More Effective Card Tricks

8/12/2019 More Effective Card Tricks

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MORE

EFFECTIVE CARD

TRICKS

- BY -

LOUIS F CHRISTIANER

All rights to manufacture effects herein described

have been reserved.

Published by

E F RYBOLT

Los Angeles

Calif


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COPYRIGHT 9 9

BY

E F

RYBOLT


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T H E C A R D A N D T H E F R A M E

There are a number of card and frame tricks now

in use but the following method has long been a

favorite of mine In effect a card is selected from

the deck and a corner torn from it by the spectator.

This card is then placed on a little stand in plain

view of the audience.

A frame is then brought forward which is

composed of a glass black cardboard and w ooden

backboard. The frame is handed to a member of

the audience who takes it apart and finds it to be

w ithou t preparation and absolutely em pty. T he

frame is then put together and wrapped in a hand-

kerchief and finally held by the spectator who chose

the card and who also holds the corner of same.

The performer then removes the selected card

from the stand and rolling it into a small ball he

wraps it in a handkerchief and gives it to someone

to hold. At comm and of the performer the card

vanishes from the handkerchief and is found in the

frame and the corner is found to fit perfectly.

Some skill and much nerve is required for this

clever effect. In the first place two card s alike are

used. One of these has the upper righ t hand corner

torn off and is placed on the bo ttom of the deck.

The duplicate is on top of the deck.

The frame is absolutely without preparation and

contains the glass black cardboard and backboard.

On the back edge near one corner is a small pellet

of wax. You are now ready to perform the trick.

Force the duplicate card and while the spec tator

is looking at the card bring the other card from the

bottom to the top of the deck. Take the selected

card in your hand and then as an aftertho ught have

one corn er torn off bu t by hold ing the card you

can be sure that the upper right hand corner is torn


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off and also that it will be nearly like the corner

torn from the duplicate card. In tu rn ing to place

the card on the little stand, the top change is made,

placing the duplicate on the stand, but this change

is never noticed, especially as the card is the same.

Bring forward the frame, holding same in the right

hand, first fingernail having scraped off the wax.

The frame is taken by the spectator, during which

the performer places the pellet of wax on the top,

of selected card. T he spectator takes the frame

apart, and hands the backboard to the performer

who places it underneath the cards in his left hand.

The black board is then handed performer, who

places it on top of cards, pressing down slightly so

as to cause the card to adhere to same. The per

former at once takes the frame and glass and shows

it.

A handkerchief is placed over the spectato r s hand

and the frame placed together again, this time the

black board going in place so card will be against

glass. Fram e is then wrapped in handkerchief and

held by the spectator.

The duplicate is then taken from the stand and

folded up small and wrapped in a handkerchief, in

one corner of which is a folded piece of paper to give

the impression that person is really holding the

card. The real card is palmed .

The trick from this point is readily understood.

As before stated, this method I have used for a good

many yea rs and offer it now for the first time. I

have never had the trick detected and have worked

it before many magicians.

T H E C A RD S A N D H A T

The performer introduces a deck of cards and

same is thoroughly shuffled, after which two cards


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are freely selected, noted and returned to the deck.

A large handkerchief is shown to be without prepa-

tion and the deck of cards wrapped up therein . A

derby hat is borrowed and placed mouth down upon

the table. Th e cards in the handkerchief are then

placed on top of the hat. The performer com mands

the selected cards to vanish from the deck and to

appear underneath the hat. U nw rapping the hand-

ker hief the selected cards are seen to have van-

ished, while upon turning over the hat, the cards are

found underneath same.

This very effective flight of selected cards is based

upon a well know n trick, Th e Card Th rou gh the

Handkerch ief. After the deck has been shuffled,

then two cards are freely selected, and after having

been noted, are returned to the deck and brought

to the top of the deck by means of the pass, or any

other method that the performer desires.

The handkerchief is either on a table to the per-

former's left or in the outside coat breast pocket.

