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Jfferlin 's Master Manipulations Jack Merlin
Section One of "and a Pack of Cards"
Cherished Secrets of a Master Maripulator, MERLIN!S MASTER ZAJvIPUI ' .. •.;:. Section One. "and a Pack of Cards." Third Revised Edition* By JACK MERLIN. Edited by A* W. C. Brurafield, Foreword by Charles J. Maly Published 1928. By THE WELWORTH COMPANY. 756 West Pratt Street. Indianapolis Indiana. U, 3. A. Cherished Secrets of a Master Manipulator*
5"c~ c T
COPYRIGHT
1937, 1928
THE WELWORTH COMPANY
FOREWORD. JACK MERLIN. The very name instantly recalls to our minds the unca.nny obedience of the little cardboards to his will and the subtle agility of his fingers. Undoubtedly, he is the master supreme of the pasteboards, and a student of psychology. To have witnessed a card demonstration by Merlin is an event not easily to be forgotten. In his hands, the old card tricks and sleights of yesterday with added Merlinesque touch become the classical masterpieces of today. In the pages of this manuscript '' a has unselfishly revealed, in detail, all the sleights, subterfuges, and clever tricks that have emanated from his own fertile brain; sleights and tricks that have made him stand out above all other card workers as the greatest of this century. He has omitted nothing. It was with the thought in mind of "magic first" that he finally agreed to divulge his cherished secrets to his brother magicians, with the hope that they might play some small part in elevating the art of manipulation. For the newest beginner, or the most seasoned professional, this work will thoroughly and completely furnish sufficient material, with a reasonable amount of practice, to bring yery gratifying results. To me a card worker myself, these pages will be priceless as I can well judge—for I have been privileged ."'to read the advance proofs. CHARLES J. ivIALY.
THEORY. As previous volumes have covered to a great extent, in preliminary chapters, subjects such as Stage Deportment, Dress, Patter, Theory ate., I will merely touch these subjects briefly. Dress according to the times, without exaggeration. Make your stage presence natural. Just be yourself* Patter is sadly missing from this volume; "therels a reason." Patter that is suitable to one personality is hopelessly unsuitable to another; however, if comedy is your goal, create it by natural situations, ^uns become very tiresome. The theorv of magic has been admirably covered in "Our Magic" (Maskelyne & D evant) by Mr. Maskelyne. Many may dis-. agree with the abstract principles he propounds, but eventually in the hard school of experience, the truths of feds theory, like chickens, will come home to roost. So much for the preliminaries, now for the main bout, PRACTICE. Many conjurors merely practice against time; by that, I mean they are "clockwatchers" and often they boast of their hours of practice. Practice to me is something I cannot resist. 1 practice because I enjoy it. When I force myself to practice, I accomplish nothing. Take a sleight and dissect it, that is, take each p&ase of the move and start accomplishing the sleight by as little movement as is absolutely necessary, seeking a plausible explanation to cover it. Do not practice in front of a mirror, but at different stages in the accomplishment of a sleight, try it before a mirror and make cor-r rections. Practicing before a mirror is responsible, I think, for the bad habit some manipulators have of closing the eyes at the psychological moment of accomplishing the sleight. When that moment arrives, let the eyes rest anywhere but on the hands and keep them open, donft wink. Do not grip the pack as though, your life depends on iti- -tHold the cards moderately loose. This eliminates noise. Avoid swinging the arms in an arc to cover a move. Even though familiar with a* move, always practice it as it is applicable to each trick before attempting in public* In regard to effects, always remember that an audience wish to be entertained so never ask them to think or remember to any great extent. What I wish to convey is: do not confuse the audience.by asking them to remember several cards or jnumbers or the positions of several cards. Make your effects direct.
