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SHOW STOPPERS

WITH CARDS

THE BRAUE DOUBLE LIFT

It is with considerable gratification that this sleight is given the magical fraternity. It is a method of double and triple-lifting which does not require a get-set, which means that the old and unsatisfactory procedures, such as lifting two cards at the inner end with the right thumb, or thumb-counting two cards with the left thumb, are no longer necessary.

In this method the pack is dropped into the left hand; a moment later the right hand lifts two cards as one in an action which is not even faintly suspicious. Because of the ease of this method, its naturalness, and particularly because no get-set is needed, it makes tricks requiring consecutive double-lifts easy to perform.

This, you may think, is build-up; and so it is. For this is the double-lift which, from this time on, will be the standard double-lifting method; we are proud to sponsor it and hope that it makes possible for you a whole new repertoire of tricks which previously you may not have cared to attempt.

1. Hold the pack in your left hand in the mechanics' grip, with the forefinger at the end, the other fingers at the right side, and the thumb flat against the left side. The thumb must retain this position flat against its side since later it will serve to hold the two cards in alignment, the fingers serving the same purpose at the other side.

2. Place the right hand over the pack with the thumb near the inner end and the second finger tip resting on the top card about an inch from the outer end, the outermost phalange of this finger being at right angles to the top of the deck although the hand itself is naturally curved. In this position the extreme tip of the finger, and the nail, rest on the top surface of the deck.

3. Slide the second finger forward until its nail clicks over the front edge of the pack; then immediately draw it backwards and the fingernail will engage the two top cards and draw them backwards so that they project over the inner end.

On the first few attempts three cards (a triple lift) may be drawn back when only two are wanted. After only a little experiment, however, the knack will be got of drawing back two cards only. While individual capacities vary, the knack has

been acquired by a novice cardman in fifteen minutes. It should be noted here that although the sleight can be done with a fingernail of any length, it works best with the nail trimmed to normal masculine shortness.

4. Shift the right fingers backwards and grasp the projecting cards at the inner end between the thumb at the face and all the fingers on the back. Turn the two cards face upwards as one, lengthwise, buckling them somewhat by a downward pressure of the thumb. This holds the two cards closely together.

The two cards may now be shown as one by turning the hand, and then replaced face down on the pack; or

5. Show the two cards, as one, by grasping them at the other end in a frame comprised of the left thumb, at one side, forefinger at the end, and fingers at the right side.

The Turn Down

6. Holding the two cards with the left fingers, shift the right hand grip at the inner end, holding the cards between the right thumb and second finger at the sides near the inner end, with the forefinger pressing down on the face of the card at its center, causing it to buckle downwards.

7. Snap the two cards face downwards by removing the right second finger, the card (s) springing to the left and being then gripped by the right thumb and first finger only. This is a standard snap-over.

By actual timing, from the moment the right hand approaches the pack to the completion of the lift, with the two cards face upwards, only one second elapses. This means that the right second finger glides forward; the nail clicks over the edge of the pack and is instantly drawn back taking the two cards with it. This is not as frantically speedy as it sounds, for a second is a much longer interval of time than is generally realized. The time element is mentioned since there must be no conscious pause after the nail clicks over the outer end of the pack, in which an attempt is made deliberately to determine how many cards will be drawn back. The ability to draw back two, or three cards, as required, comes from a sense of 'feel' which cannot be given in words; you simply know that you have the proper number of cards, and this is confirmed at once when the right fingers grasp the cards at the inner end, for the difference in feel and weight between two and three cards is instantly determinable.

Practice without looking at the pack is recommended, for by refraining from using the sense of sight as a crutch, you will be forced to rely on the sense of touch which is all-important in the sleight.

One point more may be considered: Use of the double-lift when it is desired to thrust the two cards, as one, in the outer end of the pack; or shift it over the side, as in performing the Downs' Change.

Let us say that you are performing the Downs' Change.

Hold the pack face up and perform Steps No. 1 through 3. With the two cards projecting over the inner end, drop your right thumb under them and, lifting the inner end a little, slide the cards forward so that they project beyond the outer end, the right second finger moving outward with the cards.

Grip the two cards at the ends between the right thumb and second finger, lift them as one and place them over the right side of the pack in position for the change.

When it is desired to thrust the two cards into the center of the pack, as is done in some Ambitious Card moves, again perform Steps No. 1 through 3 of the double-lift; then move the two cards forward with the right thumb as given when executing the Downs' Change so that they extend beyond the outer end.

Finally, grip the two cards at the outer end between the right fingers, below on the face, and the thumb, above on the backs. The cards are held firmly in alignment and may be thrust into the pack at a break opened by the left thumb by riffling downward at its side of the pack.

