy touch: spin
them, flip them, jingle them, toss them from
182 Jft Magic with Coins

hand to hand, untilyou have a thorough feel
of them. That gained, you will find that the
simplest coin tricks can be made impressive.
HOW TO PALM A COIN

Here are three basic ways of "palming" or
concealing a coin in the hand, all useful in
various coin tricks and manipulations. The
easiest and most quickly acquired is the fol-
lowing:
the finger bend: As the name implies,
the coin is either placed or allowed to slide
into the bend of the fingers, which are closed
sufficiently to retain it there (figs. 49a and
b).
The position of the hand is natural and by
holding the coins in the last three fingers the
forefinger is free to point at the other hand or
otherwise direct attention elsewhere.
The Finger Bend is particularly useful as
several coins may be palmed at one time
b c
FIG. 49
How to Palm a Coin A 183
FIG. 50
through this method. It has the added advan-

tage that the inside of the hand can be par-
shown in casual fashion
tially (fig. 49c).
the thumb palm: In this excellent

method, the coin is concealed by gripping it
in the fork of the thumb (fig. 50a), which

enables the magician to show the back of his
hand with fingers partly open, in a natural way
that seems to make concealment impossible
(fig. 50b).
There are two ways of attaining this posi-
tion. One is to place the coin on the tips of
the first two fingers (fig. 50c) and bend them
184 A Magic with Coins

inward, pressing the coin into the root of the
thumb (fig. 5od). The thumb then swings
over and clamps the coin into the palm posi-
tion (fig. 50a).
The other way is to clip the coin edgeways
between the first two fingers, exhibiting it in
that manner (fig. 5oe). The fingers then
bend inward, running the edge of the coin
along the thumb (fig. 5of), which is then
brought upward and inward to clamp the coin
in the thumb fork (fig. 50a).
Note that in this final action, the thumb
gives the coin a turnover. That is, if the coin
is "heads up" when clipped between the fin-
gers, it will be "tails up" when finally palmed

in the thumb fork. This half turn is essential
to the palming action.
the standard palm: So-called because
the coin is actually gripped in the palm of
fig. 51 o
How to Palm a Coin A 185

the hand one of the oldest and
itself, this is
at the same time one of the best of palming

methods, well worth the practice necessary to
acquire it.
To make the Standard Palm, the coin

is placed on the tips of the two middle fingers
(fig. 51a). The hand is then turned back
upward (fig. 51b) and the fingers are simul-
taneously bent inward so that they bring the
balanced coin up into the palm of the hand
(fig. 51c) and press it there.
The coin is retained in that position by
contracting palm so that the coin is
the
pressed between the base of the thumb and
the opposite portion of the hand (fig. 5 id).
The back of the hand may then be shown
with thumb and fingers extended in a natural
fashion (fig. 5ie), but they should not be
stretched in an awkward "starfish" spread,
which is apt to be a giveaway.
Though easy to follow, the Standard Palm
may prove very difficult for some people to
master and long, assiduous practice is neces-
sary before the hand finally gains the proper
muscular knack. Others find it quite natural,
but in either case, it is surprising how much
the process can be improved by constant rep-
etition.
As the ultimate, the coin can be all but

thrown into the palm by one smooth, easy,
action of the fingers. While the required still
is being attained, the beginner can rely on

the palming methods previously described.
COIN VANISHES
Vanishes are frequently used in coin rou-
tines and require proper timing and good mis-
direction as much as digital skill. Some of the
simplest are among the best.
SIMPLE VANISH
the effect: A coin is shown in the right
hand and is apparently placed in the left.
When the left hand is opened, the coin has
vanished.
The method: Stand facing the audience,
but turn the body toward the left as the right
fig. 52
Coin Vanishes Jf% 187

hand approaches the left. On the way, the
right hand palms the coin and the left hand
closes as though receiving it.
With the Finger Bend, the coin is lying on
the right fingers at the outset, so it is simply
a matter of turning the right fingers down-
ward toward the left palm (fig. 52a) and
drawing the right hand away as the left hand
closes.
With the ThumbPalm, more of a sweep
is necessary, the right hand palming the coin
while on its way to the left. The first two
fingers of the right hand should be pointing
almost directly away from the audience when
they are laid on the left hand, which is held
palm upward.
The left fingers close over the right fingers
and the left hand from a horizontal
is raised
to a vertical position, apparently drawing the
coin upward from the right finger tips
(fig. 52b).
With the Standard Palm, the coin is palmed
in the right hand as it moves to the left, but
is naturally hidden in the action. So the right
hand pauses, or moves inward toward the body
as its finger tips graze the left palm, while the
left hand closes its fingers and moves away
as though receiving the coin (fig. 52c).
note: All these moves should first be

tested by actually placing the coin in the left
hand, so that when the vanish is performed,
the process can be imitated exactly. Occa-
sionally, a coin may be put in the left hand
and shown there, then taken by the right,
which proceeds with the "vanish."
THE THROW VANISH
fig. 53
the effect: A coin is tossed back and

forth from the right hand to the left, which
finally retains it. With a rubbing motion, the
lefthand causes the coin to vanish.
the method: Face the audience and toss
the coin from the fingers of the right hand to
those of the left (fig. 53a) and back again.
Continue this a few times and finally turn the
body toward the left, retaining the coin in the
finger bend of the right hand while the left fist
closes as though receiving it (fig. 53b).
In this case, the hands never come together.
The repeated tossing of the coin creates the
illusion that it was given a final throw from
Coin Vanishes —Throw Vanish Jf% 189

the right hand to the left. The neat part of
this vanish is can be done either way.
that it
The body can be turned to the right, with the

lefthand making the pretense of a final toss
and the right hand closing as though it has
received the coin.
THE FRENCH DROP
the effect: Here, a coin is held in one

hand and apparently taken away in the other,
from which it immediately vanishes. Known
also as the Tourniquet, this is one of the
oldest of vanishing sleights, but still very ef-
fective.
the method: Hold the coin at the tips of
the left thumb and first two fingers, which
are pointed upward, the coin being in a flat
or horizontal position (fig. 54a).
The right hand approaches the left, back
190 Jf$ Magic with Coins

.
upward, and the right thumb is inserted in

the space beneath the coin, the right fingers
closing over the coin in a forward motion, as
though taking away (fig. 54b)
it
At that moment, the left thumb is lifted
slightly and the left hand is given a down-

ward, inward turn toward the body, with the
result that the coin actually falls into the bend
of the left fingers (fig. 54c) while the right
hand apparently takes it along. The left fore-
finger points to the right hand from which the

coin is vanished.
note: It is not necessary to keep the backs
of the left fingers toward the audience when
beginning the French Drop, although this
is a common mistake. Instead, the right
thumb should be pointed directly toward the
spectators, so that the right fingers cover the
fall of the coin into the bend of the left hand.
THE FALSE DROP

This is a very effective vanish that starts
out like the French Drop and ends with a
real surprise. This involves a brief sequence of
simple but effective moves.
the effect: The right hand takes a coin
from the left and immediately opens, showing
that the coin has vanished. The left hand is
then shown empty and both hands are dis-
Goin Vanishes —False Drop A 191

played, front and back, with no sign of the
vanished coin.
the method: This starts like the French
Drop, but the left hand is held with the backs
of its fingers toward the audience. As a result,
the right thumb moves beneath the coin from
right to left (fig. 55a).
At this point, the left thumb and fingers
do not release the coin, but tilt it backward,
so that it is clipped at the back of the fork
of the right thumb (fig. 55b). This move is
perfectly concealed by the right fingers, which

close as the coin is secretly taken away.
The right hand is now swung upward and
over to the right, while the left side of the
body is turned toward the audience (fig. 55c),
the left hand pointing to the right, which is
closed in a loose fist. In following its curve,

the right hand constantly keeps the coin from
sight.
The right hand is now opened and shown

empty, the coin being concealed behind the
fork of the thumb hand
(fig. 55c!). The left
is then turned toward the audience and is
spread wide to show that the coin is not

there.
As a final touch, the fingers of the left
hand brush the right palm lightly and the left
hand is turned about so that the left thumb
192 Jfk Magic with Coins

•> d
(AUDIENCE'S VIEW OF c)
fig.
55
rests idly against the right palm, the left fin-
gers extending below the right hand and up in

back of it (fig. 55e).
The right thumb is then lifted slightly, re-
from the back grip. The coin
leasing the coin
drops down into the bend of the left fingers
Coin Vanishes —False Drop A 193

(fig. 55f) and is retained there. The back of
the right hand is promptly turned toward the
audience and the left forefinger points to the
right hand (fig. 55g).
During the dropping of the coin

note:
(fig. 55f) a slight upward motion of the
hands, accompanied by a backward tilt of the

right, will help cover the secret action. The
right thumb should be relaxed, rather than
lifted, in order to release the hidden coin.
MULTIPLE COIN VANISH

the effect: Several coins are transferred
from the left hand to the right, or vice versa.
The hand which takes the coins is opened
and the coins have vanished.
the method: This is merely an adapta-
tion of a single coin vanish applied to several
coins at once. Either of the following two
methods may be used:
with the French drop: Instead of a sin-
gle coin, use a stack, but hold them loosely
spaced between the left thumb and finger tips
(fig. 56), and not as a solid stack.
When the right hand apparently takes away

the coins in French-Drop fashion, they fall
with a pronounced jingle into the bend of the

left fingers, the sound being exactly the same
as if they were clinked together in the right
hand.

fig. 57
WITH THE SIMPLE FINGER-PALM VANISH:

The left hand lays the coins in overlapping
fashion on the right palm, toward the heel of
the right hand, or the right hand itself shifts
the coins into that position (fig. 57a).

The right hand then apparently dumps or
pours the coins into the left. Actually, they
fall into thebend of the right fingers, the
back of the right hand being turned toward
the spectators, while the left hand is cupped
as though receiving them (fig. 57b).
At this point, the right fingers are slanted
downward, with the left fingers curled up in
Coin Vanishes —Multiple Coin Vanish A 195

front of them. Again, the jingle creates the
impression that the coins have been trans-
ferred from one hand to the other.
The left fist closes and moves away (fig.
57c), as though containing the coins, while
the right retains them palmed in the bend of
the fingers.
THE SLEEVE VANISH

the effect: A coin is laid flat on the left
hand, which may be held palm up or back up
as preferred. The right fingers take the coin
with a plucking sweep and the coin later van-
ishes from the right hand.
the method: Actually, the two middle
hand provide a short but
fingers of the right
quick snap that skims the coin up the right
sleeve (fig. 58).
This may be difficult to perform at first,
but once the knack is acquired, the sleight

becomes not only natural, but almost auto-
matic.
Snap the coin cleanly, rather than too hard,
and keep the wrist about level. If the shirt
sleeve impedes the coin, roll it up inside the
coat sleeve.
Since skeptical spectators usually claim that
a vanished object went "up your sleeve," it is
not good policy to indulge in "sleeve work"
196 Jf$ Magic with Coins

regularly. The Sleeve Vanish is valuable, how-
ever, in connection with certain tricks where
its occasional use is justified.
THE SPIN VANISH

the effect: Start a coin spinning on the
table by snapping it upright between the
thumb and second finger. While the coin
spins, the hand swoops down and grabs it,
taking it away in the fist. The coin then van-
ishes from the clutched hand.
the method: This is another form of the
Sleeve Vanish, but the fingers sweep the coin
fig.
59
Coin Vanishes —Spin Vanish Jf% 197

while it is spinning, thus skimming it up the
sleeve. Oddly, this is easier than sweeping the
coin flat, as the clutching action supplies the
necessary impetus and the spin helps the coin
to skim (fig. 59).
However, it can only be performed when
seated at the table and the hand must be
given a slight lift as it makes the clutch to
allow sufficient space between the wrist and
the sleeve. Again, the knack must be acquired
with practice.
SIMPLE COIN PRODUCTIONS

The production of a coin at the finger tips
is an excellent effect and is easily accom-
plished from any of the "palm" positions.
from the finger bend: Simply push the
coin up with the thumb until it comes above
the second knuckle of the forefinger, which
should be almost directly toward the audience.
By moving the hand upward during the
process and bringing it to a sudden standstill
at the finish, the coin's appearance will be
sudden, giving the effect that was plucked it
from the air. Several palmed coins can be

produced in succession by this method, but
in that case, the start of the push-up should
be slow, to avoid any clicking of the coins.
from the thumb palm: Bend in the

second finger and lever the coin up against
the thumb, which moves the coin slightly in-
ward. This enables the forefinger to press down
on the upper and the fingers
side of the coin,
are extended with the coin clipped between
them.
By moving the hand forward and describing
a small spiral during this action of the fingers,
their motion will seem slight, giving the im-
pression that the coin is caught at the finger
tips.
from the standard palm: hand Tilt the

forward and let the coin drop from the palm
to the tips of the second and third fingers,
where the thumb presses the coin and mo-
mentarily steadies it.
All in the same action, the hand is raised

so that the fingers point slightly upward, while
the thumb pushes the coin to the extreme
tips of the first two fingers.
other effective productions: Starting

from any palm position, a coin may be pro-
duced in a variety of ways. Assuming that it
is palmed in the right hand, it may be found
at the left elbow and drawn into sight from

there.
To accomplish this, the right fingers should
be dipped below the left elbow and brought
up behind it, while the coin is being worked
Simple Coin Productions Jjk 199

to the right finger tips. Then the right fingers
are brought slowly downward, drawing the
coin into sight.
Another effective production is the appar-
ent drawing of a coin through the left sleeve.
The coin is originally palmed in the right
hand, which moves up behind the left fore-
arm and works the coin to the finger tips
behind the sleeve.
The right thumb then presses the sleeve
from in front, so the cloth can be drawn taut
between the thumb and fingers, which also
retain the coin in position. Still pressing
firmly, the right thumb and fingers are drawn
downward, apparently tugging the coin
through the cloth.
A similar production can be made at the
knee, the right hand dipping behind the right
knee and letting the coin drop from palm
position to the finger tips, where the thumb
presses through the double thickness of the
trousers cloth from in front, while the fingers
slide the coin into sight from in back. Again,
the coin seems to emerge from the cloth.
FROM HAND TO HAND

This one of the best of close-up coin
is
tricks, easily learned and quite baffling if
presented briskly. It may be performed with

any coins, provided they are all alike, but
quarters or half dollars are preferable.
the effect: The magician shows six coins
and takes three in each hand. A coin passes
from one hand to the other, making two and
four. Again, a coin travels in that magical
fashion, leaving one and five. The final coin
then joins the rest, so all six are in one hand.
the method: The trick starts with the
coins in two stacks of three coins each. The
right hand apparently puts three coins in the
left, but secretly retains one coin and promptly
picks up the other stack of three.