It is essential that you intersperse your tricks depending on purely sleight of hand with effects gained by mechanical or mathematical procedure. This enchances your program and very often the audience give you credit for skill that you do not possess. There are two old rules, in conjuring, First: Never tell what you are going to do before you do it, and Second: Never do the same tricks twice during the same performance. I disagree. I believe in telling what you are going to do. Do it and then add a surprise for good measure. Most of my best effects t find are due to repetition with slight variations. Of course, in some tricks this is impossible aneb not advisable. I have found it beneficial in stage work to eliminate many of the red cards from the pack* This helps as the black cards are more in evidence and they show better from a distance* However, if any of a committee notice their absence and call my attention to the fact, I am prepared, for previously I have placed the separated red cards conveniently in one of my pockets ard I- produce them from the pocket of the member of the committee who complains, remarking something to the effect that he had removed them himself. Then I add them to the pack, and proceed as usual. PASSES. • Methods of bringing a selected card to the top or bottom of a pack are perhaps the basis of all card tricks, hence, a short review is necessary. The Charlier or one hand pass is impossible as there is no way to rny knowledge to cover without excessive movement, which is at all times to be avoided. The two handed or gamblers pass is useful but is perhaps the hardest of all passes to perfect, that is, to accomplish neatly without the fatal arc movements used by most manipulators as a cover. The Hermann pass is natural, easy to cover and .easy to acquire. I have varied the procedure and thei following cowers perfectly and yet at the same time gives a plausible reason for the movement. Improved Hermann* : Cut the pack for return of selected cards, holding the lower portion in the left hand and the upper portion being in the right hand held lengthwise between the first finger and the "base of the thutnb. Return the top portion inserting the little fingerr of the left hand at the break, nhen ready to pass, place the right hand in the original position on the top portion, slightly raise and Imsert the second and third finger in the break, the fourth and first finger below the pack, lift this portion outward to the right under cover of the right hand.
You will note that the upper portion is now held between the thumb and first finger of the left hand which at the same time is holding the lower portion in a semi inverted position extended under the right hand. Simply close the left hand turning it over at the same time releasing trhe hold-of the right and remark, "First, I want you to note on the bottom of the pack I have an ace of clubs and that is the secret, etc." The action of turning the hand covers the pass and the remark concerning the bottom card gives a plausible reason for the doing so. Now a word concerning the spectator. I Lave found that in describing an "impossible" feat the specta-tor invariably says the pack was shuffled. To him it appears that is conclusive. Now as the spect a t o r ^ view is our ultimate goal, I suggest &nd often use the haymow shuffle in connection with the outjog (Erdnase.) The haymow shuffle being the old fashioned method of shuffling with an up and down movement of the left hand depositing the cards held in that hand from top one or more at a time, Outjog Pass. Hold the cards for haymow shuffle, -after running a few into the right hand invite the spectator to return selected card to top of portion held in the right hand, outjog the next card deposited by the left hand, and continue shuffling until there are but a few cards in the left hand. During the up and down movement of shuffling pick up the portion back of the outjog between the base of the thumb and the third finger of the left hand back of the cards already held in the left hand. Make a break with thumb of the left hand and continue shuffling till you come to the break and drop separated portion intact on top. Select&d card is now on top and from appearances the pack has been shuffled thru but once. This sleight is very useful in many effects and is used a great deal by gamblers. Side Slide Palm and Flesh Grip. The side slide in conjunction with the flesh grip, I consider the acme of perfect contrel both as a pass and change. It is the most difficult to acquire and doubly so"to finish, Hold the pack naturally as for dealing from the left hand. Extend the hand inviting spectator to peep at a card by raising the index corner. As he releases, make a break below the chosen card with the flesh of the first finger of the left hand. Pvaise the top portion slightly between .ttae first finger and the thumb of the right hand, the first finger at the far end, the thumb at the rear end: both near the fight upper and right lower corners So as to allow the palm to extend to the right of the pack. Insert the tip of the second finger of the left hand and with a, straightening move outward to the right push the selected card into "the palm of the right hand. A movement as if to square the pack deposits selected card on top or immediately hand pack to be shuffled, ret-aining card in the palm, i-any may find it is more convenient to use first, second and third finger in sliding card into palm, but I find i "t created too much movement.