ALLERTON'S AMAZING ACES

Bert Allerton

Bert Allerton should be an object lesson to all young cardmen, for he has proven conclusively that there is no substitute for entertainment which, incidentally, he dispenses with a lavish hand. Mr. Allerton specializes in surprise, piling one surprise atop the last, which builds to cumulative laughter. In his ninth year at the Pump Room in Chicago, he has performed his routine more than 20,000 times; he knows what people want; and he won't use a trick unless it has entertainment value and, preferably, a climax which evokes laughter.

Note how, in this feat, Mr. Allerton does a striking trick giving the impression of great skill and then follows his custom by topping the climax with a surprise which puzzles and amuses the onlookers.

In the trick four chosen cards are shuffled back into the pack. Each is found in turn by cutting, apparently at random. Then but that's the surprise. You'll see in a moment.

1. Prior to presentation, secretly place the four aces at the top of the pack.

2. Fan the deck and ask spectators A, B, C and D each to remove a card, note and remember it.

3. Hold the pack in readiness for an Hindu Shuffle; undercut the lower half and have A's chosen card replaced on top of the other portion, placing it above the four aces.

Make an Hindu Shuffle, returning the aces, with A's card above them, to the top.

4. As you walk to B, holding the pack for an overhand shuffle, draw the first five cards into your left hand, reversing their order, and replace them at the top.

5. Repeat the actions in Step No. 3 with B, bringing his card to the top with the four aces and A's card under it.

As you walk to C, run 4 cards into your left hand, reversing their order, and replace the cards at the top.

6. Repeat Step No. 3 with C's card, then run 3 cards into your left hand reversing their order and replacing them at the top.

7. Finally, repeat Step No. 3 with D's card, bringing it and the stock under it to the top. Again make the reversing run, but this time with only two cards, replacing

them at the top. These short stocking shuffles do not seem, to those watching, other than a further mixing of the cards.

The cards now run, from the top down: Ace, D's card; Ace, C's card; Ace, B's card; Ace, A's card.

8. False shuffle and false cut.

9. Turn to D, announcing, "My trick is this. I'm going to attempt to find your card by cutting to it. Please name it." Make another false cut in the hands. Make a double-lift, showing D's card. "And there it is!" Turn the two cards down as one, drop them on the pack; then take the top card, an ace, and drop it face down to one side.

10. Turn to C. "Next, your card. It's all in the supersensitivity of the fingertips." Make a slip cut; that is, hold the pack with the outer end framed between your left thumb at one side, forefinger at the end, finger tips at the other side pressing down on the top card. Grasp the pack at the inner end between the right thumb at one side and second and third fingers at the other and draw away the top half. The top card, retained by pressure of the left fingers, drops onto the remainder of the pack remaining in the left hand, and the illusion is that a genuine cut has been made when the right hand cards are dropped back on those in your left hand.

More important, D's card at the top has been buried in the pack.

11. Again double lift, showing C's card. Turn the two down as one, remove the top card, an ace, and drop it face down beside the first ace.

12. Repeat the slip rut given in Step No. 10, saying to B: "Your card is a little deeper in the deck." Have him name it, again double lift, showing his card. Turn the two cards down, remove the top card (another ace) and place it face down with the other aces.

13. Finally, slip cut as in Step No. 10 once more, again double lift showing A's card; turn the two cards down on the pack, remove the ace at the top and place it with the other aces.

Your trick seemingly has ended; it is a good trick in its own right and the spectators will voice their appreciation. When they've had their say, comment: "I know this is a little unfairI'm taking advantage of you. But is there anyone here who can name three of those four. cards?"

Usually someone will name the three. "You see, you weren't watching me," you comment.

Flip over the four cards showing the four aces!

Mr. Allerton uses this feat midway in his routine, after he has established himself. It's not an opening trick. The test of any trick is in the doing; we warmly recommend this feat to you, having seen what it can do to an audience in Mr. Allerton's hands.

Those who have been afraid of successive double-lifts will find that the method given in this book will make such tricks as the above completely deceptive.

POCKETHEREAL

Stewart James

Stewart James has one of the most original minds in magic; his tricks always have a clean and crisp originality, both in method and effect. "Pockethereal" is no exception; it is a trick you will like and will use.

Preparation: Any card from deck you are using secretly placed in right trouser pocket. The card should be facing the body.

Presentation: A spectator shuffles the cards and counts off 20 cards.

Have Jones think of any odd number less than 20.

Have Smith think of any even number less than 20.

They do not tell you their numbers and you do not ask them at any time.

Hold the cards face-down in the left hand. Deal them one at a time face-up on the table. Count and have Jones and Smith note and remember the cards at the numbers they are thinking of but without giving any indication as to what they are.