I prefer the latter . After the chosen cards have

been brou gh t to the top of the deck, tho: deck is held

in the right hand, face up, or with the two selected

cards nex t to the palm. The large handkerchief

is then laid over the deck, and the thumb and second

finger of the left hand grips the deck through the

handkerchief, a t the sides. Thus the thum b is able

to form a break above the two top (or selected)

cards which are gripped in the palm of the right

hand. The left hand then lifts the deck and hand-

kerchief away, while the right hand, containing the

two selected cards, is brought from under the hand-

ker hief with back to audience so as not to expose

the palmed cards, and takes deck in the palm, this

time, however, the two selected cards are on the out-

side of the handkerchief. The handkerchief is then

folded around the deck, as in the Card Through the


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Handkerchief method, and is finally held by the

ends of the handkerchief, with the selected cards to

the back.

A hat is then borrowed or one that has been used

in a previous experiment, may also be used in this

effect. The performer state s that he will place the

deck in the hat, and at the same time he drops the

deck smartly into the hat, but still retaining the ends

of the handkerchief. This will dislodge the cards

from the back of the handkerchief and will cause

them to drop into the hat. A t once ho changes his

mind and removes the deck from the hat, stating

that it would be better to keep the deck in sight all

the time.

The hat is then turned mouth down on the table.

This is done rather quickly so that the cards will not

fall out of the hat. Th en fold the handkerchief

around the deck and rest same on top of hat. Th e

trick is then accomplished. After hav ing command-

ed the cards to pass from the deck into the hat, re-

move the deck and show that the selected cards are

gone. Then lift up the ha t and the chosen cards

are found thereunder.

This is a really effective trick and if the reader will

try it out with the cards and handkerchief in hand,

it will not seem so complicated as it reads. If de-

sired, the old method of palming the cards in the

ac t of picking up the handkerchief, may be used in-

stead of th at described. A very clear and complete

explanation of this method will be found in Roter-

berg's Card Tricks.

TH E C RD ND TH E P L TE

I

have used the following very effective card trick

for many years in club and parlor entertainments

and have always found that it was favorably re-

ceived.


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A card is chosen and torn into a number of small

pieces. These pieces are wrapped in a piece of paper

napkin then in a borrow ed handkerchief alte r

which a rubber band is wrapped around the bundle

thus formed and the whole thing dropped into a glass

tum bler. After exhibiting a china plate it is rested

on top of the glass. After due interval the plate is

removed show ing the chosen card sticking on the

bottom of same wholly restored with the exception

of one corner which has been retained by the person

who chose the card. Th e handkerchief and paper

napkin are then unwrapped and the pieces of card

found to have vanished.

First of all choose a plate that is as nearly smooth

on the bottom as possible. Some plates have a

ridge around the bottom and one of this description

is unsuitable. Cut a piece of cardboard abo ut a

half inch less in diameter than that of the bottom

of the plate. One side of the cardboard is painted

to match the top of your table while the other side

is covered with glazed paper to match the plate.

After tea ring a corner off a card say the six of

he arts it is stuck face down on the bo ttom of this

cardboard after which the cardboard is placed with

the card side down on the table where owing to

matching the table top it is not noticed. Th en roll

up a piece of a paper napkin into a small ball and

with an elastic band place it in your righ t coat

pocket. Have a dup licate six of hearts on top of

the deck.

Start by forcing the dup licate six of hea rts. Card

is then torn up small and the pieces dropped into a

piece of paper napkin held on your left hand. You

have

during this time obtained the corner torn

from the other card and finger palmed in the right

hand . W he n the pieces are placed on the paper

napkin you pretend to take a corner really the


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palmed corner, and hand to the person who chose

the card, to hold. This person is then told to wrap

the paper and pieces of card into a small ball. While

this is being done, you palm in the right hand, the

duplicate ball from the right coat pocket.

A borrowed handkerchief is then laid over the

left hand, and the ball held by the person is taken

by the thumb and first finger of the right hand and

apparently wrapped in the handkerchief, in reality

the duplicate is substituted and the ball containing

the pieces is palmed . The right hand then goes

into the coat pocket, to get the rubber band, leaving

the palmed ball behind . The band is then placed

around the ball and the whole thing is dropped into

the tumbler.