THE PASS AS A TRICK. The following being a routine I use as a variation of moves to fool those familiar with passes: Top Turnover,,. Hold pack in left hand. Reverse top card of pack by pushing top card with thumfe of left hand so it protrudes sidewise from pack to the right, now strike the protruding edge with an upward movement of the thumb of the right hand keeping fingers together and palm downward (this is important to the moves that follow,) Repeat turning top card, finally leaving it face up on pack, call attention to^bottom card. Have spectator peep at index, use the flesh grip, slide the selected card to the right palm, immediately turn the reversed top card as before, dropping selected card from right palm on top as you execute movement. Have spectator name card and show on top* Pass Using Second Dealing, . Show top card, take second card and insert in pack. Take second and show the card is not on the top. Place this card on top and again take second, showing card which you apparently placed in center* Snap Pass* "Many of you, perhaps, think I do not place the card in the center. This time I shall reverse it then you can see just when it happens," Place the pack in the left hand, back towards spectator, either holdIng below the eyes of the spectators or holding, to the left of the ^ body, back of the pack outward, the tip of the thumb holding one side, the tips of the second, third and fourth fingers the opposite side, the tip of the first finger resting on the top edge of the pack. Ntfw insert top card, reversed, a little way into the pack at the-..upper * edge, the first finger of the left hand being under and resting against the card. Now start tapping card into pack with, the'fingers • of the right hand until card is extending about a half inch out of the pack. Now while tapping card, snap it out of the pack into the palm of the right band by pressing the extended portion of the card against the tip of the first finger of the left hand* with the fingers of the right hand and a side movement to the right. Tap a few more times with right hand holding palmed card securely. This completes the illusion. Snap card to tips of fingers producing saying> "You see, when you do, you don^.11 etc. This; is very deceptive and a move I prize highly. Tip Over Change and Pass. Hold the pack naturally in the left hand. C»ut about half the 7. pack between the thumb and first finger of right hand, the first finger holding the pack at the far end near the Car right corner, the
thumb holding the pack at the near end close to the near right -corner, push top card of lower portion to the right about one half inch so the edge is clear of tips of the fingnrs of the left hand with the thumb of the left hand. With an upwe,rd mot".o..i turn the top card of lower portion face up on lower portion by striking the extended portion of cards with the edge of upper portion held in right hand.. Re peat several times for effect. With second finger of the right hand slightly separate bottom card of top portion at the corner edge nearest the second finger. In reversing the top card of lower portion from the face up position to the face down drop the separated card of top portion on top of lower portion. Show bottom card of top portion and turn top card of lower portion showing card to have changed. There are many variations. It can be shown as a pass by inserting^ the dropped card without showing into the center of the upper portion then by merely turning the top card of lower portion apparently the card has returned to its original position. asses are merely a matter of taste. Adopt the one most suitable-to your own use. SECONDS AND BOTTOMS. An expert dealer of seconds and bottoms has nothing to fear from the overly wise as there is practically ho limit to the conjuring effects possible with these two moves* They are well worth the time spent in accomplishing. Below is the method I use and will try to make c&rtain points more explicit than previous explanations have been. Seconds. Place the upper left hand edge of pack firmly between the junction of the thumb"and first finger of the left hand, the thumb being parallel to the top edge of pack, all four fir^ors holding the pack* just so as to allow the top card or the second to be taken freely. (This prevents two or three cards coming off together. The feel of the fingers on this edge is very important.) Now practice moving the thumb backward and forward without moving the card. With the thumb of the right hand start towards pack to take top card, thumb of left hand draws back top card and thumb of right hand draws second card sideways from pack, the first and second fingers of right hand grasps the card as it clears the pack. As soon as the right thumb has secured tho card the left thumb moves top card forward to the square position. In taking top card move the left thumb backwards but not the card, in fact if the cards aro in the proper position this will be necessary in order to secure the top card. The moves should' be identical. It is all a question of tempo and properly done it is indetoctablc. There are other methods such as one hand second dealing, etc., but I have found the above the most adaptable.