Again take the cards face-down in the left hand.

Reach in the right trouser pocket, palm the card and pull the lining out.

Take the cards in the right hand, adding palmed card to top, and pull out lining of left trouser pocket.

Spectator may satisfy himself that both pockets are really empty.

Once more hold the cards face-down in the left hand. Deal the top card face down and say, "Odd." Deal the next card to right of the first and say, "Even." Continue dealing alternately calling, "Odd," "Even," "Odd," "Even," until you have dealt 6 cards to each pile. You keep track of the number you have dealt but make no mention of it.

Now pause while you explain, "The number Jones thought of was odd so this is his packet on my left. Smith's number was even and as the even cards are being dealt on my right that will be his packet. You will understand, however, that this information is too slight for me to tell where the selected cards are in their respective packets."

Continue dealing until there are 9 cards in the left hand heap. Deal all the remaining cards as 1 on the right hand heap.

Apparently you have divided the cards evenly into two face-down heaps of ten cards each. One actually contains 9 cards and the other 12.

Have someone decide which pocket you will use. We will suppose that the right is selected. Say, "I will place the 10 even cards in that pocket." (Push in the lining as you place the right hand packet therein.) "The 10 odd cards I will hold in my left hand." (You might false count the 9 as 10). "Presto! and I now have only 1, 2, 3, 4, 5, 6, 7, 8 and one makes 9. You may count them yourself if you wish."

Drop that packet face-down on the table. Make sure that your hand is seen to be empty as you reach in the pocket and remove all the cards except the top card of the packet. This was the 20th card in the original group and could not have been selected because of your "less than 20" request.

"Here we have 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and one makes 11. Verify these as well if you wish. What was the odd card you were thinking of? The two of spades? And here it is the extra card among the even ones.

"This time I will place the 9 odd cards in my pocket and retain the 11 cards in my hand. Presto! Now stop me when you see your card."

Execute the Stanley Collins' Four Card Vanish movethe same as is used in the Six Card Repeat (Tucker original) so that the 9th and 10th cards are dealt as one.

Apparently you hold one card less than you did and the thought-of card has not been seen.

Remove the cards from your pocket, again making sure that there is no suspicion of you concealing anything in your hand. Smith names his card and you can show that it is there.

An interesting point is that there is nothing palmed into the pocket at any time.

It is important that the spectators have a clear impression at all times as to which is the odd and which the even packet. If they are handled deliberately, and not juggled near each other, this it not difficult.

10-6-9-4

Bert Fenn Neal Elias

Bert Fenn and Neal Elias have taken a principle originated by Stanley Collins and used by him in his Sympathetic Coincidence(which you will find in "A Conjuring Melange", a book which can be warmly recommended) and have contrived a new presentation which has the 'surprise finish' so desirable in card tricks.

As the onlookers see it, the four aces are shuffled into the pack. Four cards are removed at random and placed face upwards on the table. Using the values of each of these cards, four piles of as many cards are dealt, but with the spectator being allowed to name the sequence in which the piles will be dealt, which reasonably could be expected to annul any set-up in the pack. Despite this, when the four piles are turned over, an ace is at the face of each!

1. Disregarding suits, secretly place a 10, a 6, a 9 and a 4 at the face of the pack, the 10 being the face card with the other cards in any sequence.

2. Explaining that you need the four aces, silently count 13 cards from the face of the pack into your right hand, reversing their order in the count so that the ten is the lowermost card. If you come to an ace, place it on the table but be sure that there are 13 cards in the packet when you drop it face upwards to your left at A.

3. Next remove eight cards, this time without reversing their order, placing them face upwards at B.

4. Remove eight more cards and place them face upwards at C.

5. Place the remainder of the pack face upwards at D. As you are making the four piles, remove each ace as you come to it. The packets of cards which you drop on the table do not seem important since you seem to discard them for convenience in looking for the aces. All you must seem to do is search for, and remove, the aces.

6. "I'm going to scatter the aces through the pack," you state. "I want you to be sure I do this fairly." Pick up packet A (13 cards) and fan it face upwards. Pick up any ace and thrust it into the fan five cards from the top Since it goes to the right of the fourth card of the 10-6-9-4 sequence, its placement is instantaneous.

7. Square A and note the card at its face, say the two of clubs. Pick up packet B (eight cards) and drop it on A, squaring the cards. Make another pressure fan, take a second ace and insert it just to the right of the two of clubs.

8. Square the cards, noting the card now at its face, say the ten of hearts. Place packet C (eight cards) on the cards you hold; make another pressure fan, take a third ace and insert it just to the right of the ten of hearts.

9. Finally, square the cards; note the card now at its facethe four of clubs, say and drop packet D on top of all. Make a pressure fan take the last ace and insert it just to the right of the four of clubs.