Thus a coin can be "passed" from the left
hand to the right. The left hand is opened,
dropping its two coins, while the right hand
opens and drops four. This operation is twice
repeated, until the right hand holds all the
coins.
presentation: Begin with the statement:
"Here are six coins, three for the left hand:
one— two— three— ." With each count, pick up
a coin with the right hand and drop it in the
left. Let the first two fall about a half inch
apart, then give the third coin a slight down-
ward fling so it strikes both the others, making
a sharp clink.
Then slap the left-hand coins on the table,
and with the right hand pick up the other
From Hand to Hand A 201

stack of three, saying: "And three for the right
hand." After that, slap the right-hand coins
on the table.
Now, the right hand again picks up a coin
and drops it in the left hand, as the magician
says, "One." But on the count of "Two," the
right hand palms a coin instead of dropping
it. At the same time, the left hand is cupped
slightly, as if receiving the coin. At the count
of "Three," the right hand slaps the third

coin into the left, striking the coin already
there. This causes a repetition of the clink
that was heard before.
The righthand then scoops up the other
stack of three coins, adding them to the one
it has already palmed. The left hand makes
a magic pass toward the right. The magician

comments: "There goes one coin," and the
hands are opened, the left hand dropping its
two coins. The magician continues, "leaving
two here," the right hand dropping its coins,
"and four over here."
The right hand moves to the left, picks up
a coin and drops it on the left hand, the
magician counting, "One." It picks up the
second coin and palms it, on the count of
"Two," and the left hand closes as before. The
right hand then gathers its four coins along
with the one it holds palmed. Again a coin

is passed invisibly from the left hand to the
right, and they are slapped on the table as be-
fore.
The right hand then picks up the last coin

and palms it while pretending to place it in
the left hand, which closes over the imaginary
coin. The hand picks up the remaining
right
five and the left hand passes a final coin to
the right hand, which spills the coins on the

table as the performer states: "And here we
have all six coins!"
The Finger Bend is the easiest "palm" for
this trick, the placement of the coins in the
lefthand being similar to the move in the
Multiple Coin Vanish. However, with the
final coin, a neat switch can be introduced, as
follows:
Start tossing the last coin back and forth
between the hands, with the comment: "It
doesn't matter which hand takes the coin.
Suppose we leave it in the right"—here the
Throw Vanish is executed and the coin appar-
ently goes into the right hand, but is retained
in the left— "and take the five coins in the
left hand."
The left hand picks up the five coins and

shakes them with the one it holds palmed,
while the right, with a throwing motion,
causes the last coin to pass into the left.
From Hand to Hand Jf$ 203

MARCH OF DIMES
This is a neat, impromptu coin production
which literally proves the saying, "The closer
you watch, the less you see/' Presented under
the proper conditions, it is a real barrier.
the effect: Two dimes are shown, each
held at the tip of thumb and forefinger, one
in each hand, palms toward the spectators,
proving that the hands contain nothing else.
The hands are brought together, one dime is
rubbed against the other, and from between
them the magician produces a half dollar!
the method: The half dollar is originally
concealed in the bend of the right fingers,
with the back of the hand toward the audi-
ence. The left hand places one dime upright
between the tips of the right thumb and fore-
finger, while the right thumb secretly raises
the half dollar to an edgewise position behind
the dime.
The left hand adjusts the two coins so that
when the dime is shown "full front" to the
audience, the half dollar projects straight be-
hind and cannot be seen in the curve of the
it
right thumb and forefinger.

Meanwhile, the left hand takes the second
dime and holds it in a similar position, this
free handling diverting any suspicion from the
right hand's dime. Both hands are shown

briefly, and the left is turned so its fingers
come in front of the right. The half dollar is
then turned broadside toward the audience

and "produced" by spreading the hands slowly
apart.
When worked with a spectator directly in
front, the closer the right-hand dime is shown,
the better, as its concealment of the half dol-
lar is perfect. With persons seated at an angle,
a longer range is needed. A slight rotary mo-

tion of the hand will make it difficult for any-
one to glimpse the hidden coin.
As a final safeguard, the second and third
fingers may be lowered beside the half dollar
and the hand turned slightly leftward as it
comes to a pause, thus completely concealing
the coin from any angle. With the action, the
tip of the right forefinger also turns the edge
of the dime, keeping it full front as the hands
are brought together for the climax.
COIN FROM WAND

the effect: Here is the real magic touch!
You show your left hand empty, touch it front
and back with a wand that you hold in your
right hand. The left hand is closed, then
opened. From it, you drop a half dollar,
magically produced!
Coin From Wand A 205

the method: The coin actually comes
from the wand. First, make a wand of tightly
rolled paper, preferably a glossy type, which
can be ornamented with silver paper tips. The
wand should be at least half an inch thick. A
narrow slot is cut near one end, just wide
enough to receive a half dollar, edgeways.
Pick up the wand from the table, where it
is lying with the half dollar away from the
audience. With a little practice you will find

that you can keep the coin completely hidden,
while holding the wand in the right hand at
the lower end.
Show thehand empty and tap your
left
open palm with the upper end of the wand,

which contains the coin. Close the left fingers
over the wand, which should be turned slightly
so the left hand takes the coin away. All in
the same move, draw the wand from the left
fist and turn the left hand over, so you can
tap back with the wand.
its
Now, open the left hand and show the half

dollar, mysteriously arrived from nowhere—
certainly not from the innocent-appearing
wand!

DOUBLE COIN PRODUCTION
the effect: A tap of the wand on your

empty left hand and a coin appears from no-
where. Another tap with the same wand and
a second coin puts in a mysterious appearance!
the method: This is similar to Coin
from Wand, but the wand has two slots, one
at each end. Two coins are placed in the

slots, one upper end, another at the
at the
lower. The right hand holds the lower end of
the wand.
The upper produced in the left hand,
coin is
as in Coin from Wand. It is dropped on the

table and again the left palm is tapped with
the upper end of the wand. But this time, you
open left palm straight down
casually slide the
the wand, and in back of it, closing the left
hand as it reaches the lower end.
Tightening, the lefthand takes the wand
from the right, coin and all. The left hand is
turned over, frontward, with the wand project-
ing from The right hand takes the extended
it.
end and draws the wand clear, leaving the coin

in the left hand.
In the same natural manner, the right hand
taps the back of the left with the end of the
wand. The left hand is opened and the half
dollar is displayed.
Double Coin Production A 207

9. Thimble Tricks
Thimble Tricks form an excellent branch of
magic, suited as well to the beginner as to the
advanced performer. The appliances— consist-
ing chiefly of the thimbles themselves— are in-
expensive, yet showy when displayed upon the
finger tips. The tricks can be worked either at
close-up range or on a platform or stage.
In the latter case, larger thimbles may be
used, either brightly painted or studded with
imitation gems, giving them a sparkling ef-
fect. The methods used are essentially the
same, whether performing before a small
group or a large audience.
From the standpoint of "effect," this type
of manipulation good because the thimbles
is
are made to appear upon the tips of the fingers,

where they would ordinarily be worn. When
drawn away in the other hand, they vanish,
only to reappear back where they belong.
Multiplication of thimbles adds to the sur-
prise, and by using colored thimbles it is pos-
sible to change from one color to another.
Yet the method is the simplest in the entire
field of sleight of hand, as thimbles lend
themselves to manipulation more readily per-
haps than any other objects.
208 A Thimble Tricks
The beginner magic who practices and
in
rehearses a simple but effective thimble rou-
tine will find that it is still one of his best
numbers, after he has become an advanced
and highly experienced performer.
THE THUMB PALM

The most effective way of palming a thimble
is to grip it in the fork of the thumb, with the
opening of the thimble inward. To attain this
position, start with the thimble on the tip of
the forefinger, as in fig. 6oa.
Then double the finger inward, guiding the
thimble along the inner edge of the extended
thumb (fig. 6ob). Finally, straighten the
thumb by bringing it to a normal position
alongside the hand, clamping the thimble in
the fork (fig. 6oc).
When the back of the hand is held toward
the audience, the thimble is perfectly con-
fig. 60
Thumb Palm A 209

cealed and the extended hand may be shown
(fig. 6od). This should be practiced until the
position is acquired easily and almost automat-
ically, without stiffening the thumb or bend-
ing it toe far inward.
The thimble can be "thumb palmed" quite
as effectively by starting with the thimble on
the tip of the second Snger instead of the
forefinger. It can also be palmed from the tip
of the third finger, but this is more difficult
and is used only in a few special manipula-
tions.
TO PRODUCE A THIMBLE
The production of a thimble on the finger
tip is accomplished by reversing the palming
show clearly that the finger has
process. First,
no thimble on its tip (fig. 6ia). Then bend
the finger inward, insert it in the thimble
(which hidden at the base of the thumb)
is
and extend the finger to display the thimble

(fig. 6ib).
If the thimble is slightly larger, or slippery,
the finger can be extended by running it along
the thumb, so that the thumb can press the
thimble tightly on the finger tip as it passes
(fig. 6ic).
To hide the action of the finger, the hand

FIG. 6l
should start with a slight rotary motion, back

in toward the body, during which the fingers
are bent inward. Then, with a "reach," or out-
ward thrust, the fingers are extended and the
thimble makes its sudden appearance (fig.
6id).
PRODUCTION AT KNEE OR ELBOW

Here, little motion of the hand is neces-
sary—in fact, the less the better. With the
thimble palmed and the back of the hand to-
ward the spectators, the hand is brought
slightly behind the elbow, just enough to
hide the thumb and forefinger.
The thimble is quickly brought to the fin-
ger tip and the hand is drawn downward,
Production at Knee or Elbow A 211

with the finger extended as though bringing
the thimble from the point of the elbow. A
similar process is used to produce a thimble
from behind the knee.
SIMPLE THIMBLE VANISH

the effect: A thimble is shown on the
tip of a right finger. It is apparently placed in
the left hand, from which it vanishes. It re-
appears on the right finger tip.
the method: The thimble is thumb
palmed in the right hand as it approaches
the left, which closes around the tip of the
right forefinger and pretends to draw away
the thimble (which is really no longer there).

The right forefinger stays in sight, pointing to
the left hand, which helps the illusion.
presentation: There are two ways of cov-

ering the palming action. One is to stand with
the right side toward the audience and bring
the right hand toward the left, both hands
with their backs in view (fig. 62a).
As the hand covers the right, the thim-

left
ble is thumb palmed in the right hand (fig.

62b). Only a partial coverage is necessary to
hide this action, with both hands moving up-
ward in the process. The left hand continues
upward when the right pauses, as though
drawing the thimble from the right finger.