The plate is now shown and in setting it down on

the table it is placed on the cardboard fake which

adheres to the bottom of the plate owing to a little

wax, which you have previously placed there. Your

excuse for setting the plate down is to move the

table a little closer to the audience. Now pick up

the plate and casually set it on top of the glass.

The trick is now done. All you have to do is to

patter according to your own ideas and finally show

the card on the plate. The card is removed , after

which the plate is placed to one side and at the first

opportunity the cardboard is removed.

The effect may be greatly enhanced if both the

tumbler and the plate are treated with the well-

known ammonia and hydrochloric acid, so when

they are placed together smoke is formed. This

trick was first described by the au thor in the M agic

W and under slightly different conditions.

TH E MYSTIC DD ITION

The performer hands to a spectator to hold, a

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sealed envelope. Next a deck of cards is shuffled

and one chosen by a person, who without looking

at it, places it in his inside coat pocket. Five o ther

members of the audience are then requested to take

a card, after which the performer places the deck

on the table.

The last spectator who chose a card is requested

to call out the num ber of pips on the card. H e says

it is an ace, or one spot on the card. The next spec-

tator has 2, the third 4, and the fourth 3, which

when all added tog ethe r give a total of 10. The

fifth person who chose a card is requested to call

out the suit of the card tha t he holds. H e says it

is a heart. Therefore, add ing the suit to the num-

ber of spots, the resu lt is the ten of he arts . T he

envelope is then torn open, and a small slip of paper

taken out by the person holding same. Up on it is

w ritten ten of he arts . T he first spec tator, who

has the card in his inside coat pocket, removes it

and finds it to be the ten of he ar ts.

One of the most effective tricks that I have ever

used for parlor entertainments, and most simple in

execution. T he reader when he finds that it is all

done by forcing, must not despise the trick for that

reason.

To begin with, the ace of any suit is laid face

down on the table, on top of this a deuce, then a

four and finally a three . The se can be of any su it,

ju st so the total is 10. On top of this is a heart,

making no difference how many spots, just so it is

a heart. Th en on top is the last card, or which will

be the first card selected, is the ten of he art s. T he

cards in this order, are placed in the outside, right

coat pocket. The final bit of prep aration is to write

on a slip of paper, the ten of hea rts , which is

folded up and placed in an envelope and then

se led


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Picking up the deck, the performer goes into the

aud ience , and offers same to be shuffled. W hile

this is being done, the right hand palms the cards

from th e coat pocket. The deck is then received

back in the left hand, and immediately placed in the

right, which adds the palmed cards to the top of the

deck. As an excuse for plac ing the deck from the

left hand to the right, the left hand reaches into the

coat pocket and takes out the sealed envelope which

is given to a spectator sitting close by.

The first card is then brought to the center of the

deck and forced on some gentleman, who is re-

quested to place the card in his coat pocket without

looking at it, and without letting anyone sitting

around him, get a glimpse of it. The five rem ain-

ing cards are forced on different members of the

audience. I vary th e forcing, by first using the

slip. The cards are riffled and a person requested

to say sto p when he or she so desires. The deck

is then separated at this point and in the act of

handing out the lower portion to the person, the top

card of the deck is slipped to this portion and it is

this card that is taken . The next card I force in

the regula r old manner. The third card I force by

making us of Henry Hardin's method, so thor-

ough ly described in Bu rling H ull's Bu lletin of

Late st Sleights. The fourth and fifth cards are

then forced by means of the slip, as used in the sec-

ond card. Th e reader may have some other method

of his own, and if the different cards are forced in

different ways there will never be any doubt in the

minds of the audience, but what the cards were

freely chosen.

All that now remains is to add up the cards as

described, finally having the envelope opened and

lastly, the ten of hearts taken from the spectator's

pocket. T ry this some time in your next parlor

en terta inm ent. It will produce a very good effect.