Bottoms* Place the pack so it is held between the second finger and the heel of the palm of the left hand, the upper right hand corner being held by the second finger and the lower left hand corner being pressed in the heel of the hand, the first finger resting parallel against the top and the third and fourth fingers supporting the bottom, the tips being visible at the upper right side. Practice dealing from this awkward position by moving the top card sideways with left thumb and grasping with the thumb and first finger of the right haad. Continue till it becomes natural to hold a pack in this position. Practice moving top card sidewise and back to square position with the thumb of the left hand. As you push top card sidewise as soon as it coversthe tips of the third and fourth finger'of the left hand draw these under the pack and with the third finger push the bottom card out about half an inch. Right hand approaches to apparently take top card with thumb and forefinger. Thumb of left hand withdraws top card and right hand grasps bottom card. As right hand takes bottom card, immediately extend third and fourth finger of left hand so their position is the same as previous to the move. As with second dealing, it is merely a question of perfect time and coordination of the hands* A second can be dealt from this same position bjz extending top card•sidewisc with thumb and then withdrawing top card slightly beyond edge, (in other words dealing a second from the side edge instead of the top edge.) It is very hard to control but is convenient when you wish to deal seconds and bottoms without changing the position of the pack in the hands, I would like to impress once more the importance of mastering the above. Glide. Place the pack in front of you on the table sidewise facg downwards. With left hand pick up the pack at the sides near the left end between the first and second finger and the thumb, holding the pack face dpwnward. Start taking the bottom cards away one at a time with the right hand, holding the right palm upward and reaching under the pack with the first and second fingers and with-drawing the cards forward from the end. As the chosen card is the third from the botto$t take the first two cards and lay face up on the table. As you reach to take the third card which is the selected card, glide this card back slightly, the end protruding under covor of the left hand and continue taking'th- fourth^-f ifth,, -etc:; Ijwito"spbetatot to .tcll'i yon to stop. When request is made to stop place the little finger of the left hand against the end of the protruding bard. With the palm of tbo right hand push the end of the pack back into the left hand. This movement squares the chosen card on the bottom of the pack.
TRICKS BASED ON SECOND AND BOTTOM DEALING. Four Ace Trick. Show four aces and twelve indifferent cards. Place aces on top and deal face downwards onttable. Show them to be four aces. Place on top and deal three bottoms and one top. You now have three indifferent cards on table and one ace,x. three aces remaining on top. Deal three bottom cards on the ace, *ick up and show they are indifferent cards and place back on top^of the pack. Deal them back on any pile but the ace; now deal the next three which are aces and three of each of the remaining six cards ofi the two indifferent cards. After usual force of pile arhow aces assembled* A, Sequence Sffect.; Remove the ace, deuce, tray, four ,five, six, setfen, eight, nine, ten, jack, queen, king of indifferent suits and arrange in separate pile as follows from top to bottom face downward. Ace, tray, five, seven, nine, jack, king, queen, ten, eight, six, four, deuce. Show cards in a fan to spectator. (You will note they donot appear at a glance to be prearranged.) Ask spectator if he could name the cards in their order at a glance. Interrupt saying "Wait I'll reverse them.* Place pack in the loft hand in position for bottom deal and start dealing first a top th$n a bottom alternating through out. Pick up pack saying, "Why, you should be able to ae they are in perfect order,* and spread on table. Cards now read ace, deuce, tray, four, five, six, seven, eight, nine, ten, jack, queen, king. It is merely a flourish but very effective. The effect is better if the ear€s are previously arranged on top of the pe;ck with a break between a and cut off at the start in a careless manner. Bottom or Seconds may both be used for stopping at any given place in a pack and producing a chosen card. Unlimited scope is given to the performer who thoroughly masters them. In section two* "Merlin at the Card Table," you will find numerous references to the bottom and second. FALSE SHUFFLES AND CUTS. To accomplish my method of false shuffling it is necessary first that you learn to shuffle differently from the usual methods. Place tho pack on the table the left side towards you. Grasp the pack with both hands, tho thumbs holding the side towards you and the second and third fingers of both hands holding the edge furthest away, t&fl first finger of each hand resting on top of the cards* By*.