FIG. 62
(REAR VIEW)
LEFT HAND HIDES
RIGHTS PALMING ACTION
The other way is to start facing the audi-

ence, then pivot to the left, with the right
hand pointing directly toward the open left
palm as it pretends to place the thimble there.
The right hand palms the thimble during this
sweeping action, so that the tip of the right
forefinger is out of sight when the left hand
closes around it and acts as though taking the
thimble.
SWALLOW VANISH
the effect: In this bit of byplay, the per-
former apparently places a thimble in his
mouth and swallows it, only to have it reap-
pear on the tip of his finger.
the method: This is a variation of the
Simple Thimble Vanish, where the performer
faces the audience, showing a thimble on the
top of his right forefinger.
Bring the hand upward with a rapid sweep,
Swallow Vanish A 213

thumb palming the thimble on the way, at the
same time tilting the hand slightly inward, so
that the tip of the forefinger is practically hid-
den as it reaches the mouth.
The lips close over the tip of the forefinger,
and the hand is lowered slightly so that the
finger can be withdrawn slowly and visibly
from the mouth, as though leaving the thim-
ble there.
A sudden gulp, a blink of the eyes, and a
shake of the head add a comedy touch to the
pretended swallowing of the imaginary thim-
ble.
Reach behind your elbow, and
in the air, or
bring the thimble back on the tip of the fore-
finger.
THE FINGER SWITCH

This is a neat, deceptive move that can be
used with either the Simple Thimble Vanish
or the Swallow Vanish, adding to the effect
and eliminating the need of an immediate
thumb palm.
tip of the right forefinger. It is removed by the
lefthand and displayed to the spectators, then
replaced on the right finger tip. From there,
the thimble is placed in the left hand or the
mouth, from which it disappears.

the method: Stand facing the audience
and hold the right hand loosely fisted, except
for the forefinger which is pointing straight
up. The thumb side of the hand should be
toward the body.
While the left hand is displaying the thim-
ble, bend in the right forefinger and extend
the second finger instead. Due to the position
of the hand, no one will note the difference.
Thus the thimble is actually replaced on the
tip of the right second finger, not the fore-
finger (fig. 63a).
Immediately swing the right hand, placing
the tip of the forefinger in the left hand or the
mouth, at the same time bending the second
finger inward (fig. 63b). This sweeping move
covers the action and the right forefinger may
be drawn into full sight, apparently having left
the thimble elsewhere.
BEND SECOND
fig. 63 FINGER IN THIMBLE STILL ON
EXTEND FOREFINGER SECOND FINGER
Finger Switch jf$

215
The vanish follows; all the time the thimble
is on the tip of the right second fin-
actually
ger, safe and unsuspected (fig. 63c). It can
be thumb palmed while the left hand is being
shown empty, and then reproduced on the
right forefinger. The forefinger, of course,
should be emphasized throughout.
THE TAKE-AWAY VANISH

This one of the cleanest and most de-
is
ceptive vanishes in the entire realm of manip-

ulative magic, yet it is so easy that it must be
tried to be appreciated.
tip of the right forefinger, which is placed in
the open hand (fig. 64a). The left fin-
left
gers are closed and the thimble is removed in

the left fist, from which it immediately van-
ishes.
the method: Stand with right side to-

ward your audience. Close the left fist loosely
around the thimble and draw the right hand
straight downward (fig. 64b), six inches or
more, doubling the right forefinger inward,
thimble and all, as it leaves the left hand
(fig. 64c).
The left hand is raised slightly and turned
back toward the audience, while the right
hand thumb palms the thimble and then
216 Jf$ Thimble Tricks

THIMBLE
FIG. 64 PALMED
comes upward, its forefinger pointing toward

the left hand, which is opened and shown
empty (fig. 64d).
note: The thimble is actually in view when
the right finger moves downward from the
left hand (fig. 64c), but so momentarily that
the spectators do not have time to glimpse it.
Normally, it can be taken away quite deliber-

but at close range or with bad angles a
ately,
downward snap of the finger will speed the
take-away and render it unnoticed.
Take- A way Vanish A 217

The hand draws attention in its direc-
left
tion by its well-timed lift and turnover. By

opening the left fingers with a rubbing mo-
tion, the effect is conveyed that the thimble
was rubbed away to nothingness.
The Take-Away can be worked by hav-
ing the thimble on the second finger at the
start, instead of the forefinger. The thimble
can be thumb palmed on the down swing in
the manner already described. However, in
this case it is not necessary to palm the thim-
ble at all.
Instead, the right second finger is simply

doubled inward and retained that way, while
the forefinger points to the left hand. Later,
the thimble may be thumb palmed or repro-
duced on the tip of the second finger, prefer-
ably from behind the knee or elbow.
TWIST-AWAY VANISH
Here is a very neat and convincing vanish
of a thimble, starting with it on the tip of the
right second finger. This is particularly effec-
tive during a routine where it is the middle
thimble of three already produced and on the
finger tips.
the effect: Standing with his right side
toward the audience, the magician spreads his
left hand palm front. He shows a thimble on

RIGHT HAND
TWISTED 'PALM AWAY*
-LEFT HAND
TWISTED UPWARD
FIG. 65
the tip of his right second finger and brings

the right hand, palm front, up in back of the
left, so that the second finger can dip down
into the left palm, displaying the thimble
there (fig. 65a).
The left fingers close around the thimble
and both hands are rotated in deliberate fash-
ion, the left hand twisting upward, while the
right turns inward toward the body. The left
hand literally seems to "twist away" the thim-
ble from the right finger (fig. 65b). The left
hand makes a squeezing motion, then opens,

and the thimble is gone!
the method: The thimble never leaves
the right second finger. The "twist" leaves it
doubled into the right hand, the left thumb

Twist-Away Vanish A 219
being kept loose enough for the tip of the
right second finger to pass by. While the left
hand vanishing the thimble, the right hand
is
either points with its forefinger, or thumb

palms the thimble so that all the right fingers
can be extended (fig. 65c).
EIGHT THIMBLE PRODUCTION
This is the most spectacular of thimble

routines, a complete act in itself. It can be ex-
panded as desired by introducing color
changes, penetrations, or other effects. It is de-
tailed here in its basic form.
the effect: The magician reaches into the
air and produces a thimble on the tip of his
right forefinger. The thimble is placed in the

left hand, from which it vanishes, only to re-
appear at the left elbow. After a few more
vanishes and reappearances, the thimble is re-
placed on the right forefinger and another

thimble suddenly appears on the second fin-
ger.
In the course of more manipulations, addi-
tional thimbles appear on the third and fourth
fingers, giving the magician a "full hand."
Then, in rapid succession, thimbles appear one
by one on the tips of the left fingers, so that
the magician is showing eight in all.

the method: Beforehand, four thimbles
are placed as follows: One in the right change
pocket of your jacket, or wherever else it may
be obtained for immediate production; one at
the left side of the shirt collar, tucked out of
sight beside the neck, the opening of the thim-
ble upward; one, similarly placed, at the right
side of the shirt collar;one hidden in the left
trousers cuff, which can be "tucked" from the
inside with a small safety pin, to form a com-
pact pocket from which the thimble can be
easily drawn by inserting the finger.
Four other thimbles are tucked up beneath
the performer's belt on the left side of the
body. These thimbles are arranged in a row,
with their openings down. Instead of this, a
special thimble holder may be used and placed
in a convenient position under the coat.
In making the "one-to-eight" production,

the magician secretly obtains the first thimble
from the change pocket and catches it on his
right forefinger. During a series of vanishes and
reproductions, he brings out the next three
thimbles as though each was the original mak-
ing its reappearance.
Finally, when the right hand is flashing four
thimbles, the left fingers obtain the second set
of four from the belt or holder. A suggested
sequence for all these moves is given in the
presentation that follows.
Eight Thimble Production A 221
presentation: In pocketing some object,
secretly obtain the first thimble and thumb
palm it in the right hand. With your right
side toward the audience, reach in the air and
produce the thimble on the tip of the right
forefinger.
Vanish the thimble by apparently placing
it in your left hand, but palming it in the
right, the Take-Away Vanish being the most

effective method. Reproduce the thimble on
your right forefinger under cover of your left
elbow. Vanish it again and produce it from
beneath the right knee.
Face the audience and vanish the thimble
by pretending to swallow it, actually palming
it in your right hand. Turn the left side of the
body slightly toward your audience, and dip
your left forefinger into its side of the shirt
collarand bring out the thimble hidden there,
as though it were the original thimble.
Turn your left side more toward the audi-
ence and extend the right hand, keeping its
back toward the spectators. Pretend to "push"
the left-hand thimble into the right elbow,
actually palming it. Show the left forefinger
bare and simultaneously produce the right-
hand thimble on the tip of your right fore-
finger, as if it had traveled invisibly along the
right arm.

Pivot your body so that the right side is
toward the audience, swinging both arms clear

across in pendulum fashion. You are now set
to repeat the "along-the-arm" deception, only
this time the right forefinger "pushes" its
thimble into the elbow and the left hand

left
reproduces its thimble on the tip of the left

forefinger. The backs of the hands are always
The left thumb and second finger remove
the thimble from the left forefinger. They
place it openly on the right forefinger. The
right hand then reaches into the air and
catches a "new" thimble (actually the origi-
nal) on the tip of the second finger, so that
the right hand now has two thimbles.
The thimble from the right forefinger is
now placed in the left hand, from which it
disappears, actually being retained in the right
hand by the Take-Away. The right forefinger
goes to the right side of the shirt collar and
brings out the thimble.
Now the right hand displays two thimbles,
and a third is thumb palmed. A reach in the
air and the palmed thimble is produced on the
tip of the right third finger, making three in

all. (If you prefer, you can begin by moving
the thimble from the right forefinger to the

third finger with the left hand. Then produce

the palmed thimble on the tip of the right
forefinger.)
Again, the right hand apparently places a
thimble in the left, actually palming it itself.
The thimble is vanished from the left hand,

and the right dips a finger into the left trou-
sers cuff, bringing out the thimble that is
waiting there.
The left hand now moves a thimble from
the right forefinger to the right little finger.
This frees the right forefinger for the produc-

tion of the fourth thimble. In catching this
final thimble, the right hand should either
reach high, or dip toward the left ankle, while
the right side is turned directly toward the
audience.
In either case, this somewhat exaggerated
move attracts attention to the right hand,
while the left brings its fingers up beneath the
belt and obtains the four thimbles that are
waiting there, one on each finger tip.
With that, the body is pivoted so the left
side is toward the audience. The right hand
is turned palm front, its fingers extended wide
apart, each with a thimble on its tip. The left

hand then swings upward, its back toward the
audience, fingers doubled inward, out of sight
in the hand. Then, one by one, the left fin-
gers are extended in front of the right hand,

showing a thimble on each left finger tip. This
should be done rather rapidly, adding an ele-
ment of surprise to the production.
As each finger is extended, the left thumb
can move to the tip of the next finger, pressing
its thimble firmly in place as the finger is ex-
tended.
thimble holders: The placement of the
various thimbles is purely arbitrary, some per-
formers preferring to place them in the out-
side breast pocket, the watch pocket of the
trousers, or even better, beneath the coat la-
pels.
A simple holder for a single thimble can
be arranged with a small safety pin and a
large paper clip, the thimble being placed on
the short end of the clip, where it will slide
free when the finger is inserted. This may be
fastened beneath the coat lapel.
»J
==S=**
PAPER CUP
SHIRT
FRONT
INSERT FINGER AND PUSH INWARD V
FIG. 66

Another neat production is from behind a
necktie, a paper clip being attached to the
shirt front, thimble and all. By inserting the
finger, the thimble is easily pushed free, leav-
ing the clip in place. This is shown in fig. 66.
For the production of the four additional
thimbles in the left hand, many magicians
prefer a special holder because it is safer and
easier to handle than drawing thimbles from
beneath the belt.
A good holder can be made by covering a

strip of cardboard with cloth on both sides,
then sewing four upright paper clips to it, so
that they form a row, sufficiently spaced to
place a thimble on each clip. The thimbles
are set mouth downward, so that when the
fingers are inserted a slight upward slide will
free them from the clips, fig. 67 shows a
thimble holder of this type.
The holder is attached inside the coat with
safety pins at the corners and as otherwise re-
quired. One suitable position is at the lower
left edge, which enables the left hand to drop
naturally at the sideaway from the audience,
while the right hand is catching its fourth
thimble. The left hand obtains its thimbles at
that time.
Another plan is to set the holder edgeways,
so that the thimbles are in a vertical row, just

V- PM
SEW
SLIDE THIMBLE DOWN
OVER SMALLER LOOP
Of CUP
PUSHUP
FIG. 67
below the inside pocket. While the right hand

is catching the fourth thimble, the left hand
slides inside the coat and makes the steal.
Whether the thimbles are tucked beneath

the belt or kept in a holder, it is a good plan
to have a row of five instead of only four.
Then there will be no fumbling if the fingers
meet the rims of the thimbles instead of the
openings. A shift of a fraction of an inch
either way and you will have four thimbles at
your finger tips.
COLOR-CHANGING THIMBLE
the effect: A red thimble is placed in

the left fist, where it changes into a blue
thimble. Again, the left fist is closed and the
Color-Changing Thimble A 227

.
blue thimble is pushed into it. When the left

hand is opened, the thimble is red again.
the method: Show a red thimble on the
right second finger. A blue thimble is on the
right forefinger, which is doubled into the
hand so that it is hidden as you stand with
your right side toward the audience (fig. 68a)
With a sweeping motion, the right hand
places its forefinger in the left fist, the right
second finger being doubled. Done rapidly,
this switch is never noticed (fig. 68b and c).
By pointing the fingers toward the left hand,
the right hand itself helps hide the maneuver.
Both hands are raised to the vertical; the
right forefinger drawn downward and the
is
left fist is opened, the left hand displaying the
blue thimble between thumb and fingers

(fig. 68d).
a t>
FIG. 68

Now the left hand replaces the blue thim-
ble on the right forefinger. The left hand is
Color-Changing Thimble A 229

turned forward and downward to show its
back (fig. 68e), and during the action, the

right second finger extended into the left
is
hand, which secretly draws away the red thim-

ble (fig. 68f). The left hand promptly closes
into a fist, containing the red thimble.
The opening of the left fist is turned di-
toward the audience and the right hand

rectly
shows the blue thimble (fig. 68g), then
thumb palms it in approaching the left (fig.
68h). In the same move, the right forefinger
is poked into the left fist, apparently pushing
the blue thimble there (fig. 68i).
This time, when the left fist is opened, the
red thimble has replaced the blue (fig. 68j).
At this final stage, all fingers of the right hand
can be shown. The right hand takes the red
thimble and pockets it, dropping the blue
thimble along with it.