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T H E F L Y I N G C A R D

This is a very clever and at the same time very

easy trick. It has been used in many club pro-

grams and I have always found that it takes very

well.

A deck of cards is thoroughly shuffled and a card

selected noted and retained by the chooser of same.

An envelope is then shown and sealed after which

it is placed on a small stand resting in plain view

during the entire experiment. Fifteen cards are

then counted from the deck and the person holding

the selected card is requested to place his card

am ong the fifteen and hold them . The envelope is

then held in front of a candle to show that there is

no thin g in it and once more is placed on the little

stand . The performer then comm ands the selected

card to leave the fifteen and to appear in the en-

velope. The fifteen cards are then counted show ing

the selected card to have vanished. The envelope

is then cut open and the selected card is found

therein.

Two duplicate cards are required for the trick.

The y are bo th placed on top of the deck. T he top

one of the two has a minute pellet of wax in the cen-

ter of it. The envelope is w ithou t prep aration . A

small pellet of wax is placed on the lower vest but-

ton. A candle in a candlestick a pair of scissors

and a small stand with a clip on the top complete

the preparation.

To begin the trick the performer advances into

the audience with the deck of cards in his left hand

and the empty envelope in his righ t. The envelope

is given out for inspection sealed and handed back

to the performer who carries it plainly to the table

upon which he places it. The n he lights the candle

and shows the envelope in front of same the reflec-

tion of the light being seen through the envelope.

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The envelope is then placed in left hand on top of

the cards while the candle is placed behind the clip,

or rather alongside of the little stand, and the en-

velope then placed in clip of stand . Bu t it is then

that the card on top of the deck is carried with the

envelope on account of the pellet of wax on same.

The envelope is naturally placed with the card away

from the audience.

Then the performer goes into the audience and

forces the duplicate of the card on some member

of the audience. Fifteen cards are then counted off

and the deck placed on the table. Durin g this time

the performer gets the small pellet of wax from the

vest button and places it in the center of the top

card of the fifteen. These cards are show n after

which a break is made in the center, the card with

wax being brought to the center and the person

allowed to place his card in center of same, but

really on top of the waxed card. Cards are then

squared up and a slight pressure made so as to cause

the selected card to stick to the wax.

The selected card is then commanded to leave

the fifteen and to appear in the envelope. The cards

are then counted and of course the selected card is

gone, on account of being stuck to the wax . The

end of the envelope is then cut open, but just before

taking out the card move the candle behind the

envelope so as to show that the card has arrived.

Then reach into the envelope with the thumb and

first finger, really only the thumb goes into the

envelope while the first finger draws the card from

the back of envelope. The impression created is

that the card was taken right out of the envelope.

Th ose familiar with H enry H ard in's Sa tan 's

M ail will recognize the envelope effect, othe rwise

the effect is original with the author.


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TH E TR VELING C RDS

A spectator thoroughly shuffles a deck of cards

and counts off ten onto the perform er's hand. From

these ten, three are selected, noted and returned to

the pack (of ten ). The performer then shows his

right trouse rs pocket to be em pty. H olding the ten

cards in his outstretched left hand, he commands

one of the selected cards to pass from the left hand

into the trousers pocket, and showing the hand to

be empty, he reaches into the pocket and removes

one of the selected cards. T he pack is at once

counted by a spectator and found to contain only

nine. Th is is repeated with the two remaining

cards, the pack being counted each time to show

that only one card goes at a time.

A little skillful palming is the foundation of this

m ysterious trick. As the deck of cards is handed

out to be shuffled, three cards are palmed from the

top of the deck in the righ t hand . Th e spec tator

then counts ten cards into the left hand and lays

the deck on the table while the performer adds the

three palmed cards to those in the left hand, making

thirteen in all. Now, three cards are selected, noted

and returned to the pack, where they are brought

to the top of the deck or rather the pack, by means

of the pass . (My own particula r method is to have

the cards sighted by just lifting up part of the deck.