drawing the top or bottom portion to the right with right hand square the two portions by tapping the ends together. One tap being all that is usually necessary. Carry the portion hel.d in the right hand in front and parallel to the portion b^. " In the left hand co the sides of the pack arc adjacent, Raise ar edge oi t,Uo left hand pack and riff with second and third fingers, the first finger pressing the top of the pack. At the same time move, the right hand portion towards the left, riffing this portion with thumb of the right hand, the first finger pressing on the top thus accomplishing a dovetail at the sides of the pack instead of the ends which is • usual. When riff is completed reach the second and thirl finger of the left hand and place them on the far edtc of the right hand portion, keeping the thumb of the left hand in the original position at the near edge of the left hand portion. At the sa&a time p&ace the thumb of the right hand on the near edge of the left-hand portion keeping the second and third fingers in the original position on the far edge of the right hand portion, the first fingers of both hands resting lightly on the top of the right hand portion. By squeezing the two portions between the fingers and thumbs the portions are caused to dovetail to the squared position, the little fingers assisting in squaring the ends of the pack. practice in repetition until it becomes natural. So much for the true shuffle. False. Shuffle and Cuts. Plaoe the pack in same position as for the true shuffle but in cutting always take the lower portion of the pack away in the right bind, Now riff as before so the edges are dovetailed. In squeezing to square position make the action of both thumbs to right and the fingers to the left. Y o u w m n O w find the ends of the lower portion protrude at the loft and the ends of the upper portion protrude at the right. Under cover of the second and third fingers of both hands the third fingers of each hanc. r, -aid be retting on the protruding ends. How by a simultaneous pressure of the thumbs_ against the near side and a pulling towards you movement of the third fingers of the protruding ends, the pack will break. This break should be very slight. Now draw the upper portion which is held between the thumb and third finger of right hand out to right and slightly toward you and place on top and square. Immediately cut lower portion and tap ends to square and repeat. This movement^ gives the impression of a double cut if done quickly in repetition. This shuffle will be referred to later in the chapter devoted to Sleights at the Card Table as a Source of Entertainment." A false cut in conjunction with above false shuffle lends to the confusion of the spectators. w
The Laco Thru False Shuffle,. For those who prefer the "lace thru" false shuffle, I have a little i rap rove ment which thoroughly covers up the same.
Place the pack on the table the left side towards you, cut off the lower portion in the right hand, dovetail the two ends by the thumb riff, push both portions so the ends are three- quarter way into each other, the second finger pushing against the. two corners furthest way from you. At this point increase the pressure on these corners which causes the portions to lace thru each other. Grasp the corners at the side towards you with thumbs of both hands and draw thru until the ends of each portion slightly protrude. Square the pack on the sides, the second and third fingers of each hand covering the ends which protrude. In the act of squaring draw the pack about six inches toward you on the table and withdraw the upper ncrtion with right hand and palco on top. This movement covers the lace thru and appears as tho you merely shuffled the cards and cut them once. The old method was practically impossible to accomplish without detection. False Cut*. Cut lower portion away with right hand and place on top making a break in side towards you by a flesh grip of the ball of the left thumb being careful that the front side remains square. Cut bottom portion at the break and place on top. Fast repetition completes the illusion. TRICKS BASED ON FALSE SHUFFLES AND CUTS. Reds and Blacks* Separate reds from blacks and show them to be separated. Place the reds on the black and do the above false shuffle and cut remarking, that you are able to shuffle1 the cards in any order desired such as alternating a red and black throughout or two reds and one black or two blacks and one red, after this speech, pause and remark, "At least you are assured that tho pack is shuffled." Bridge the cards and place back of you. Hesitate a moment, separate at the bridge and bring red cards fanned in one hand and black cards fanned in the other to the front. This is very effective as a little side flourish, Another Red and Black E.ffect. Having secretly separated the rods and blacks give false shuffle. H>.ve two cards selected" seeing that you force a red card and a black card. Now give the pack a little false shuffle and collect the two cards seeing that the rod card is placed among the Slacks and the black card among the rods. Give the cards one false shuffle and a riff to ascertain the junction of tho reds and blacics. use flesh grip of thumb as used in false cut to hold the break. Ask spectators