In this manner you have placed an ace at 5, 15, 24 and 33 from the top of the pack while apparently inserting them at random.

10. If you can false-shuffle and false-cut, it will help the trick but it is not absolutely necessary. "A shuffle and a cut will further scatter the aces throughout the pack," you comment.

11. Deal the four top cards, which will be the 10-6-9-4 sequence, face upwards on the table. "We'll use whichever cards happen to be at the top of the pack as indicator cards," you explain. It's best to have the four cards laid out in the 10-6-9-4 order, for later when you ask for a choice of a card this setup almost invariably forces the 9 as the first choice, which, as you will see, is the most favorable choice from your point of view. Since the ten is always the first card dealt, you have only to arrange the other three cards while dealing them, or while explaining what will be done next. (The four cards could be set in proper order in Step No. 1, but under working conditions it's bothersome at that point and hence it's better to make the arrangement at this time.)

12. "Here's my trick," you continue. "The four aces have been shuffled into the pack and from now on it will be impossible for me to change their positions. Here's what I'm going to do. For each of these four cards, I'll deal as many cards as their value. For instance, the first card is a ten. That means that I'll deal ten cards, like this".

As if to illustrate, deal ten cards face downwards below the ten spot. The lowermost card of this packet of ten will be an ace.

"However, I'm not going to decide in what order the deal will be made. I want someone to tell me whether to deal six cards, then nine cards, and finally four cards; or four cards, then six cards, and finally nine or whatever combination he may wish. There are six possible combinations and clearly I couldn't know in advance which combination will be selected."

13. An ace is now at the top of the pack; another is the 10th card and the third is the 19th card. Have someone tell you in what order you should deal the three packets. When it is named deal the packets with the following in mind:

a. The First Number Named:

No matter if it is the 9, 6 or 4, this pile is always dealt so that the order of the cards is reversed, the first card dealt (the ace) becoming the bottom card of the packet.

b. The Second Number Named:

1. If the 9 was the first number named, deal the second number reversing the order of the cards in doing so, which will place an ace at the bottom of the pile.

2. But if the 4 or 6 was named first, and the 9 is named second, remove as many cards as the value of the number not yet chosen without reversing their order.

That is, if the 4 is named first, the 9 second, remove 6 cards (the number not yet named) without reversing the order of the cards. Pause, hesitate, and drop these cards below the indicator nine-spot, saying, "Yes, that's right you took the nine." Then remove as many more cards (three) as may be required to place 9 cards below the 9 spot, dropping them on the first 6 cards. An ace will then be at the bottom of this packet.

The same thing applies if the 6 is named first, the 9 second.

3. If the 4 and 6 are named first and second, whichever is named second is counted off without reversing the order of the cards, placing an ace at the bottom of the packet.

c. The Third Number Named:

No matter if this is the 4, 6 or 9, this pile is always counted off without reversing the order of the cards.

All this seems infernally complicated but a trial with the cards in hand will show that it is extremely simple. By recalling that one ace is at the top of the pack, the next is the 10th card, the third the 19th card, what must be done for each of the combinations comes instantly to mind. Once you have gone through the routine a time or two you'll have no trouble with the deals.

14. All that remains is to recapitulate: "Four aces were shuffled into the pack. Four numbers were taken at random and I've dealt four piles of as many cards as the values of these numbers. You'll agree that even if I could somehow have controlled the aces, I could not know in advance how you would ask me to deal the cards. For this reason, if by your choice of numbers you've caused me to deal the four aces, it would be pretty surprising, wouldn't it? Wellthat's just what you've done!"

Turn each of the four packets, showing an ace at the bottom of each.

NAIL CUTTING

Fred Braue

It's been said many times that if you want to hide a good trick, you should put it in print. Luis Zingone's "A Cutting Discovery", p. 114, Expert Card Technique, is a 'stopper' and it's hard to understand why it is so little used. One reason may be that the thumbnail cut requires a table; done in the hands, the rather awkward positioning of the hands, plus the palpable digging with the thumbnail, arouses suspicion.

The following method of nailcutting is natural, certain, and fast:

1. Hold the pack in your left hand in the mechanics' grip; that is, as for dealing but with the forefinger at the outer end. Place the right hand over the pack, the thumb at the inner end, the second finger resting at the extreme outer end. In this position, the nail of the right second finger is just over the edge of the pack.

2. By pressing down with the second finger tip, a number of cards be engaged by the nail and lifted off the pack. Seven, eight, nine or ten cards may thus be cut away, depending on the length of the fingernail. With very little experience, repeated cuts may be made in this manner with the same number of cards being cut away each time.