This is used a great deal by Leipsig and Merlin, and

is explained in D ow ns' A rt of M ag ic )

As the three selected cards are brought to the top

of the deck, they are palmed and the pack handed

out to be counted once more. W hile this is being

done, the hands go into the trousers pocket in a nat-

ural m anne r and the cards inserted in the top of the

pocket in the right side, the pocket being at once

pulled inside ou t to show th at it is em pty. Of


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course there are still ten cards in the pack which is

held ou tstre tched in the left hand. Riffle th e pack

and command a card to pass from the pack into the

trousers pocket, and at once produce a card from the

pocket. D ur ing this , the little finger of the left hand

is inserted under the top card and in act of handing

out the pack to be counted the top card is quickly

palmed. The pack when counted is found to con-

tain only nine cards.

Receive the pack back in the right hand and at

once transfer it to the left hand, during which the

two top cards are palmed. Th e right hand is in-

serted into the trousers pocket, leaving the palmed

cards there, but at the bottom of the pocket and

separate from the two selected cards already at the

top of the pocket. Riffle the cards and produce a

second card. The performer himself counts the

cards this time and miscounts one, ( M odern

Magic ) showing only eight cards to be left.

For the last time hold the cards outstretched in

the left hand while a spectator holds the w rist. The

right hand is inserted in the pocket and quickly

places the three cards in the top of the pocket and

tu rn s the pocket inside out. A mental note is

made while doing this just whether he has placed

the two cards on top or underneath the remaining

selected card. The cards in the left hand are riffled,

the last selected card is taken from the pocket, and

the spectator holding the wrist at once counts the

cards and finds only seven, thus proving that the

three selected cards have passed into the pocket

one at a time.

After reading the above, it will appear that a

great deal of skill and palming is required, but it is

not as hard as it really seems. And from expe-

rience, I have found that this effect is very convinc-

ing and well worth the trouble.


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TH E FIVE C RDS

The following simple card trick I have often used

and found that it creates quite a mysterious im-

pression. N oth ing absolutely original is claimed

for it, although I have never seen it in print, nor

have I ever seen it performed.

In effect, a deck of cards is shuffled. Five cards

are then dealt onto the table, face down. A specta-

tor is requested to touch one. The performer then

counts fifteen cards from the top of the deck and

has the spectator place the selected card, which has

been noted, among the fifteen. The spectator then

holds the packet tightly between his hands. Th e

performer shows his trousers pocket to be empty,

and then commands the selected card to leave the

spectato r s han ds and to pass into his pocket. The

spectator then counts the cards face up on the table

and finds tha t the selected card has vanished. The

rformer then produces it from his trousers pocket.

As before stated , the method is very simple. Any

five cards and five duplicate cards are required.

Five are arranged in such an order that the per-

former can tell by feeling, what card he has hold of.

The other five are arranged in the same order and

placed in the outside right coat pocket. The deck

of card s is shuffled and while this is bein g done, the

performer palms the five cards from the coat pocket

and places them on top of the deck, when same is

returned to him.

These five cards are then dealt onto the table,

face dow n. Kno wing the order, it makes no differ-

ence to the performer what card is touched, for he

will at once know wha t card it is. The tro use rs

pocket is shown to be empty by placing the cards

therein, in the top of the pocket.

The performer then counts fifteen cards from the

top of the deck, and during this moistens his finger


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and dampens the top card of the fifteen. The se-

lected card is placed among the fifteen bu t on top

of the moistened card so when the spectator holds

them tigh tly together the selected card will adhere

to the damp card and same are dealt as one card

thus giving the impression that the card has van-

ed. If the performer does not use an ivory fin-

ished card he will have to place a small pellet of

wax in the center of the card upon which the se-

lected card is placed.

Knowing the card selected and in just what posi-

tion this card is among the five in the trousers

pocket it is an easy matte r to produce the card

from the pocket.

It is not necessary to use the trousers pocket for

all the cards but the five cards can be distributed

in various pockets. How ever I have used the trick

as described above and have always been well satis-

fied with the reception it received.