10. Mental Mysteries
This is perhaps the most "modern" type of
magic, although feats of mental wizardry have
long been part of the magician's art. This
should be quite apparent to you, because many
of the tricks described in earlier sections, par-
ticularly some with cards, have been mental in
effect.
The effects to follow are more strictly of

the mental type, the chief difference being
that mental mysteries are presented more de-
liberately and with greater stress on detail
than other branches of magic.
The whole tempo changes. Quickness, dex-
comedy, and even the ordinary element
terity,
of surprise are generally eliminated. Rather

than a "trick/' you are presenting a "prob-
lem" which should astound the mind, not just
deceive the eye.
Naturally, there is no reason to take this
too seriously, although some performers do. It
depends chiefly on whether you are using
mental mysteries as part of a magical program,
or as a presentation of their own. If you are
doing them as magic, work them fairly rapidly,
asyou would another trick. If you prefer to
do a mental act, adopt a more serious style.
Mental Mysteries A 231

TAP THE NUMBERS
the effect: Seven square cards are shown,
each bearing a different number between 1
and 20. A person notes a number and the
cards are laid face down in a circle. The ma-
gician taps the cards in random fashion, while
the chooser spells his number mentally, letter
by letter.
Thus, for instance, he spells "T-W-E-L-

V-E," and on the final letter, he says, "Stop!"
The cardboard square is turned up and by an
amazing coincidence it is the one that bears
the mentally chosen number, in this case, 12!
the method: Each number is spelled
with a different number of letters, so that the
count works automatically. The numbers are
as follows: 2 (T-W-O); 5 (F-I-V-E); 7
(S-E-V-E-N); 11 (E-L-E-V-E-N); 16
(S-I-X-T-E-E-N); 13 (T-H-I-R-T-E-E-
N); 17 (S-E-V-E-N-T-E-E-N).
In forming the circle, the cards are ar-
ranged as follows:
2
7 *3
16 11
*7 5
Make the first two taps on any cards, but

on the third hit the 2, so if the chooser is
232 A Mental Mysteries

spelling "T-W-O" he will say "Stop" as he
completes his spelling and you will turn up his
card. For the next tap, jump two cards in
clockwise fashion, hitting 5. Then jump two
more to 7 on around the circle, so you
and so
automatically turn up the right number on
the word "Stop."
presentation: showing the cards,
In
speak of numbers only, with no mention of
spelling. Just say, "Here are some cards with
numbers from 1 to 20"—here you run through
them, numbers up— "and I want you to take
one, look at remember it and mix it with
it,
the rest, numbers down."

You hand him the cards, numbers down,
so he can do this, while you turn away, then
reach for the cards, saying: "Let me have the
cards so I can go through them while you
keep thinking of your number . . . just that
number and no other. . . . Fll try to catch
your thought. . . . Now, I have it!"
You don't have it, but you have set your
circle in the correct order. You continue: "As
I tap the cards, want you to spell your num-
I
ber mentally, like 'O-N-E' for l-or T-E-N'

for '10'—and on the last letter, say "Stop/"
Tap slowly, as though concentrating deeply.
This allows time for the spelling. Instead of
jumping two cards, you can move diagonally
Tap the Numbers Jf% 233

across the circle, as though describing a seven-
pointed star. This amounts to the same as
jumping but appears more like a random proc-
ess.
PAIRED THOUGHTS
This is an excellent follow-up to Tap the
Numbers because it utilizes the same cards,
but with an entirely different result. Again,
its climax is a surprising mental "coincidence."
the effect: Six cards, each bearing a num-

ber between 1 and 20, are mixed and dealt in a
circle, with the numbered sides downward. A
spectator is given the choice of any card, which

he takes without showing its number.
Behind his back, the magician draws two
cards from the remaining group, then another
pair. He hands the odd card to the spectator.
When the two pairs are turned up, their num-

bers both add to the same total, exactly 18.
The spectator looks at his two cards and
they, too, add up to 18, completing the trio
of paired thoughts.
the method: The cards used bear the
numbers 2, 5, 7, 11, 13, 16. (This means
eliminating the 17-card used in the Tap the
Numbers routine.) They are gathered face
down in the following order, from the top
down: 2, 7, 13, 11, 5, 16.

They are then dealt in two heaps, left-right-
left-right-left-right, each card going on the
one dealt before, all with the numbered side
down. The left heap is then placed upon the
right heap.
Now deal the cards in three pairs. The
second pair of cards should be more widely
separated than the first pair, while the third
pair should be closer together than the second,
and appear at about the same distance apart
as the cards in the first pair. The diagram
below indicates the proper position for each
pair of cards.
A A 5 13
B B 2 16
C C 11 7
The face-down (A-A, B-B, C-C) ac-

pairs
tually add to 18 each. When someone takes a
card, you pick up the other pairs together and
drop the odd card on top.
For example, someone takes a "B" card.
You pick up A-A, putting one on the other,
then C-C, finally drop the odd B on top. Put
them behind your back, bring out the two
bottom cards (A-A) and lay them face up,
showing that they total 18. Bring out the next
pair (C-C) and turn them up; again they total
18. Hand the odd card face down to the spec-
Paired Thoughts A 235

tator and let him match it with his own. His
pair (B-B) also totals 18, completing the
"coincidence."
presentation: When using this trick as a
sequel to Tap the Numbers, gather the cards
as follows: Put number 2 down on 7 and
place them both on 13, then put 11 down on
5 and put them both on 16. Remove 17 be-
fore you start, or push it aside, since it is not
needed. The cards are then set for the deal as
described.
When working Paired Thoughts as an indi-
vidual item, you can lay the cards in two rows,
as follows: 2 13
7
11 5 16
Call attention to the fact that the sum of

each pair (top and bottom) is different: 2
and 11 equal 13; 7 and equal 12; 13 and 16
5
equal 29. Now gather them by placing 7 on
2, saying, "Seven and two are nine/' Put 13
on 7, saying, "Thirteen and seven are twenty."
Then put on 5, saying, "Five and eleven
11
are sixteen." Each pair is added in the same
way so that at the finish you can say: "Put
any pair together and they add up to a dif-
ferent total."
That is the case, as you have just shown.
Now turn the cards face down, deal them in
two heaps and gather them as described, pro-

ceeding through to the finish, where each pair
adds up to the same total.
FACE-CARD FANTASY
This intriguing effect can be presented
either as a test in psychology or as a mind-
reading experiment. The result, however, is
the same: You name a card which a person
has mentally selected from a group of four;
what is more, you can do it without fail!
the effect: The magician spreads a fan
of four face cards and asks someone to con-
centrate upon one card alone. The magician
puts the cards in his pocket, then brings out
three of them, one by one, keeping their backs
As he reaches into his pocket for the fourth
card, the magician asks the spectator to name
the card he chose. Whatever the card, say the
Jack of Clubs, it is the very card that the
magician now brings from his pocket; and he
immediately shows the faces of the other three
cards to prove that all are different, with no
duplicate of the chosen card among them.
the method: The four cards originally
shown are, preferably, Jack of Spades, King of
Hearts, Jack of Clubs and King of Diamonds,
the similarity of the faces of Jacks and Kings
being helpful.
Face-Card Fantasy A 237

In his pocket, the magician has three other
face cards, King of Clubs, Jack of Hearts and
King of Spades, which he has placed there be-
forehand. He brings out these three "extras/'
and when the person names the mentally se-
lected card, the magician simply counts to it
and draws it from his pocket.

presentation: Show the original four cards
as you comment: "Here are four face cards,
taken at random from the pack. I would like
someone to think of one of these cards and
concentrate upon it"—here you turn the fan
toward one person— "and keep it firmly in
mind. Do you have a card?"
At this point, start shifting the cards in a
shuffling fashion, turning the faces toward
yourself as though trying to guess the chosen
card. This enables you to put them in a fixed
order; say,Diamonds, Clubs, Hearts, Spades.
Then, with a nod, you add: "I have it. But
keep concentrating, while I put the cards in
my pocket." Placing the cards in your pocket
you continue: "This isn't it . . . nor this one
. . . nor this one. . .
." Bring out the extra
cards one at a time, but keep their faces to-
ward you as you transfer each card to the
other hand.
You then "That leaves only one card,
say:
so tell everybody what it is, so they can see
238 Jf$ Mental Mysteries

for themselves whether it is the card I kept."
As the person names his choice, count down
in the pocket (Diamonds—Clubs) or upward
(Spades— Hearts) to obtain the correct card,
saying: "I hope this is it"— here you draw out
the card slowly, but without hesitation— "in
fact it should be your card"— here turn the
three "extras" face toward the audience— "be-
cause your card isn't one of these; so this
must be it!" Turn the card toward the spec-
tators to prove it.
alternate routine: Use a fifth card, the

Jack of Diamonds, but place it in front of the
others so it is the most conspicuous card of
the five. Have them in their final order, Jack
of Diamonds, Jack of Spades, King of Hearts,
Jack of Clubs, King of Diamonds. Instead of
shuffling the cards, simply close the fan after
the person makes his choice.
Then turn to your right, letting some other
persons see the cards, as you comment: "Ex-
actly five cards— andone has been selected
just
mentally." You can spread the fan slightly, but
in the opposite direction, so that the only card
which "registers" with these people is the
Jack of Diamonds.
Put the five cards in your pocket (above
the extras) but retain the Jack of Diamonds
and bring it out immediately, saying to the
Face-Card Fantasy A 239

.
chooser: "Don't tell me the name of your

card— yet. Just answer one question: Did you
take the Jack of Diamonds?"
If he says, "Yes," you show it and the trick
is done. If he says, "No," you turn to the
right and say: "Then someone over here must

have thought of it." Since they saw only the
Jack of Diamonds, someone is sure to nod
You then tell the original chooser: "Forget
the Jack of Diamonds. We'll eliminate it—
along with three more cards— until we have
just one card left in the pocket—your card— so
name it!"
While speaking, you proceed with the usual

routine of removing the three extras and bring-
ing the named card from the pocket after it
is called. This version gives you a more logical

reason for asking the name of the selected
card; also, with five cards there is less chance
of someone realizing that the cards shown at
the conclusion of the trick are actually differ-
ent from the originals.