This is the method as it was first conceived. To this, Bert Allerton made a first-rate contribution: After engaging the cards with the fingernail, slide them inwards so that the packet projects over the inner end. Shift the fingers back and lift away the packet by grasping it at the inner end between the right thumb at the face and the fingers at the back of the cards. This gives the nailcut an air of carelessness which is completely disarming.

NAILCUTTING THE ACES

This feat, which depends upon the nailcutting principle just described, has the four aces clearly placed in different parts of the pack, after which the cards are shuffled and cut. It is then cut four times each time to an ace!

1. Remove the four aces, placing them face up on the table.

2. Nailcut four packets of cards from the pack, dropping them face up before you. Remember the face cards by value only 2 - 7 - 4 - K, for instance.

3. Pick up an ace, drop it on the pack, then pick up the K packet and drop it on the ace. Let it be clear that the ace is actually buried in the pack. Repeat this with the remaining three aces and packets, taking the latter in order, 4-7-2.

4. Turn the pack face upwards, ribbon-spread it and show the aces in different parts of the pack. Gather the cards, false-shuffle and false-cut.

5. Nailcut a packet from the top. Glance at its face card. If it is the ace, drop the packet face up before you, showing the ace. If, however, it is the two-spot of your sequence (Step No. 2) you know that the ace is at the top of those remaining in your left hand. Flip it over and show it.

6. Repeat this procedure for the remaining three aces. There is nothing difficult about this method of nailcutting. You can be off, at the most, one card, and by noting the key card of your sequence you know at once when you have cut one card too high.

If, when first using the trick, you cut two cards away from the ace, replace the cut packet, false-shuffle and cut again. However, with fifteen minutes' practice you should cut the same number of cards nine times out of ten.

DUNBURY DELUSION

(Braue Handling)

This trick by Charles Miller, the brilliant Westcoaster, first appeared in Expert Card Technique. It is one of the very best tricks which can be done for close-up work. The following routine, which was devised shortly after publication of the book, is a faster, easier handling which brings the trick within the range of all cardworkers.

The plot of the trick is simple: The performer shows three cards, one of which he has promised would be a chosen card. Although everyone sees that one of them is the chosen card, the magician, apparently in trouble, removes a fourth card from the pack, claiming that it is the chosen card. And it is! When those present dive for the first three cards, one of which they are positive is the chosen card, they find three indifferent cards only.

1. Have a chosen card shown to everyone present; this is important if everyone is to enjoy the trick. Have the card returned to the pack and control it to the top.

2. Hold the pack in the left hand as for dealing and cover it with the right hand, the fingers at one end, the thumb at the other. Riffle upwards against the inner end, letting three cards slip off the thumb at the bottom of the pack. Hold a break above these by pressing the left little finger against them as the right hand shifts its grip so that the thumb will hold the break.

3. Remove the left hand from the pack and place the thumb over the pack and through the arch formed by the right hand. Sweep away the upper half of the pack to the left, taking the cards in your left hand. The uppermost of these is the chosen card.

4. Say: "I'll give myself three chances at finding your card. Please don't tell me which of the three is the correct card let me tell you." This is necessary to forestall any comment when, in a moment, you show the chosen card. Push the top card of the left hand pocket off to the right and, using the packet retained by the right hand as a lever, flip the card face upwards on its packet. Everyone sees that it is the chosen card but you say, "It might be this card." Turn the card face down on its packet by flipping it over with the right hand packet, but as the card falls face downwards drop the bottom three cards held by the right thumb. These fall squarely on the chosen card, placing it four deep.

5. Thumb off the top card of the left hand packet, which everyone thinks is the chosen card, and place it face downwards on the table. "Or it may be this card." Lever over the card now at the top of the left hand packet, showing an indifferent card. This seems to offer proof that you have placed the chosen card on the table.

Flip it face downwards in the same way as before, saying, "I'll place it with the first card."

6. Thumb this card off laying it face down beside the first card.

7. Flip over the card now at the top of the left hand packet exactly as before, showing an indifferent card; lever it over face downwards, thumb it off its packet placing it besides the other two. "Or this may be your card... ah, I think I've done something wrong. Never mind, I'll start all over again. Here, I'll riffle through the pack; you tell me when to stop and I'll find your card at that point."

8. As you say this, place the cards in the left hand on top of those in the right, which brings the spectator's card to the top of the pack. At this point the onlookers are not paying any particular attention to what you do with the pack, for they know that the spectator's card is on the table; hence, you should finish the trick quickly. Hold the pack in the left hand, riffle down and when the command to stop comes, backslip the chosen card to the top of the lower packet in the usual way.

9. Discard the cards in the right hand, take the spectator's card from the top of those in the left hand, saying, "This is your card." Don't show its face but wait for someone to say, "No, it isn't. You put the card on the table." If someone does not oblige, or turn over the card which should be the spectator's card, you then slowly turn the card you hold, showing that it is the correct card.