THE TOP CARD

H ere is a little card trick with which I have had

considerable success and although simple in effect

and execution is none the less mystifying and

brings into play some well known moves in card

work.

A deck of cards is tho rou gh ly shuffled. A spec-

ta tor no tes a card after w hich the deck is again

shuffled. A ttention is called to the top card which

proves to be other than that noted by the spectator.

The performer then makes a quick downward move

and the selected card appears face up on the top of

the deck.

The only difficult move in the trick is th at of ge t-

ting the card face up on top of the deck. A card

may be forced or chosen as desired and b roug ht

to the top of the deck by means of

the pass or other

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method at control of the performer. I sometimes

use the flesh grip, referred to elsewhere in this

book, and which is explained in D ow ns ' A rt of

M agic. H av ing the selected card on top of the

deck, shuffle the cards and display the two top

cards as one, the spectator naturally saying that the

card exposed, is not his card.

The cards are, during this, resting in the palm of

the left hand. The hand sweeps dow nw ard, the

thum b at the same time pushes the selected (top)

card to the extreme opposite edge of the deck,

where card is gripped between thumb and finger

tips,

and is completely turned over so it will appear

face up on top of deck. At the same time, the

thumb riffles the edge of the deck and card is

shown. Try this move with the cards in the hand

and it will not seem so difficult. There is a little

trick very similar in effect in A rt of M agic, bu t

the method of w ork ing is very different. It is just

one of those quick little effects that take so well.

TH E DOU BLE REVERSE

ll

entertainers who do card tricks, are more or

less familiar with, and have done at some time or

another, the well-known trick of earning a chosen

card to appear, face up, on top of the deck which

has dropped to the floor. For a long time, I have

had a particular method of working this trick, and

have never seen it done quite in this manner.

Two cards are chosen and returned to the deck,

after which they are brought to the top of same by

any method tha t the performer desires. I use the

pass for the first card and the second card I have

glimpsed as explained in D ow ns ' A rt of M agic,

holding the break by the flesh of the third finger,

slipping the card out and palming it to the top of

the deck. The cards are then shuffled w itho ut dis-

turbing the top cards, which are the two selected.

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After the shuffle the deck is finally held in the

left hand while the righ t is seen to be em pty with-

out calling atten tion to the fact. The deck is then

taken in the right hand during which the left thum b

pushes the top card over to the right for about half

an inch. Th e right hand at once raises the deck

into the air and drops it into the lowered left hand.

The top card then turns over by the action of the

air and when the deck strik es the left hand the first

card selected is face up thereon.

Now atten tion is at once called to this ca-d. and

with the little finger of the left hand a break is

formed between the two top cards and the deck

that is between the card that is face up and the

next card which is the second card selected or

rathe r the first selected card the second one having

been palmed on top of this. The little finger of the

left hand thus forms a break at the lower corner just

as if the pass was about to be executed. In pass-

ing the deck to the righ t hand the little finger raises

the two top cards up and the first finger and thumb

of the right hand grasps them and lifts them to

one side but the action is carried on without the

least bit of hesitation and while the right hand is

abou t to be raised into the air. The deck is once

again dropped to the lowered left hand and when

it strikes the hand the second selected card will

be found to be face up the two cards turn ing com-

pletely over in the air. As the first selected card

will be face dow n it app ears as if it had changed

to the second card during the action of dropping

from one hand to the other.

It is difficult to explain this effect clearly but if

followed with cards in hand it should no t be so

hard and it is very effective the redeem ing feature

being that one does not have to stoop to the floor to

gather up the cards as in the old method.


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T H FOUR KINGS

The four k ings are rem oved from l-.he deck and

freely shown from all sides. Th ey are then placed

in the deck in different positions and the deck thor-

oughly shuffled.

Attention is then called to the bottom card of the

deck (the deck being held so the face of the cards

is toward the spectators), and which is found to be

an indifferent card. The performer then merely

passes his hand over the card which is suddenly

changed to one of the kin gs . A mere flip of the

cards is all that is required to change this king

into one of the others, and so on, until all the kings

have been produced.