Whichever way the trick is presented, at the
finish you can place the four (or five) cards
in your pocket and continue with some other
trick. Then, remembering that the cards be-
long in the pack, you bring them from the

pocket and replace them there. With them,
you bring along the extras and add the entire
batch to the pack, leaving your pocket empty.
THE TEN PAIRS
the effect: Twenty small objects are laid
on the table, so they form 10 pairs, for ex-
ample: a key and a cigar; a penny and a match
pack; a watch and a pencil; a ring and a cig-
arette pack; and so on. Similar articles can be
used, such as coins of different value, cig-
arettes of different brands, keys of different
shape, provided there is enough variance so
that each can be recognized individually.
While the magician's back is turned, differ-
ent people pick different pairs and remember
them. With 10 people, all 10 pairs would thus
be noted; with fewer people, some pairs would
be left out, which does not matter. That done,
the performer separates the pairs, placing the
objects more or less at random, until they
form four cross-rows with five objects in
each.
Now, the performer asks one person which
rows his pairs are in. The moment the person
replies, "The first and third," the performer
picks out the 2 objects. He turns to another

person with the same query. The reply might
be: "Both in the fourth row." Again, the per-
former picks out the chosen pair. He continues
untilhe has identified each pair of objects.
the method: The pairs, although they
appear to be placed at random, are actually
Ten Pairs Jf$ 241
set in a special order. Looking at the center
of the table, you imagine that you see four
words spelled in big letters:
T A R O T
E N D E R
I O N I C
S C A D S
Place the first pair of objects on each im-

aginary T, then a pair on A and A, R and R,
O and O, and so on, right down the line.
These words: tarot, ender, ionic, scads, con-
tain ten pairs of letters, all forming different
combinations, as far as the four rows are con-
cerned.
Thus, when you ask someone which rows
contain his objects, if he and
says, "First
third," you pick out the pair represented by
the letter "O ." If he says, "Both in the fourth
row," you pick up an object from each letter
"S." Use the same procedure with all the re-
maining pairs.
presentation: It does not particularly mat-
ter whether you work this as a mind-reading
feat or a memory both puzzling
stunt. It is
and entertaining, in either case. Simply make

sure that each person understands that he is
to pick a pair of objects, but leave them where
they are.
You then start placing the pairs yourself,

242 Jfk Mental Mysteries
saying, "I'll place these here and there, so
they will be mixed in random fashion." But
all the while you are setting them according
to your formula.
For a repeat, it is always good to lay out the
pairs differently. One way is to change the
order of the words, which varies the procedure
somewhat. It is still better to have other for-
mulas in reserve, so you can switch to them

instead. Here are two such arrangements:
MOTOR
S H E E R
N I N T H
M I L L S
or
S A L A D
z I P P S
T I T L E
O O Z E D
Originally, this trick was done with playing

cards instead of different objects; it is still
effective when performed that way. Simply

shuffle apack and deal 10 pairs of cards, face
down, letting a different person glance at each
pair and remember it.
The pairs are then gathered face down in

any order and you proceed to deal them face
Ten Pairs A 243
up from the packet, placing them according to
your word-formula. People then indicate the
rows in which they see their cards and you
pick out the pairs in the usual fashion.
CUP, DISH AND SAUCER

Here is a mental mystery with ordinary
objects seen on every table, making it an excel-
lent dinner-party stunt. The items used are a
cup, dish and two dozen lumps of
saucer, plus
sugar that can be poured from a bowl onto a
plate, or simply dumped on the table.
the effect: You ask three people to assist
you with this telepathic demonstration. For
convenience, we will call the first person
Andy, the second person Ben, the third
Charles. You begin by giving Andy a lump
of sugar; you give Ben two lumps, and Charles
three.
Now you state: "While I am in the next
room, I want one of you to take the cup, an-
other to take the dish, the third to take the
saucer— an absolutely free choice among the
three of you. Understand?"
After they nod agreement, you add:
"Whoever takes the cup must take the same
number of lumps that I have already given
him and hide those lumps under the cup.
Whoever takes the dish must take twice as
many lumps as he already has and hide them
in the same fashion. Whoever takes the saucer
is to take four times as many lumps and hide
them/'
you warn: "Don't touch any of the
Also,
remaining lumps or you may give me a false
mental impression. When you are ready, call
me back."
On your you pass your hand back
return,
and forth over the cup, dish and saucer, tell-
ing each person to keep concentrating on the
item which he chose. Then, in dramatic style,
you point from the cup to one person, say
Ben, as you announce: "You took the cup!"
Next, you point from the dish to another
person, say Charles, and declare: "You took
the dish!" Turning to the final person-in this
case Andy—you conclude: "That means you
took the saucer!"
You are right on every count!
the method: Actually it is a matter of
counting, not X-ray vision, that enables you
to look through items of solid tableware. What
you count are the left-over lumps of sugar,
those that you told people not to touch.
But first, you must memorize a list of
words, or better still, write them out in the
form of a column, with certain letters under-
lined. These words are: cadets, dickens, cus-
tody, DRASTIC, SCORED, SARDONIC.
Cup, Dish and Saucer Jfk 245
When listed they appear thus:
1. CaDetS
2 DiCkenS
3
CuStoD y
5- DraStiC
6. SCoreD
7 SarDoniC
Note no No. 4 on the list. Also
that there is
note that the large letters, C, D, S, appear in

each word but in different order. Those letters
stand for Cup, Dish and Saucer, respectively.
Here is how you use the list to work the
trick:
Suppose Andy, the first person, should take
the saucer. You have already given him 1 lump
of sugar. Whoever chooses the saucer is to
take 4 times the number of lumps you gave
him.
So Andy takes 4 lumps and hides them.
Suppose Ben, the second person, takes the
cup. You have given him 2 lumps of sugar.
Whoever takes the cup is to take the same
number of lumps that you originally gave him.
So Ben takes 2 lumps and hides them.
Suppose Charles, the third person, takes the
dish. You gave him three lumps. Whoever
takes the dish is to take twice as many lumps
as you gave him.

So Charles takes 6 lumps and hides them.
You gave out 6 lumps to start with. The
three persons have taken 12 more. That
makes a total of 18. So there will be 6 lumps
left, lying over to one side as though they
didn't matter. But they matter a great deal!

No. 6 on your list is the word scored. Its
"key" letters appear in the order S, C, D.
That means the first person, Andy, took the
saucer; the second person, Ben, took the cup;
the third person, Charles, took the dish. You
tell them that, making it sound very mysteri-
ous, and you are right!
If they had picked the objects in some other
order, your key word would be different, but
just as accurate, according to the left-over
lumps. Two lumps, for example, would spell
dickens, meaning that Andy had chosen the
dish, Ben the and Charles the saucer.
cup,
You can use more than 24 lumps of sugar,
but make sure you know how many more, so
you can ignore them. That is, if you use 28
lumps, mentally substract 4 from the left-overs
before counting through your list.
Other objects can be used, say a coin, a

dollar, and a spoon, instead of a cup, a dish,
and a saucer, since they also conform to the
initials C, D, S. Matches can be used instead
of lumps of sugar.
Gup, Dish and Saucer Jfa 247

THE WORD-CARDS
This intriguing mental mystery requires a

pack of cards bearing various letters of the
alphabet; also, some cards on which specific
words are printed. Alphabet cards can be ob-
tained with certain card games, but if none
are handy, it is easy enough to make up a set,
using blank cards the size of calling cards.
Similarly, the required word-cards can be
hand-lettered in colored pencil on pieces of
cardboard cut to a convenient size, so the
whole outfit is easily prepared. The word-
cards can be the size of playing cards or larger,
with the words printed lengthwise.
the effect: The performer runs through
a packet of twenty-five cards showing that each
bears a different word. He deals these into
five face-down heaps and lets five people select
cards at random, one from each heap. The
remaining cards are collected, still face down,
and laid aside, so that only the choosers know
the words they have taken.
Now, the performer picks out several letter
cards. He asks the first person to name the
word he selected. Suppose he says, "Least."
The performer lays down his letter cards, one
by one, and they spell least.
This is repeated with the other persons. In

every case the magician spells out the word
correctly.
the method: The words on the cards are:
SLATE STEAL LEAST STALE TALES

SPEAR PEARS REAPS PARSE SPARE
SMITE TIMES ITEMS EMITS MITES
CANTER NECTAR TRANCE RECANT CRETAN
GRANDEE ENRAGED GRENADE ANGERED DERANGE
By one column of cards upon an-

setting
other, you form a packet of 25 that you can
run through, calling off "slate, spear, smite"—
and so on. But when the cards are dealt in 5
heaps, one by one, each cross-row becomes an
individual heap, each composed of words
formed by the same letters.
For the first person, you pick the letters
a-e-l-t-s from the alphabet cards and keep
them toward you. When he calls the word on
his card, you simply spell it letter by letter,
showing them as you do. This holds for all
5
words in the group: slate— steal—least-
stale—tales.
With the second person, a-e-p-r-s will spell
any chosen word. The third, fourth and fifth
words can be handled in the same way by
simply picking out the letters that spell any
word in that group.
presentation: Start by running through the
Word-Cards A 249
cards, emphasizing that: "Here are twenty-
five different words—" calling them off rapidly
as you show them. Turn the packet face down,
deal the five heaps and hand each to a different
person, saying: "Mix them all you want, then
draw one card and lay the rest aside without
looking at them. Just concentrate on that one
card and the word that you find on it."
That done, you pick out the proper letter
cards, but act as though you were spelling
the spectator's word mentally. Tell him:
"Keep spelling the word to yourself—letter by
letter— now I've got it. Call the word and see
how close I came."
When he word is "Least,"
states that the
show the letters one by one as you pick them
in that order. Continue with the other per-
sons, acting as though you were spelling out
each word through sheer concentration.
WITHIN THE CIRCLE

the effect: The performer takes a square
sheet of paper and folds it into quarters. He
then unfolds it and draws a circle in the very
center. He tells a spectator to write anything
he wants within the magic circle, such as the
name of a friend, a place, a telephone number
or an address. The spectator is then told to

SECRETLY
RETAIN FIG. 69
THIS TEAR
PIECE
TEAR
OPEN CENTER,
AND PUT SUP AND LEARN
AWAY REST NAME
fold the paper and hand it back to the per-

former.
Upon receiving the folded paper, the per-
former deliberately tears it in half, then places
the pieces one upon the other and tears them
into quarters. He either thrusts the torn frag-
ments into his pocket or lays them in an ash
tray and sets fire to them.
In either case, he keeps telling the spectator
to concentrate on what he wrote. Finally, the
performer gives the name, initials, date, or
whatever was written, and the amazed specta-
tor admits that it is absolutely correct.
the method: The information is written
and the paper is folded and torn into quarters
exactly as described. But trickery begins when
the fragments are pocketed or burned.
Within the Circle A 251

During the tearing process, you keep track
of the center portion of the paper (fig. 69).
When the right hand takes the torn pieces
and pockets them, or places them in the ash
tray, the left thumb retains that center piece
and presses it bend of the left fingers.
into the
Later, when you secretly open the center
piece, you will find that it contains the entire
circle that holds the written message. The
three-quarters that are pocketed or burned are
unnecessary, but they serve a useful purpose:
when you show them in your right hand, peo-
ple suppose that you are disposing of the en-
tire message.
presentation: This is extremely important,
as you must find some subterfuge whereby you
can open and read the center portion that you
tore from the "destroyed" message. If you are
seated at a table, you can let your left hand
rest in your lap while opens the center of
it
the slip, giving you a chance to read the mes-

sage there.
Another way, whether seated or standing,
is to take a pad in the left hand and begin
to write "thought impressions" with your right

hand, crossing them out, tearing away a sheet
from the pad, and beginning over again.
This action enables you to open the torn
center between the left thumb and forefinger,
which are on your side of the pad. The right
hand can help in this operation, during which
you read the message and finally answer it by
writing the name or number on the pad. You
can then tear the sheet from the pad and
hand it to the spectator, saying it is your
thought impression. In pocketing the pad, you
get rid of the center slip.
If you burn the torn portions in an ash

tray, you can walk away and bring back a pad
from a table in the corner of the room. On the
way, you simply open the torn segment and
read it.
It is best not to use too large a piece of

paper for this trick, since the center portion
that you retain must be small enough not to
be noticed while you are opening and reading
it. Experiment with different sizes until you
find one large enough to make the trick seem

natural and yet not so large that the action
becomes difficult.
PREDICTED THOUGHTS
the effect: A spectator is asked to think
of any number between 1 and 1000 and to
keep it in mind without naming it. The per-
former writes something on a small slip of
paper, which he rolls into a ball. He turns a
small glass upside down and places this predic-
tion on the bottom of the upturned glass.
Predicted Thoughts jfa 253
Now, the spectator writes his number in
the center of a square of paper. This is folded
into quarters and given to the magician, who
tears it into pieces, which he burns. The magi-
cian picks up the glass, drops the prediction
into it and hands the glass to another specta-
tor.
The first person names the number he has

in mind, say 281. The second person unrolls
the little ball and reads the prediction. He
finds that the magician has written that very
number— 281— on the little slip that he in-
scribed beforehand!
the method: The little slip is exactly
one-quarter the size of the larger square of
paper. You merely pretend to write a number
on it, unless you want to take a 1 in 1000
chance that you may be right. This slip is
rolled up and placed on the bottom of the

inverted glass as a "dummy."
After the spectator writes his number on
the larger square and folds it, you take the
paper and tear it into quarters, secretly retain-
ing the center portion, as in Within the Cir-
cle. You set fire to the rest. While they are
burning, you secretly roll the center portion
into a little ball exactly like the dummy that
is on the inverted glass.
Call the dummy "A" and the duplicate

"B." Hold "B" pressed between the tips of
your left thumb and second finger. Pick up
"A" with the tips of the left thumb and fore-
finger, while the right hand turns the glass
mouth up. The left hand seemingly drops
"A" into the glass, but actually presses it be-
tween the tips of thumb and forefinger, drop-
ping "B" instead.
With your right hand, pass the glass to a
spectator and have him open the slip and
read your "prediction/' It is sure to be right
because what he reads is the actual number
that the first spectator wrote in the center of
the larger square. You don't even have to
know the number for your "prediction" to be
right!
presentation: Worked as described, the
trick is almost automatic. Emphasize that you
have written your "prediction" or "thought
impression" before the spectator wrote his.
Be deliberate but neat in "switching" the lit-
tle pellets and the trick will prove itself a real

barrier.
THE NINE SLIPS
the effect: A sheet of paper is torn into

nine slips, all the same size. A spectator writes
a name on a slip, folds it, and drops it into
a hat. Now he writes other names on the re-
Nine Slips A 255