Almost invariably, someone will turn over the card in the row of three believed to be the spectator's card. This is the signal for general rejoicing as those present see it is an indifferent card.

We repeat, of all closeup card tricks, this is one of the very best.

FAN FALSE COUNT

(Braue)

This is one of the most useful moves to appear in recent years. With it, you display a fan of, say, four cards so neatly and cleanly that none in your audience suspects that you actually hold five, six, seven or eight cards, as may be required by the trick in hand.

Let us say that you wish to show seven cards as five:

1. Hold the packet of seven cards face upwards in your left hand as for the glide.

Fig. 1 Fig. 2

2. Remove the lowermost card with the right fingers and thumb exactly as you would in using the glide, holding it between the right first and second fingers, below, and thumb, above.

3. Return the right hand to take the card now lowermost in the packet, letting the card it already holds rest above the packet and against the side of the left forefinger, holding it there momentarily by a light pressure of the right thumb.

Simultaneously, slide the right first and second fingers under the packet and press up against the lowermost card, drawing it away under the first card, which overlaps it (Fig. 1), the two cards then being pinched in a fan between the right thumb, above, and fingers, below.

4. Repeat this with a third card, Fig. 2, taking it under the first two, which overlap it, and holding the three cards in a fan between the right thumb, above, and fingers, below.

5. When the right hand moves to take a fourth card, in the same way, glide back the lowermost card with the left second finger and take away all the cards above the glided card, as one. Press the left forefinger and thumb against the opposite sides as the cards are drawn away, thus placing the edges in perfect alignment. You now hold a fan of four cards between the right forefinger and thumb, the other fingers being free. Press up against the back of the three cards just placed as one in the fan with the right fourth finger, which will press them neatly together.

6. Place the card remaining in the left hand at the top of the fan, or the bottom, as may be needed for whatever trick you are doing.

TRIPLE DO

Fred Braue

You place three cards face down on the table. A spectator places any three cards from another pack face up beside them. Your cards are shown and they are the same as those of the spectator!

You and the spectator each have a pack.

1. Have him spread his pack face upwards on the table. Count down to the card ninth from the top of his pack and remember it. Let's say it is the jack of spades.

2. Take your pack, face towards yourself, and shift a few cards from the bottom to the top. Glance at the spectator thoughtfully, saying: "I want to find the right card for you." Take a few cards from the face of the pack and openly slip one to the top, replacing the remainder on the pack. Take off still more cards, slip one to the face of the packet you hold, and replace all on the pack. All this is psychological conditioning to prepare the spectators for a similar procedure in Step No. 6. Finally, take your jack of spades (the card 9th from the top of his pack) and place it face down on the table. Call it Card A.

3. Repeat the procedure in Step No. 2, but this time take any card (Card B) and place it to the right of Card A, also face down.

4. Point to your card A, saying, "I want you to look over your cards. When you see one that you think is the same as this card, give it to me." He chooses a card at random and you drop it face up on top of your card A. In the unlikely chance that he takes one of his first eight cards, have him shift his bottom card to the top 'to balance your deck'. Should he take the ninth card, stop right there the cards match!

Similarly, have him place one of his cards face up on your card B. Let's say that his card A is the six of diamonds, his card B is the king of clubs.

5. Ask the spectator to name any number between 10 and 20 and when he does, have him pick up his pack, turn it face down and deal that many cards face down. This will reverse their order. Explaining that numerologists achieve their results by reducing figures to units, have him add the two digits of his number to arrive at a single unit. Viz, if 18, he will add the one and the eight to arrive at nine. Next have him discard this number of cards from the top of his dealt packet of 18 and remove the next card.

6. As he is following instructions, run through your pack until you find his card A. Cut it to the bottom. Next find his card B and cut away all the cards above it, placing them face down on the table. You now hold a packet at the top of which is

his card B, with his card A at the bottom. Transfer his card A openly to the top, then drop the packet on the other packet on the table. Pick up the entire pack. His card A is now at the top, with card B directly under it.

You will find you have done this before he has completed the deal in Step No. 5.

7. Take your two top cards (his A and B) as one card and place them face down on pair B on the table; pick up all and place on pair A, then hold all in your left hand.

8. Take the card which the spectator has arrived at in Step No. 5 and drop it face up on those you hold in your left hand.

9. Transfer the packet to your right hand, holding it from above between the fingers and thumb at the ends. Recapitulate what has been done. "I placed three cards on the table before you chose any single card." (This is not true; you had only two cards on the table before he selected any cards.) "Mine are the face-down cards, yours are the face-up cards. Is that right?"