Absolute mastery of the pass, or the Hermann

pass,

and the fact tha t the cards used are strip -

pers is the secret of this trick, which

will

be recog-

nized as an adaption of Leipzig's Four Ace trick.

After the kings have been inspected, they are re-

turned to the deck, but in different parts, and also

turned around so that the larger end of the kings

will be at the smaller end of the deck, in much the

same manner as strippe rs' 'are always used.

The deck may then be shuffled as much as de-

sired, without disturbing the cards, or rather the

kings.

After calling atten tion to the bo ttom cards

of the deck, the performer merely runs his thumb

over the edge of the deck, and so locates the king

nearest the bo ttom . The little finger is then insert-

ed and the pass made, bringing the king to the bot-

tom. T he Herm ann pass is the best for this change.

Th is pass is thoroughly explained in Ed rnase's E x-

pert at the Card T ab le and in Roterbe rg's Card

Tr ick s. W ith this pass, the color change is per-

fect and cannot be detected.

After the four kings have thus been produced, I

generally follow up with an effect common with the


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aces. I again offer the kings for examination, dur-

ing which three cards are palmed from the top of

the deck. The deck is held out and the kings

placed on top of same. The person is then asked

if

he is

satisfied that

the

kings

are

unprepared,

during which the palmed cards are dropped on top

of the deck.

The four kings are then placed in a row on the

table, but in reality only one king and three indif-

ferent cards. The three cards are then placed on

each supposed king, but the three real kings are

placed on the only king in the row and three indif-

ferent cards, which

are

shown

are

placed

on

th

other cards.

Some spectator is then asked to point to any

two piles. If two are taken, one of which contains

the kings, theother twopiles areplaced to oneside

and the two chosen left on the table. It does not

make any difference which two are chosen, for the

performer arranges so that the pile containing the

kings is still left on the table. This process of

forcing

the

choice

on the

pile

of

kings

is

well known

in fact is very thoroughly explained in Hoffman's

Card Tricks, but is merely used here to follow up

the foregoing effect with the kings. The combina-

tion described above is very effective and I have

used it with very good results in parlor work.

THE OBE DIENT C RD

A card

is

selected, noted

and

returned

to the

deck.

The two red aces are then removed and tossed into

the air only to return to the deck together. The

selected card is then commanded to appear between

the two red aces. Going thro ug h the deck, it is

found that the performer's command has been

obeyed, for the selected card is found between the

two red aces.


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The trick is one that I have performed for some

time and which is a variation of one performed by

Malini, Merlin and other well known card experts.

In their hands, a good deal of manipulation is re-

quired and the average performer does not care to

bother with it.

In the above effect, however, all that is necessary,

is to remove the two red aces, and place them on

top of the deck. On one, a small pellet of wax is

placed. In the act of having the selected card re-

turned to the deck, the pass is made and same is

placed on top of the ace with the pellet of wax, and

by a slight pressure, is made to adhere there . T he

deck is then squared up.

The performer then runs through the deck and

removes the two red aces, one of which has the se-

lected card stuck on the back. T he red aces are

shown and squared together. Th ey are tossed into

the air, and by the usual twist of the wrist, are made

to return, the deck being opened to receive them.

Now, by giving the deck a riffle, the selected card

will be separated from the ace and going through

the deck same is shown.

It is assumed that my readers are well up in card

work, and as the pass, returned card and throw ing

a card has been explained so often, such description

at this time is superfluous.

F A C E U P

This is a card trick for the card table, and is based

upon a trick, Simply Drop them as described by

Dr. R. M. Woodward, some years ago in the

Sphinx.

While sitting at the card table, anyone is allowed

to select a card, note it and replace it in the deck

and the cards are cut. T he performer then deals

the cards out as fast as he can, face down, with the


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exception of the selected card, which appears face

up. As will be seen, the effect is very sim ilar to

Dr. Woodward's, but by reason of the fact that the

performer is sitting down, he is hampered with

doing any sleight of hand.