1 1
I 1
B C j
D
e j
v j
f
»AH
6 ! H I
BQ
RND SUP WITH ALL
ROUGH EDGES
SUPS DROPPED IN HAT
G
FIG. 70
maining slips, folds them the same way and

mixes them in the hat.
While the spectator concentrates on the
original name, the performer goes through the
slips one by one and finally gives the name
that the person has in mind!

the method: Use a sheet of paper with
smooth edges; if necessary, cut any rough
edges with a pair of scissors. Fold the paper
into thirds—both ways— so it can be torn into
nine equal pieces (fig. 70a).
Do this neatly, so the slips look alike, but
one, the original center of the sheet, will be
256 Jf% Mental Mysteries

have four rough edges,
slightly different. It will
whereas every other slip will have at least
one smooth edge (fig. 70b).
Hand the slip with the four rough edges to
the person first, or put it on top of the others
so that he uses it to write the name he has in
mind. More names are written on the remain-
ing but you can always pick out the right
slips,
one by its four rough edges.

presentation: Stress the fact that you are
trying to catch one thought out of nine and
that the slips are merely incidental. Go
through them one by one, name by name;
then start over and stop on the chosen one.
That makes it look like real mind reading.
MYSTIC BOOK TEST

the effect: The performer hands a book
to a spectator and tells him to open it to any
page. He is to note the number of that page,
add its component figures and count to the
word at that position. For example, with page
105, the figures 1, o, and 5 total 6, so the per-
son would note the sixth word.
While that is being done, the performer
turns his back. When the spectator concen-
trateson his word, the performer writes some-
thing on a sheet of paper of his own. The two
Mystic Book Test A 257

slips are unfolded: the magician's word is iden-
tical with the word written by the spectator!
the method: This trick requires consid-
erable preparation, but the result is worth it.
Take a suitable book— a paperback novel will

do—and go through it, page by page, listing
the words that may be chosen, as:
1. give 121. grim 181. the

2. letter 122. arrived 182. heard
3- way 12 3 . a 183. than
4- of 124. in 184. got
5- one 125. out 185. it
These are simply excerpts from a complete

list. Thus "grim" was the fourth word on page
121 of a specific book; "arrived" the fifth
word on page 122; "got" the thirteenth word

on page 184.
Such a list, while long, can be typed on a
single page of a large pad, or on a page of a
smaller pad, if finely printed with a pencil. It
is placed beneath the top flap of the writing
pad and is gummed along the upper edge, so
that it will turn over with the flap.
The magician uses the pad to obtain a sheet

of paper so the spectator can write his chosen
word. Thus the wizard is still holding the pad
when he turns away, enabling him to consult
the list and find the correct word according
258 £fk Mental Mysteries

to the page the spectator named. This is the
word that the magician writes on another
sheet of paper, as though he read the specta-
tor's mind.
presentation: Though simple and direct,

this should be well rehearsed to be effective.
You have the book lying on the pad and as
you hand the book to the spectator, you run
through it, mentioning that it has some 200
pages or more. Then you say:
"I want you to think of any number within
that range, then turn to that page. Then add
the figures in the page number and count that
many words, beginning with the first word on
the page. You have a number in mind? All
right, name it . . . 167? All right, turn to
that page and add the figures; that would be
fourteen, wouldn't it?"
Here, you open the pad, the list sheet going
along with the flap. You tear off the next sheet
and hand it to the spectator. Then continue:
"When you find the word, write it on this
sheet of paper. Fold the paper and hold it.
Incidentally, do you want to change the page
number? If so, you can name another one.
You're satisfied? Very well, turn to your page
and count to the fourteenth word while my
back is turned."
You turn your back, closing the pad as you
Mystic Book Test A 259

do, but immediately raise the flap and bend
it back alone, so you can spot the "key word"
for page 167, which, we will assume, is "an-
other." Fold the list sheet back with the flap,
so when you again face the audience you are
holding the pad with a blank sheet showing.
Study the spectator as he holds his folded slip
and tell him:
"Keep concentrating on the word that you
have written . . . Say it over a few times in
your mind. ... I think I have it." Here you
write the word on the pad, tear off your sheet
and fold it. "Here is the impression I received,
so let someone open both slips and compare
them."
That is done, the words prove to be the
same, and the book may be checked by mem-
bers of the audience to make sure you selected
the right word. Meanwhile, you keep the pad,
which apparently had nothing to do with the
test.
THE REPEAT BOOK TEST

While the Mystic Book Test may be re-
peated, it has "one weakness: the somewhat
arbitrary adding of the figures in the page
number to count down to the word. This is
natural enough the first time, but might meet

with an objection or suspicion on a second try.
260 jf$ Mental Mysteries

That's when this alternate trick comes in
handy.
the effect: A spectator is given a book
and told to call the number of any page, say
from 1 to 250, while another spectator calls
the number of a word on that page, say from
1 to 50, to keep the counting simple.
The page and word are looked up and writ-
ten on a sheet of paper, which is folded. The
magician leaves the room or goes to an obscure
corner while this is taking place. When he re-
turns, he writes a word on a slip of paper; it

is compared with the chosen word and both
are the same.
the method: This is bold, but deceptive.
In your pocket you have a duplicate copy of
the book. Upon leaving the room or going to
an obscure corner, bring out the book, turn to
the stated page and count down to the number
given for the word.
In short, you simply duplicate the same
operation as the spectators, finding the same
word while they are hunting for it. You then
put the book away and return, going through
the "concentration" process as though read-
ing their minds.
presentation: This should follow the pat-
tern of the Mystic Book Test quite closely,
the one difference being that you must retire
Repeat Book Test A 261

to sufficient seclusion to consult the duplicate
volume. The smaller the book, the better; a
pocket dictionary is very good. With a large
book, the duplicate should be in another room.
While a good effect in its own right, this
test is recommended as a "repeat" because
the Mystic Book Test does not require you to
step from sight and it is obvious that only
one book is used. Also, there may be a slight
suspicion that you were close enough to note
or overhear something.
All this builds to a perfect excuse to go out
of the room. At the same time, it diverts
suspicion from the simple secret of the extra
book.
A SENSE OF TASTE
the effect: The magician hands around
some rolls of candy drops: lemon, lime, or-
ange, grape, cherry, or any other flavors. All
are exactly alike in size and general appear-
ance except for their distinctive labels.
While the wizard's back is turned, specta-
tors select one of the packages and drop it in
his hand. They hide the rest so the magician
cannot see them when he turns to face his
audience. Yet within brief moments the ma-
gician names the flavor in the package which
he holds.

If desired the trick may be repeated with
one of the other rolls.
the method: The rolls look

but they
alike,
are neatly prepared beforehand in an unsus-
pected way. Use a type of candy package
which has a loose label that may be slipped
on and off, the candy drops being wrapped
within an inner lining of tin foil.
Slide off the labelsand break some of the

packages, so they may be identified as follows:
lemon—broken near one end
lime—broken near both ends
orange—broken at center
grape—broken at center and one end
cherry— not broken
Thus prepared, the packages are given to
the spectators. When you receive one behind
your back, slide off the label and find the
break, or breaks. Slide the label on again and
you can name the flavor and hand the candy
roll back to your mystified audience.
presentation: This is helped by stating

that experimenters have learned that there is
a close association between telepathy or extra-
sensory perception, and the sense of taste.
Having proven this to your own satisfaction,
you are now prepared to demonstrate it pub-
licly. So you say, and so you proceed to do.
If you repeat the trick, do not hesitate with
A Sense of Taste A 263

it. Work it briskly, and put the packages in
your pocket, except for the final one. Open
that one and pass the candy around, disposing
of the package and the evidence it represents.
By having duplicate (unprepared) packs in
your pocket, you can later lay them on the
table as though they were the originals, just
in case anyone decides to examine them.
THE TWO ROWS

Cards, coins, matches, checkers— almost
any small and handy items may be utilized
in this impromptu mental mystery. For sim-
plicity, we will assume that the trick is done
with playing cards.
the effect: A person istwotold to deal
rows of cards, each with the same number,
so that he will have it firmly fixed in mind,
this being essential with all mental tests.
Any number may be used, from three or
four to twenty; that is entirely up to the per-
son. While he is arranging the rows, the ma-
gician turns his back, or can even go into
another room, as long as he is within earshot.
When the person is ready, the magician
tells him to take away cards from either row,
but to state how many cards he takes, and
from which row, top or bottom.
That done, the person can take more cards

from either row; or he may add cards; or he
is allowed to transfer them from one row to
the other, as long as he tells how many cards

were moved and states which row— or rows-
happened to be involved.
At one juncture, the magician suggests a
number for the person to take away; but at
no time does the spectator state how many
cards either row contains. Then, suddenly, the
magician says, "Stop!" With that, he names
the exact number of cards that remain!
#
the method: The number of cards in each
row does not matter, as long as they are equal
at the start. For example, assume that the
person puts seven cards in each row, thus:
rn/\« n* *r in *t* *c *r +n
BOTTOM
You do not see these cards, but you take
a high number of your own— say 20—and
imagine or visualize the rows as containing
that many cards each. You then ask the per-
son to take away cards, add them, or move
them ashe chooses, but to tell you what he
does. Thus:
He moves 3 cards from the bottom row to
the top, and says so. That leaves the rows
like this:
rTI/A'p « T* *¥* T* ^P *«* *f* T* T* ^F* *•
BOTTOM: * * * *
Two Rows jfi 265

Working from your "key" number of 20,
you mentally move 3 from bottom to top,
saying to yourself: "Twenty-three in the top
row; 17 in the bottom row."
Now, suppose the person takes away two
from the bottom row, stating that fact. He
has:
np/^TO » ^p nr ^r ^r *r nr *n nr v ^r
BOTTOM: * *
You say to yourself: "Two from 17 leaves

15 in the bottom row, with 23 still in the top."
The person then decides to add one card
to each row. He
announces that fact and per-
forms the action, so that the rows stand:
rr /™\TTj
,
• ^r ^r ^r *r ^r ^h ^r ^h ^r *fi *f
BOTTOM: * * *
Mentally, you add one to each of your
rows, giving you 24 in the top, 16 in the
bottom. Now comes the important part:
You tell the person to count the number
of cards in the bottom row and to take that
many from the top row. He takes 3 (the
number bottom row) from the 11 cards
in his
in his top row, which gives him:
rp^yp .
BOTTOM: * * *
Meanwhile, you are doing the same with

your imaginary rows, subtracting 16 (bottom)
from 24 (top) so you have 8 cards in your

top row. You then tell the person to take
away his bottom row entirely.
That leaves him with a single row:
********
You, too, eliminate your imaginary bottom
row and that gives you a single row with just
8 cards, identical with the row now on the
table!
From then on, you can let the person add
or subtract cards as he wants, providing he
states the exact number in each case. You go
him, for you are both working
right along with
with the same number.
Assume that he simply takes away 4 cards.
He then has:
* * * *
You do the same and announce your final

total: "Four!"
presentation: Your aim should be to keep
this test intriguing and same time rea-
at the
sonably simple, in order to avoid any false
steps. That is why it has been described in
exact detail. In presenting it, remember these
points:
First, tell the person to deal a row of cards;
then another with the same number, so he will
have it fixed in mind. As he does so, you add,
"It canbe a small number or a large one, any-
thing from two up to twenty, but be sure you
Two Rows A 267

deal the same number twice—and don't change
it— at least not yet!"
Here, you convey the impression that you
are already beginning to grasp his numerical
thought. You then say:
"Now take away or add cards to either row,
but tell me how many move and
cards you
what you do with them. You can simply move
them from one row to the other if you want."
Then, with that done, you continue. "Now
move a few more and tell me again. From
these partial thoughts, I am trying to gain a
full impression."
After a few such moves (as already de-
scribed) you say, "Stop! I think I have it.
Just to make sure our minds are tuned, I want

you to count the cards in the smaller row,
without telling me. Take that row entirely
away. You've done it? Good. Now, take the
same number from the other row, so as to
fix it firmly in mind. Add a few more, or take
some away if you prefer, but this time, tell me

how many. That's enough. I have it!"
NAME THE NUMBER

Similar to the Two Rows, this makes a
good alternate or follow-up to that "test" be-
cause there is enough difference between them
to throw observers off the trail.
268 Jfk Mental Mysteries
the effect: A person is told to take an odd
number of cards or other items (as matches
or coins) and lay them in two rows, equal
except for the extra card, which can go in
either row he prefers. The magician's back is
turned while this is being done.