He agrees. As if to illustrate, slide the bottom card of those you hold into your left hand by drawing it out with the fingers. It is one of your face-down cards. Next slide out the face-up card now at the bottom of the packet and drop it on the table. "My card. Your card."

Slide out the card now at the bottom of the packet, letting it drop face down on the card already in your left hand, then slide out the spectator's face-up card now at the bottom onto the table, to the right of his other card.

Place the cards remaining in your right hand on those in your left hand, thumb off the face-up card at the top and drop it to the left of the two already there.

"These are the cards which you chose of your own volition, are they not?" He agrees.

10. Turn your cards face upwards, holding them in your left hand in position for the Fan False Count. Make the count in this manner:

Take the bottom card in your right hand.

Glide back the card now at the bottom and take the two cards above it as one in the right hand in a fan.

Place the single card remaining in your left hand upon the two already held by the right hand, making a neat fan of three cards.

11. Show that the three cards you hold are the same as the spectator's three cards.

THE HOMING CARD

(Braue)

There are very few 'sight' cards tricks for use in club and lodge work which are genuinely amusing, such as The Six Repeat and The Fantastic Fan (Miracle Methods No. 4). The following is a genuinely new card trick with a new plot that of a card which is repeatedly discarded from a fan of cards, and as repeatedly returns to the fan. Given an amusing presentation, it is almost as good an audience trick as Six Repeat.

Place a red nine of hearts at the face of your pack and upon it place five black spot cards.

1. Hold the pack face upwards in your left hand; insert the left little finger tip under the two top cards, and count off two cards as one (using A False Count, Expert Card Technique, page 415) and upon these count the other four black cards. At the end of the count you hold six cards, the uppermost of which is the red nine, although the audience thinks you hold only five cards. Discard the rest of the pack.

2. Transfer the six cards to your left hand holding them in readiness for the Fan False Count. Make the count face-up, taking two cards as one on the count of four, and place the black card then remaining in your left hand at the face of the fan. You hold a fan of four black cards and one red card, which is the lowermost card of the fan and behind which is concealed a black card.

3. Turn the fan face downwards with the right hand and take it, without altering the position of the cards, between the left thumb, above, and fingers, below. Lift the fan face outwards, showing the cards to the audience and say, "A perplexing problem with five pasteboards four black and one red." Lower the fan to a horizontal position and take the right hand card (s) at the right side between the right fingers, below, and thumb, above. Lift this card (s), showing the red card which has a black card concealed behind it. Replace the card (s) on the fan, sliding them under the left thumb into position.

4. "This trick was shown to me by my uncle many years ago and . . . let me see . . . oh, yes, he took the red card and discarded it." Square the fan in your left hand, push off the top card slowly and cleanly, taking it at the ends with the right hand, and toss it face down on a table (or if working fairly close-up, hold it parallel to the floor and drop it; it will settle to the floor without turning over and exposing its face.)

5. "Now let me see. He had four black cards left." Hold the packet face downwards in your left hand in readiness for the Fan False Count. Remove the two lowermost cards with the right hand, glide on the count of three removing

two cards as one, and slide the last black card lowermost in the fan. That is, holding the fan with its back towards yourself, you will show a fan comprised of, from left to right, a black card, a second black card behind which the red nine is concealed; a third black card and a fourth black card. Lift the fan in your right hand and show that you hold four black cards. By logic, the audience concludes that you did actually discard the red card.

6. "No, I'm doing it wrong. Let me see... He had three black cards". Take the cards face down in your left hand in position for the Fan False Count. Make the count, gliding back on the count of three and taking two cards as one. Lift the three cards held fanned in the right hand, showing that they are black cards. Hold the left hand, with the red card face down on the palm, well away from the body. "He had three black cards, and a red card." Drop the left thumb under the red nine, turning it face upwards and showing the red nine.

7. Place the red card at the top, or right end. of the fan as you hold it with the faces of the cards toward the audience. You will hold in the fan, from left to right (and bottom to top) two black cards held as one, a black card, a black card and the red card.

8. "And he threw the red card away." Take the cards squared in the left hand, face downwards, in position for the Fan False Count. "One, two, three black cards." On the count of three, glide back the lowermost card and take the two above it as one in the fan; lift the fan in the right hand faces towards the audience showing that you hold three black cards. Discard the card remaining face down in the left hand; it is a black card but the audience thinks it the red nine.

9. "Now wait a minute. I think I'm doing this wrong. Let me see." Take the fan face downwards in the left hand, squared and in readiness for the Fan False Count. "He had one, two black cards." Make the False Count, gliding back on the count of two, taking two cards as one. Lift the right hand with the fan of two cards, showing them to be black. Move the left hand, which holds the red nine face downwards, well away to the left. Flip the card face upwards showing the red nine. "And the red nine!"