After the cards are shuffled, the performer notes

the bottom card. Th en anyone cuts the cards and

takes any card from the pack and replaces it on top

of the portion that was originally the top of the

pack. Now , when the cut is made, the bottom card,

which the performer knows, will be on top of the

selected card. The ca rds may then be cut as often

as desired, without danger of disturbing the cards.

In running through the deck, the chosen card is

found and brought to the top, after which the deck

is shuffled, leaving the chosen card third from the

top. In shuffling again a few are accidently

dropped and in putting them back on top of the

deck, the performer notes how m any there are. In

this way, he knows how far down from the top,

the selected card is placed. The cards are then dealt

out, face down, as quickly as possible, the performer

cou nting the cards all the time. W hen he reaches

the selected card, it is given a twist, to turn it face

up, but continues counting out the cards for a short

time after the selected card has been passed. The

idea is to create the impression that you are just

running through the cards, and there must be no

hesitation w hatsoever. This is really a very effec-

tive trick and must not be despised because no new

methods are offered.

T H E F O U R A C E T R I C K

The following version of this fine effect I have

used for some time with good success.

Three duplicate aces are needed, and these should

match the deck used. To begin, the three du plicate


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aces the ace of clubs hearts and diamonds are on

top of the deck. The n three ordinary cards on top

of these. The regula r aces of the deck are near the

bottom . Firs t run throu gh the deck and remove the

aces

and set them face up on the table with the

ace of spades second from th e left. Now place thre e

cards on top of each ace of course the three dupli-

ca tes will fall on the ace of spades. This set is then

forced by any of the well known methods.

Now pick up the first pack of cards after you

have placed the pack containing the ace of spades

to one side and show that there is only one ace and

thre e indifferent cards. T o do this the cards are

held face to the audience between the thu m b and

the first finger with the third and little fingers at

the back of the cards. W he n the cards are fanned

it will be found that the ace will come right on the

little finger and if a slight pre ssu re is exerted on

the ace it will bend out from the othe r cards . Now

this first pack is placed down in the left hand. The

next pack is shown in the same way and the ace

spru ng out as described. Now in the act of placing

this pack on the other the ace is slipped to the bo t-

tom of the other pack and only three cards are placed

on the pack in the hand. This is repeated w ith the

remaining pack. T hu s three aces are on the bottom

of the pack in the left hand instead of being mixed

up as the audience imagine.

There are now twelve cards in the left hand.

These are counted from hand to hand during which

the aces are brough t to the top of the pack. In the

act of coun ting the little finger is slipped between

the ninth and tenth cards allowing the three aces

to be readily palmed and disposed of later. The

trick is then finished and the aces appear together

in the selected pile.


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N IMPROVEM ENT

A very old but at the same time an extremely

effective card trick

is the one

wherein

the

slip

is

used to suddenly cause a card to appear in any

position of the deck.

A card

is

selected

and

brought

to the top of the

deck. The performer then makes a break in the

deck and asks if the top card of the lower half of

deck is the one selected. The card is then tapped

with the top portion of the deck and the top card

of

the

lower portion

is

found

to

have changed

to the

selected card.

The improvement consists in having the selected

card appear face up after tapping same with the

upper part of the deck. Proceed in the usualman-

ner andbringthe cardto the top of thepack. Now

cut

the

cards

and

hold

the

lower half

in the

left

hand

on the

palm with

the

second

and

third fingers

outstretched and hold the upper half in the r ight

hand in the same position as it was when it was

lifted up only with the faceof the card UD .

A spectator

is

then requested

to

look

at the top

card of the lower half and see if it is the selected

card. U pott receiving a negative answer the lower

half

of the

deck

is

tapped suddenly with

the

upper

half and in

this movement

the

fingers

of the

left

hand catchthe top cardof theupper deck andpulls

it to the lower half and at the same time the left

hand makesaturnso thepalm ofhand willbedown.

This movement leaves the selected card face up on

the lower half of the deck. Riffle the cards and

then show

the

selected card.

The

effect

is

very

surprising. Try it.

More Effective Card Tricks

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