The rows might prove to be:
# # # # # # #
s£c s{t sk jie jic jjc
The person is name a small

then asked to
number, less than the number of cards in
either row. Suppose he says, "Five." The ma-
gician tells him to take 5 cards from the long
row and lay them aside.
The rows will then stand:
# # # # # #
Next, the person is told to count the cards

in what is now the short row and to take that
many from the other row, without stating the
number (which in this case happens to be
2). That leaves:
* *
* * # *
Reverting to the first row the magician tells

the person to take it away entirely, then to
concentrate upon the number of cards in the
one remaining row, namely:
# * * *
After due concentration and proper recep-

Name the Number jf$ 269
tion of transmitted "brain waves," the ma-
giciannames the number: "Four."
the method: Follow the routine as given
and the trick will work itself, your "key" num-
ber for the climax being one less than the
random number which the person named at
your request!
In this case, he picked and that meant
5,
there would be 4 at the finish. If he had taken

3, there would have been 2 left, and so on.
In referring to the rows, you can term them

"long" or "short" as described; or simply call
them "top" and "bottom," but in that case

specify that the long row be at the top to
start.
presentation : A few rehearsals should

make the trick quite clear. Such rehearsals
are necessary in order to work it smoothly
and effectively. Play up the "mental" angle at
every stage. When the person adds the "odd"
card to one row, act as though you were di-
vining the number of cards even then.
Have the person choose number, then
his
go through the next steps with the same pre-
tense of concentration. In telling him to re-
move the first row, you can say: "Your mind
seems to be going from one row to another.
Let's take away the first row entirely. You've
done that? I thought so. Now, count the
. . .
270 Jk Mental Mysteries

cards in the one remaining row. Count them
mentally, one by one. Fix on the final number
and keep it firmly in mind. I am counting to
it myself, now. One, two, three, four! That is
the number!"
note: If a person should remove only one
item as his number, the rows would be equal-
ized. So if he specifies "One," you simply say,
"That's too small, let's make it larger." Or,
you can say, "Name any number
at the start,
above one, but less than the number of cards
in either row."
CARDS AND SYMBOLS

the effect: The mental wizard shows four
cards, each about 3X4 inches in size. He
calls attention to the fact that each card bears
a different symbol: a circle, a square, a tri-
angle, an X-mark. With the cards is an en-

velope, just large enough to receive a card
comfortably.
While the magician turns away, someone
puts one of the cards into the envelope, seals
it, and hides the other cards. The envelope is
given to the magician, who holds it to his

head, concentrates, and names the symbol on
the card. When the envelope is opened, this
proves to be correct.
This mental test can be repeated with the
Cards and Symbols Jf$ 271

same success. It can be varied by having four
different persons take an envelope from a
packet and place a card in it. Yet the magician
can name all four cards as easily as one. The
envelopes can be thoroughly inspected before
and after the performance, proving that it is
impossible to see through them.

the method: Although the cards appear to
be identical in size, they vary slightly in di-
mensions. Therein lies the subtle secret of the

trick. One card, which bears the circle, is
just the size of the envelope, slipping in easily
but snugly.
The card with the square is cut i/i6th of
an inch short, too slight a difference to be
noticed even when the cards are handled as
a group.
The card with the triangle is cut slightly
narrow, which also is unnoticed. Again, the
difference about i/i6th of an inch.
is
The card with the "X" is cut both short

and narrow; this, too, is normally indetectable
After a card is sealed in the envelope, how-
ever, the difference can be checked swiftly
and by holding the opposite edges
secretly
of the envelope between the thumb and finger
and pressing slightly.
If there is no "give" in either direction, the

"circle" card is in the envelope. If there is a
"give" from top to bottom, but not sideways,
it is the "square" card. If the envelope yields
to sideways pressure only, it contains the "tri-
angle" card. If pressure shows a slack in both

directions, the "X" card is inside.
presentation: Attention should be paid
to the handling of the envelopes in a smooth,
casual fashion. In showing the cards, stress the
fact that they differ only in their symbols.
Put one, then another, in an envelope and
hold it to the light to prove that it is impos-
sible to see through it.
Then have a person put a card in the en-

velope, seal and concentrate upon its sym-
it,
bol. When you reach for the envelope, take

it by the edges, say at top and bottom, pressing
it as you do. Transfer the envelope to the other
hand, which naturally takes it by the opposite

sides, pressing them the same way. The en-
velope should then be lifted to your forehead,
so that you can concentrate upon its contents
and pick up a "mental impression."
By then, little concentration is necessary
because you will know what card is in the en-
velope.
Cards and Symbols A 273

COINS AND COLORS
the effect: The magician opens an en-
velope and from it takes three smaller enve-
lopes, each of a different color: one red, one
yellow, one blue. He lays them on the table
and places five coins beside them, each coin of
a different value: penny, nickel, dime, quarter,
half dollar.
Now the magician indicates three persons,
A, B, and C. He turns his back and tells each
person to take an envelope, without letting
him know who has taken which. That done,
the magician concentrates with his back still
turned and gives the following instructions:

He tells A thathe took the red envelope,
if
he is to put the penny in it; if he took the

yellow envelope, he is to put the nickel in it;
if he took the blue envelope, he is to put the
dime in it.
Next he tells B that if he took the red en-
velope, he can put in either the dime or the
half dollar. If he took the yellow envelope, he
must put in the coin of lowest value that is
still on the table. If he took the blue envelope,
he can put in either the penny or dime.

Finally he tells C that if he took the red en-
velope, he can put in the nickel or the half
dollar. If he took the yellow envelope, he can
put in the dime or quarter. If he took the blue

envelope, he can put in either the nickel or
quarter.
This done rather rapidly, as each per-
is all
son really has but one choice, because he has

only one envelope and already knows its color.
But the magician, being in ignorance of how
the envelopes are distributed, must specify
each in turn.
As an afterthought, the magician tells B
that if he took the dime, and if the half dollar
is still on the table, he can put back the dime
and place the half dollar in the envelope in-

stead. The magician allows due time for that;
then tells all three persons, A, B, and C, to put
their envelopes in their pockets.
That done, the magician turns around, picks
up the two coins still on the table— say the
dime and quarter—and drops them in his own
large envelope. He then proceeds to tell each
person what color envelope he has in his
pocket; and also the coin that he has in that
envelope.
Theenvelopes are brought out; and the
magician's statements are correct: In this
case, A has the yellow envelope and the nickel
is in it; B has the blue envelope and the penny
is in it; C has the red envelope and the half
dollar is in it!
the method: Remarkable though the ef-
Coins and Colors if$ 275

feet may sound, this trick is self-working from
you need in order to per-
start to finish. All
form it are the envelopes and the coins, plus
the proper instructions to A, B, and C who
can be our old friends, Andy, Ben, and
Charles. Nor is this too difficult, because:
You have those instructions written on the
large envelopewhich you retain, so you can
check them while your back is turned. They
are listed thus:
A: r— 1#; y— 5^; b— io^f.
B: r— 10^ or 50^; y— Lowest; b— 1^ or 10^.
C: r— 5^ or 50^; y— 10^ or 25^; b— 5^ or 25^.
But that is only half the story. The rest is
also told on the envelope in a slightly more
elaborate chart which you must prepare as
follows:
1* St 10^ 25<* 50^

# #
A-bl B-y C-r
* *
A-y C-bl B-r
*
A-y B-bl *
C-r
* A-y *
B-r C-bl
* *
A-r C-y B-bl
B-y * #
A-bl C-r
*
A-r B-bl C-y #
* *
B-bl A-y C-r
A-r B-y * *
C-bl
B-y * *
C-r A-bl
276 £f$
Mental Mysteries
In the chart, the capital letters, A, B, C,
represent the three persons. The small letters,
r, y, bl, are the colors: red, yellow, blue. But
this can be simplified by marking the letters
with colored crayons, so that in the first row,

A will appear in blue; B in yellow; C in red;
and the later rows will be treated in the same
fashion.
The stars (
* ) signify the coins that you pick
up from the table. So the moment you gather
the dime and the quarter, you note from your
chart (on the back of your big envelope)
B is in blue; A is in yellow; and C is in red.
This means, quite obviously, that Ben has
the blue envelope, Andy the yellow one, and
Charles the red one. You see 1^ at the top
of B's column, telling you that Ben's blue en-
velope contains the penny; you see 5^ at the
top of A's, so Andy has the nickel in his yellow
envelope; and you see 50^ at the top of C's,
so Charles has the half dollar in his red en-
velope.
presentation: Far from being complex,
this trick is simplicity itself, if you follow the
routine as given. Tests with actual envelopes
and coins will prove helpful by creating famil-
iarity with the effect.
Once you turn your back, you should give

the details carefully to your three assistants,
Coins and Colors Jf% 111
avoiding any indication that you are reading
them from your envelope. Instead, act as
though you were reading minds from the very
start.
Tell each person to concentrate on the color

of his envelope, then to pick a coin as you
specify and concentrate on it, too. The little
touch of reverting to Ben's choice and telling
him he can put back the dime and take the
half dollar, if it is still there, makes it seem
almost as though you had visualized all that
had happened up until that point.
The climax of the trick can be dramatically
handled. You tell each person the color of his
envelope and immediately add the name of
the coin that it contains. To vary this, you
can say to Ben, "And you have the penny— in
the blue envelope!"
After the envelopes are opened (and the
coins removed), put them into the large en-
velope and place it in your pocket so that no
one sees the chart you used in the trick.

11. Planning
a Magic Show
Now that you have a large stock of tricks, how
do you go about selecting some for a perform-
ance? Listed below you will find some sugges-
tions for different kinds of programs.
PROGRAM 1
Instant Cut and Restored String (p. 19)

Ring Off! (p. 43)
The Climbing Ring (p. 22)
The Rising Pencil (p. 24)
The Nine Slips (p. 255)
Tap the Numbers (p. 232)
Paired Thoughts (p. 234)
Cup, Dish and Saucer (p. 244)
or The Ten Pairs (p. 241)
In this program, Instant Cut and Restored

String leads into Ring Off! while the Climb-
ing Ring and the Rising Pencil follow in
natural sequence. Since you have the pencil
available, you can do the Nine Slips next.
This changes the pattern of Program 1 into a
series of mental effects, but since all are of
Planning a Magic Show Jfk 279

a close-up or impromptu variety, they are in
keeping with the occasion.
PROGRAM 2
The Matchless Match Pack (p- 33)

The Hypnotized Match Box (p. 26)
Vanishing Match Box (p. 31)
The Restored Match (p. 36)
The Rapid Knot (p. is)
The Suction Cup (p. 79)
Silk Through Wand (p. 97)
From Hand to Hand (p. 200)
Here you appear to be dealing with seem-

ingly impromptu tricks, no mental effects be-
ing involved. This program is especially suited
for working at a table. It allows opportunities
for repeats; for example, you can follow the
Matchless Match Pack with Improved Match-
less Match Pack (p. 34), if you desire. Also,
you can start with the mechanical version of

the Hypnotized Match Box and add the im-
promptu method after you vanish the box.
the Restored Match can be followed by the
"Repeat" Restoration (p. 39).
A table knife can be used instead of the
wand in Silk Through Wand, and a handker-
chief can be borrowed for the trick, making it
strictly impromptu.
280 Jf$ Planning a Magic Show
Index
aces, assembled, 179-181 controls 133-134, 135, 147,
alphabet cards, 248, 249 152-155, 160, count-down
Alternating False Shuffle or 49-50, cuts 100, 100-102,
Packet Shuffle, 113-115 129-134, 151-152, cuts,
Any Number Down, 156-157 false 107-110, deals 47-49,
Assembled Aces, 179-181 104-105, 105-106,
Automatic Reverse, 153-154 106-107, 176-178,
"discovery" 148, 152-154,
beginners, 13-16 154-155, 156-157,
Behind Your Back, 72-74 158-159, "divider" 139,
blacks and reds (cards), 140 hair 164, hat 171, locating
book test, mystical, 257-260, 135, location 132-133,
repeat, 260-265 144-145, magic 101-134,
bottle, 25 magnetized 162-163, pack
Bottom Card Location, 144 47, 112, 121, 139, 140,
Bottom Glimpse, 122, 131 141, 142, 143, palming
Bottom to Top shuffle, 1 12 125-126, pointers 142-143,
"breaks" (cards), 133, red 57-60, reds and
147-148 blacks 140, revelations
156-181, self-finding
candy, 262-264 172-174, self-turning
card 158-159, seventeen
alphabet 248, 249, bottom 168-171, sleights
144, chosen 135-155, 115-134, symbols 271-274,
156-181, coins 65-67, tricks46-74, word 248-250
colored 57-60, 89-92, Card Controls, 147
Index A 281
Card from a Hat, 171 Cut and Restored Rope,
Card on the Wall, 172 85-88
Card That Finds Itself, cut and restored string, 19-22
172-174 Cuts, 100-102
Card Turns Up, 158-159 cuts and shuffles, 100-102,
Cards and Symbols, 271-274 129-134, 151-152
Climbing Ring, 22-24 cuts, false, 107-110
Close-up Tricks, 17-45
coin Dealing Cards, 104—107
card coincidence 65-67, deals, 47-49, 50-53,
colors 274-278, from hand 104-107, 176-178
to hand 200-203, magic Delayed Cut, 151-152
182-207, palming 183-187, dimes, 204-205
productions 198-207, "discovery," card, 148,
vanishes 187-198 152-159, 160
coincidence, coin and card, dish,cup and saucer
65-67 telepathy, 244-247
Coin from Wand, 205-206 Divided Pack, 139-142, 175
Coins and Cards, 65-67 "divider," card, 139
Coins and Colors, 274-278 Double Choice, 160-161
Coin Vanishes, 187-198 Double Coin Production, 207
Color-Changing Thimble, Double Deal, 47-49
227-230 Doubled Thought, 175-176
color-guessing (cards), Double Lift, 123-125
53-56 Double Reverse, 154-155
colors and coins, 274-278 Dovetail or Riffle Shuffle,
Controlling the Card, 135 102-103, false, 110
controls, card, 133-134, 135, Draw Shuffle, 129-134
147, 152-155, 160 Draw Shuffle Control, 133-134
cord elastic, 39, 41 Draw Shuffle Location,
Count-Down Cards, 49-50 132-133
Count-Down Location, drop, false, 191-194, French,
145-146 190-191
Count Off deal, 104-105
Cup, Dish and Saucer, Easy Card Tricks, 46-74
244-247 effect, 13
cup, paper, 76-78, 79-81 Eight Thimble Production,
cup, suction, 79-81 220-227
282 A Index
,
elbow, thimble trick, 211-212 Glide, 115-118

elimination process, 160-161 Glimpse, 121
evens and odds, 141 glimpse, bottom, 122, riffle,
136-137, top, 122, wrist,