to name cards. Cut to break and fan, reds in one hand and blacks in the other and the red selected card Is f^a^j am^ng the black cards and the black selected card is found among the reds. Many elaborations are possible with the separation of rods from blacks in conjunction with, the above false cut rnd shuffle?» Thumb and Finger Counting* Aside from the natural control that the ability to count cards by riffing with either thumbs or fingers gives to the performer, it is possible to accptnplish "oy its aid very perplexing effects. Following are explained the modus operandi of two methods necessary in effects explained later. First Method^ Hold the pack naturally in the left hand, as for dealing. Rest the right hand on the top of the pack the second, third, and fourth fingers at the front and the thumb at the rear, the first finger resting on the top of the pack. By slight pressure of the first fing ger let the card riff singly downward from the thumb counting silently, noting the number. 3 cord Method. Hold the pack naturally in the left hand as for dealing with this exception. Curl the first finger under the pack near the far aiLo Bv pressure of the thumb downwards on the upper left side a?low the cards to riff one at a time being careful to hold the lower left corner tight against the root of the thumb, Jn conjunction with this, practice stopping at a certain number, releasing the pressure at the base of the thumb. Insert the thumb at ".his point and raise the counted portion at the left side allowing the right eitfo to rest against the third, v -•::. "\i =md fi:l:'tt finder:: ' v by draw, v the -ohumb outward to the loi"t ljr;r.g cut zte bottom car,, o, the counted portion. With a closing movement of -uhs hand tur-n ~i'ai & card face up or. the top of the pack allowing the separated portion to drop to the squaro position on the pack. The effect when performer quickly being that the thumb riffs the pack reaches in the center- and fir.ds a ca.rd and turns it over on the top of the pack, the card being face up. TVlCfT DASHD ON THUMB AND FINGER COUNTING. Tp Place A Sheeted Cb-.rd in a Given Position in the Have a spectator select a card. After the card \s returned bring to the to2 by the pass. Hold the pack as for cho fj.'-vt method and immediately count -nine' cards with the thumb making a oreak* Now announce that you will place selected card any numbers from top. -12-
Under cover of this announcement bring the nine counted cards on top of the selected card by the pass, (I suggest the improved Hermann for these moves, as the hands are in a convenient position.) The selected card is now ten from the top. Count five more from bottom and insert little finger at break, This i s a"U accomplished before the number is chosen, I have fo:".nd ''~e fOJ \ * r:.g. to be true; Ask for number desired. If number chosen is throe-?, four, five or six immediately say, "Oh, that's so easy. Give me one better than that, I have found that invariably they will choose ten. If this occurs call attention that you immediately without any movement, hand the pack to the spectator and he counts and discovers card at chosen position. Always have him name card before counting so that the other spectators share the Effect. Now if eight or nine are selected say, "Oh, give me a good number," and very often the choice falls on fifteen as you have five cards already counted, merely pass to top and hand cards to spectator and proceed as before, If over fifteen, count to the desired number and pass. If under fifteen release five counted cards and count desired amount- Often instead of selected card I merely reverse top card saying "I'll place this card at any position in the pack and I have reversed it so you can see it happen." Count nine below as before, execute pass and remark "first, I must make it go" , now proceed as before. Vibrating Cards. Tho following is very effective, Three selected cards being returned to pack and shuffled are found by riffing the thumb down the edge of pack and turned face up on the pack as they are named 'by spectators. First, count twelve by the first method of counting and bring to the top making a break with the little finger. Now have three cards selected being careful to have them selected below the separated portion. Collect the three cards, cutting the pack at the break. The selected cards are now the thirteenth, fourteenth and fiftbenth cards, Call attention to the fe.ct that the cards are carefully squared and th.\t none of tne selec:- .. cards are or: the : bottom or top. Now, explain as follows, c;i aave found that each card has a peculiar vibration and by longpractice I have trained my thumb to distinguish the different vibrations- Of course you believe this or not just as you please,« During the above you hase the cards in the left hand and are riffing them with the thumb^as explained in the second method of counting. Ho count totthe fif-6 teenth card, insert the thumb. x"oint to the spectator who returned the first card, and say, "Name your Card." Reverse first card and continue saying, "Some might think I looked byt I dorJt. Sometimes I listen." Place pack at left ear and. run fifteen and turn second selected card. "Now to make it more difficult I will place the pack back of my back." Run fifteen, insert ttwmb, ask for name of last card and turn reversed on top of pack. If you wish to make it more effective use sfalse shuffle and cut after you. collected the chosen cards, this is not essential, however.