10. Place the red nine at the right (or top) end of the fan in the right hand, as before. "Something's gone wrong. I'll try it again. He had one, two black cards." Take the squared cards face down in the left hand, make the False Count, gliding back on the count of two and taking the two cards above the glided cards as one. Lift the right hand showing that it holds two black cards. "And he discarded the red card." Discard the black card which remains face down in the left hand, but which logically should be the red card.

11. Transfer the three cards to the left hand in readiness for the False Count, but this time in making it glide back the lowermost of the three and take away, in the right hand, the two cards above it, as one. The lowermost of these is the red nine. Hold these two cards with the face of the red card away from the audience. "Now

let me see. He had a black card." Lever over the card in the left hand, which the audience expects to be the red card, showing that it is actually black. Pause a moment, then say dryly, "And a red card." Turn the card (s) you hold in your right hand face outwards, showing the red nine. At this point there will be another laugh, for you have given a twist to the anticipated discovery of the red card.

12. The right hand holds two cards as one; the face card of the two is the. red nine and concealed behind it is a black card. Place the black card held by the left hand in front of those held in the right hand. "I'll have to start again. My uncle had two cards, one red and one black." Square the cards, taking them in the left hand at opposite sides between the tips of the fingers and thumb, the backs of the cards to the audience. Remove the top card, a black card, and discard it, saying, "He discarded the red card."

13. Take the remaining card (s) in your right hand, face outwards, showing that it is black. Transfer it to your left hand, holding it face outwards between the left thumb, at the face, and fingertips, at the back. "Now this is the trick I'm trying to show you. He had one black card. He placed his right hand over it". Place your right hand over the two cards and under its cover push the rear (red) card down with the left fingers so that it can be palmed in the right hand. Immediately shift the black card in your left hand so that it is held between the fingertips at one side, the thumb tip at the other. Bring your right hand up to the black card, depositing the red card on it a la color change. "and the card changed into the red nine." Bow slightly, to show the trick is ended and applause is in order, saying, "Wouldn't that be a wonderful trick, if I could do it?"

THE GREAT TRUNK TRICK

(Bob Madison)

This trick was a favorite with the late Bob Madison, Mayor of Santa Rosa, California, who explained that it was a miniature illusion.

1. "Imagine that the magician is on stage, flanked on either side by two lovely girl assistants." Drop the two red queens face upwards on the table. "Let's choose a card to act as the magician." Ribbon-spread the cards and have any one removed.

2. Hold the pack in the left hand in position for the thumb count and riffle down to the middle. Pick up one of the queens and insert it at the outer end so that three-fourths of the card projects from the pack. "Here's an assistant at stage right." Pick up the chosen card and as you do so let one card riffle off your thumb. "Here is the performer, about to perform his miraculous, death-defying escape act." Insert the chosen card in the break at the outer end, flush with the projecting queen. Reach for the second red queen and let another card slip off your thumb. Insert the queen at this point, saying, "And the other lovely assistant, standing at stage left."

3. "The most spectacular act in all the annals of the theatre!" With your left side forward, hold the pack face outwards in the left hand, the lower end gripped between the middle phalanges of the first and second fingers and the crotch of the thumb. The back of the left hand screens the lower end of the pack. Push the three projecting cards flush into the pack which, plunger-fashion, pushes two cards from the lower end which are concealed by the back of the left hand. "The great trunk escape!"

4. "Naturally, a screen is drawn around the performer and his assistants so you can't see how it's done." Remove a handkerchief from your right hip pocket and drape it over your left arm, from the elbow to the hand, where it is clipped between the first and second fingers.

Grasp the sides of the pack from behind with the right fingers and thumb, leaving the little finger free to press upwards against the lower end of the two concealed projecting cards. Push these plunger cards upwards forcing the 'magician' card from the upper end of the pack. "A blare of trumpets and the magician makes his escape before your very eyes!"

5. As you say this, and while all eyes are on the risen card, slide your right hand under your coat and take a jigger of liquid from your lower left vest pocket, this being concealed by the drape of the handkerchief. Move your right hand and the jigger straight outwards, taking the handkerchief with it; then move all to the right, saying, "Is a good trick worth a drink? I think it is!" Whip the handkerchief away with the left hand, revealing the jigger of liquid at your right fingertips!

THE BRAUE DOUBLE LIFTThe Turn Down

ALLERTON'S AMAZING ACESPOCKETHEREAL10-6-9-4NAIL CUTTINGNAILCUTTING THE ACESDUNBURY DELUSIONFAN FALSE COUNTTRIPLE DOTHE HOMING CARDTHE GREAT TRUNK TRICK