Face-Card Fantasy, 237-240, 137-139
alternate routine, 239-240 glimpsing the card, 135
Face Up-Face Down, 56-57 Group Deal, 104-105
False Cuts and Shuffles, 107-
110
False Dovetail Shuffle, 110
hairand card trick, 164
Hair Raiser, 164
False Overhand Shuffle, 110-
handkerchief, 36-42, 89-92,
111
with wand, 97-99
False Single Cut, 107-108
False Three-Heap Cut, 108 Handling the Pack, 141-142
False Triple Cut, 109-110
Hand to Hand, 200-203
hat, 89-92, 92-97, 171, 255-
False Drop, 191-194
Fan Force, 127-129 256
fantasy, with face cards, 237-
Hindu Shuffle, 129-134
hits, 146
240
Farmer and Sheep, 92-97 hokum, 80
Finding a Chosen Card, 135— How to Mystify, 13-16
155
How to Palm a Coin, 183-
187
Finger Bend, 183-184
Finger Switch, 214-216 Hypnotized Match Box (Im-
Flash Force, 131-132
promptu) ,26, (Mechanical)
27-31
Fooled-and Fooled Again,
89-92
force, fan, 127-129, flash, identical choice trick, 60-63,
131-132, single cut, 126- new, 63-65
127 illusion, optical, 45
Four- Ace Deal, 176-178 Improved Matchless Match
Four-Heap Deal, 50-53 Pack 34-36
French Drop, 190-191, in Instant Cut and Restored
multiple coin vanish, 194 String, 19-22
Front and Back Cut Shuffle,
113
Front and Back Shuffle, 104 Joker, turned-up, 149
Index A 283
Just Say "Stop" scenario, 194, with simple finger-
166-167 palm vanish, 195-196
Multiple Cut, 100-101
knee, thimble trick, 211-212 Mystic Book Test, 257-
knife, 79-81 260, repeat, 260-265
Knockout, 159-160 mystify, how to, 13-16
knot, instant, 18-19, slide-
along, 81-85 Name the Number, 268-271
knots, vanishing, 42-44 New Do as I Do, 63-65
Nine Slips, 255-257
Let's Face It!, 53-56 number, naming, 268-271,
locating the card, 135 tapping, 232-234
location, 132-133, 144-145
Odds and Evens, 141
magic show, planning, 279- One out of Three, 76-78
280 optical illusion, 45
Magic with Cards, 101-134 ordinary objects, tricks with,
Magic with Coins, 182-207 75-97
magnet, 79-81 Overhand Cut Shuffle, 112
Magnetized Card, 162-163 Overhand Shuffle, 103, false,
March of Dimes, 204-205 110-112
marked paper cup, 76-78
match box, hypnotized (im- pack, 47, 112, 121, 139, 140,
promptu), 26, mechanical 141, 142, 143
version, 27 Packet Shuffle, 113-115
match box, vanishing, 31-32 pack, match, 33-34, 34-36
match, broken then restored, pack, squaring, 47
36-39, repeat, 39-42 Paired Thoughts, 234-237
Matchless Match Pack, 33- Palming a Card, 125-126
34, improved version, 34- palming, card, 125-126, coin,
36 183-187, thimble thumb
match pack, tumbling, 33-34, palm, 209-210
improved version, 34-36 palm, standard, 185-187, 199
Mental Mysteries, 231-278 palm, thumb, 184-185, 198-
method, 13 199,209-210
misdirection, concept of, 14 paper cups, 76-78, 79-81
Multiple Coin Vanish, 194- paper, sheet and slips, 255-
196, with French Drop, 257, 257-262
284 J/k Index

pass, push away, 150-151, ing, 43-44, jumping, 24,
shuffle, 147-148 magnetized, 23, under a
"patter," 16 cup, 76-78
pencil, 22-23, 24-26, 45 Ring 43-44
Off!,
Planning a Magic Show, 279- Rising Pencil, 24-26
280 rope, cut and restored, 85-88,
pointer cards, 142-143 knotted, 42-43, 81-85,
Pointer Pack, 142-143 ringed 43-44
Predicted Thoughts, 253-255 rubber-cap eraser, 22-26
presentation, 14 Rubbery Pencil, 45
process of elimination, 160— Running Cut, 129-134
161
Production at Knee or Elbow saucer, cup and dish tele-
(thimble), 211-212 pathy, 244-247
productions, double coin, 207, self-finding cards, 172-174
simple coin, 198-206, self-turning cards, 158-159
thimble, 210-211,211-212, Sense of Taste, 262-264
220-227 setup, two-suit, 140-141
PullAway, 111-112 Seventeen Cards, 168-171
Push- Away Pass, 150-151 show, magic, 279-280
Shuffle Pass, 147-148
Quick-Count Trick, 157-158 shuffles, 102-104, 129-134,
false, 110-115
Rapid Knot, 18-19 Silk Through Wand, 97-99
Red Card, 57-60 Simple Card Sleights, 115-
Reds and Blacks, 140 132
Repeat Book Test, 260-262 Simple Coin Productions,
"Repeat" Restoration, 39-42 198-206
repeats, 15 Simple Thimble Vanish, 212-
restored match, 36-39 213
Revealing a Chosen Card, Simple Vanish (coin), 187-
156-181 189
revelations, card, 156-181 single cut, 100, false, 107-108
Reverse Deal, 105-106 Single Cut Force, 126-127
Riffle Glimpse, 136-137 Sleeve Vanish, 196-197
riffle or dovetail shuffle, 102- sleights, card, 115-134
103 Slide, 119-120
ring, climbing, 22-24, escap- Slide-Along Knot, 81-85
Index A 285
Slip, 118-119 thoughts, paired, 234-237,
Spell It Out, 161-162 predicted, 253-255
Spin Vanish, 197-198 thread, 22-26
spotting the card, 135 three-heap cut, false, 108
square knot, vanishing, 42-44 Three Heaps-Three Cards,
squaring the pack, 47 167-168
Stacked Pack Shuffle, 112 Three Vanishing Knots, 42-
Standard Palm, 185-187 43
string, cut and restored, 19- Throw Vanish, 189-190
22,doubled, 21, knotted, thumb palm, coin, 184-185,
42-43, ringed, 42-43 198-199, thimble, 209-210
Suction Cup, 79-81 Top Glimpse, 122
surprise, 15 To Produce a Thimble, 2 10—
Swallow Vanish (thimble), 211
213-214 Top Bottom shuffle, 1 12
to
switch, finger, 214-216 Tricks with Ordinary Objects,
symbols and cards, 271-274 75-99
triple cut, false, 109-110
table knife, 79-81 Turned- Up Joker, 149
Take- A way Vanish (thimble), Turning the Pack, 121
216-218 Turn Over, 165
it
"talk," 16 Turnover, 120-121

Tap Numbers, 232-234
the Turnup Deal, 106-107
264
taste trick, 262, Twist- Away Vanish (thim-
telepathy, cup, dish and ble),218-220
saucer, 244-247, nine slips Two Rows, 264-268
of paper, 255-257, two Two-Suit Setup, 140-141
rows of objects, 264—268, "two-way" discovery, 160
word cards,248-250
Ten Pairs, 241-244 Undercut, 101-102
test, mystical, 257-260, re- "up the sleeve," 14, 196
peat, 260-265 Ups and Downs, 67-71
thimble, color change, 227—
230, production, 210-211, vanishing acts, coin, 187-198,
211-212, 227-230, vanish, knots, 42-44, match box,
212-220 31-33, thimble, 212-220
Thimble Tricks, 208-230 Vanishing Match Box, 31-33
286 A Index
wall, with card, 172 X-ray "vision," 245
wand, 97-99, 205-206
Within the Circle, 250-253 You Can't Get It, 162
Word-Cards, 248-250 You Do As I Do, 60-63
Wrist Glimpse, 137-139
ABOUT THE AUTHOR

Walter B. Gibson is a renowned magician and the
author of many books on magic. A personal friend of
the legendary Harry Houdini, he compiled The
Original Houdini Scrapbook> and has published the
only authorized explanations for many of Houdini's
famous tricks and escapes. Under the pseudonym of
Maxwell Grant, he created the celebrated radio
character, The Shadow, for which he wrote all the
radio scripts. He now lives with his wife in upstate
New York.
Index A 287
Cut a string in two and heal it into one
—
piece right before your friends' eyes!
Watch them gasp as you hypnotize a match
box . pluck a coin from thin air
. . or . . .
predict their thoughts. You'll be amazed at

what you can do once you find the key to
magic's door. Where's that key? It's right
here in this book!
"Junior Magic" shows you over 175 differ-
ent tricks that require no special equipment.
Most can be performed at the drop of a hat.
The more spellbinding need only a few min-
utes' preparation with ordinary objects such
as cups, cards and rings. Step-by-step in-
structions along with countless easy-to-
follow illustrations reveal the deep secrets
behind wonders like
the pencil thai floats in the air
•
• the card that finds itself
• the kerchief that grows from a wand
• the thimbles that change colors
This exciting book also unravels the

methods for many mind-boggling card tricks
performed by professional sleights and
magicians. In addition, you'll learn how to
"control" the minds of your spectators, and
plan a magic show. Let Walter B. Gibson, an
accomplished magician, take you to the dark
realm of magic and show you how simple it
really all is!
<^ ^*
s STERLING
PUBLISHING
NEW YORK
CO., INC. ?Ze** C&.,
London
U4.
& Sydney

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!

EASY-TO -LEARN TRICKS

AMERICA'S DEAN OF MAGIC

PUBLISHING CO., INC. new york

Published 1977 by Sterling Publishing Co., Inc.

Manufactured in the United States of America

ABOUT THIS BOOK

learn how to force a spectator to choose just

The Reverse Deal 105

Card from a Hat 171

From the Thumb Palm .... jgg

This makes the process both simple and en-

looks for something difficult, whereas many

neat or helpful feature that will pass unnoticed

the method, which is known only to the

How to Mystify Jf$ 13

cussed separately, first from the standpoint of

how he goes about it.

presentation is a combination of "effect"

certain points of presentation that apply to all.

Chief of these is:

posing of anything from a thin dime to a fat

14 Jf$ How to Mystify

what is to happen, you can key them up to the

trick, there are many times when you can do

Present each trick in a dramatic manner,

Give special attention to your "patter," or

Close-up Tricks Jf$ 17

THE RAPID KNOT

scissors fashion. At the same time, the first

INSTANT CUT AND RESTORED STRING

effects, yet practically automatic in its working.

the effect: The magician shows a two-

Instant Gut and Restored String Jf$ 19

noticed, will appear to be a crossing of the

even ends forming a loop at just about the

and drop the ends, holding the loop upward.

Instant Gut and Restored String A 21

THE CLIMBING RING

Allow about a foot of thread between, so

the body, the thread will be so loose that

the ring will drop to the bottom of the pencil.

presentation: Fix the thread as described

Climbing Ring Jf$ 23

fingers— and jump!" Here you snap your right

THE RISING PENCIL

the fist. It rises point first and repeats this

finish, the pencil is given for examination:

24 Jf% Close-up Tricks

Push the pencil down into the right fist and

note: worked with a bottle, the pencil

with the fist. Forward and backward motion

THE HYPNOTIZED MATCH BOX

which is secretly pushed up into the box,

in a slow, smooth manner. One or two repeats

THE HYPNOTIZED MATCH BOX

the effect: A box of safety matches is

placed upright on the outstretched fingers of

Hypnotized Match Box ^i 27

Start the tape about A

28 1X1 Close-up Tricks

The forefinger is just above the clip end and,

it into position, and proceed as described.