Throwing a Card in the M r and Cdtching in tho Pack at, ..a Chosen Number, Performer reverses the top card, takea it in the right hand, throws it in the air and catches it in the pack at chosen number down. Hold the pack in the left hand as for second method of counting. Reverse the top card. Take in the right hand and throw in the air perpendicularly with a spinning motion and catch in the pack by riff ing the edge as in counting. Repeat this several times explaining that you are able to catch a card in any position in the pack, ""ause with card in the right hand and ask someone to suggest a nun/bor. Turn the hand over, holding the pack so the back of the hfxiin is up and carry towards the body. Ask someone to suggest a iniuoor. Count one less than number chosen with the thumb and take a slight flesh grip with thumb of left hand. Throw card in the air, ::.t the break, about half inch, catch the card in break, immediately releasing the thumb and riffing the portion of the cards below to givo the effect of no preparation. Selected card is now protruding. Do not square the pack, but count down showing card has been caught at suggested number. This is rather difficult but really worth while. Ink Card Used in Conjunction V/ith Count Tricks. After using the above methods in sequence spectators are apt to suspect you are counting. I always believe in inspiring a solution then utterly confusing the spectator by disprovement. My most valuable asset I have found to be an inked card, that is, a known card inked on the sides near the corners. Take a card and ink the side edges for about half an inch at the corners which are not indexed. At any time in the course of performing counting tricks where I am enabled to force the inked card without the spectator's suspicion I immediately take the following advantage, "I know some of you think it merely the skill of my fingers. * am going to disprove this. Now you have selected a card, would you mind showing it and returning it to the pack? Shuffle the pack yourself." After spectator has completed shuffling, take pack and cut so as to place inked card in the center. Hold in left hand as in second method. Count position, riff until you come to inked card, pass to bottom - V oi1 X'- :i"(l place at given number as in first count method. The r:ic:.:cv:x I ions * leave to you. There are no limits to its possibilities* Vu t>er uses of the inked card will be covered in the Third Section 17 ::" so. ••• Mr/: G O us
tricks.
As previously stated I consider the side slide described in the chapter on Passes the most useful and natural as a change.
Very often after changing a card, say from the c.ce of Spades to the four of Hearts, I have been interrupted by spectator saying, "Now let's see you change it b&ck to the ace of Spades." A difficult problem you'll admit without manuvering suspiciously. To overcone this, I use what I term the slip-slide change. Tfte •'olip-Slide Change. Place the pack in the left hand horizontally outward, holding it between the tips of the thumb and fingers, the thumb holding the pack on the upper side near the further end, the second, third^and fourth fingers holding the pack on the lower uide, the first finger resting against the far end. Now with the right hand palm, start tapping' with a drumming movement the face of the card exposed near the"far end keeping the fingers slightly apart. Carry the first finger of the left hand a short distance away from the end of the pack in the course of tapping. With the third finger of the right hand, glide the exposed card forward till it touches the first finger and protrudes over the far end of the pack. Immediately bring the fingers of the right hand together and"bring the right hand quickly towards you pressing down on the second card, which is uncovered at the near end, with that portion of the palm below the junction of the fingers, and withdraw the second card till the far end clears the near end of the extended card. Push the card in the right hand forward on top of the extended card at the same time with the first finger of the left hand push extended card back to the square position immediately spreading the fingers of the right hand and continue the tapping* The effect being that the card was changed with fingers wide apart* This move can be used to advantage in changing tae top card of a pack to the second when the pack is in the face down position, of course eliminating the tapping. Change Over ffalm Change. Hold the pack face outward in the left hand as for side-glide. Slide the bottom card into the palmed position in the right hand. Now move the right hand towards the pack to deposit the palmed card. As the right hand covers the face of the pack deposit the card inserting the little finger of the keft hand between the card and the pack. Just as the right deposits the card and while it is still covering the fac§ of the pack, "hesitate and pretend someone suspected you had a card palmed saying, "In this hand?" ttNo." Turn over the right hand showing it empty at the same time under cover of turning right hand turn the hand holding the pack and point at the empty right hand. Now reverse the move again turning the padk under the palm of the right hand. Now reverse the move again turning the pack under the palm of the right hand. This should be accomplished without allowing the spectators a glimpse of the deposited card held at the break on the face of the pack. r alm the card again in the right hand and expose the face of the.original card about three-quarters showing it to be the same, and witha quick movement
bring the right hand over the face of the p::,cL depositing the card and accomplishing the change, flfany, no doubt, will proclaim tne above to be useless as there should exist no suspicion of palming if the performer's work is finished. However, at times it is useful to be prepared in dealing with the' bothersome sceptic who is so much in evidence in late years* A Double Change. Place the pack in the left hand face outwarci, horizontally, between the tip of thumb and the tips of the second, third and fourth fingers. The thumb holding the upper side near the near end, the second, third and fourth finger holding the lower side near the near end. The first finger resting on the edge of the far end. With first finger separate about half the back portion and pull it towards you about two inches causing the pack to have two cards exposed the outward card being fully exposed and the card at the step in the pack being half exposed, the thumb holding the pack at the . junction of the two portions of the upper side and the second and third finger at.the junction of the two portions on the lower side, the first finger being curled at the back of pack. Tap the far end of the outward portion by the first finger, pushing the card for~ •/c.rd and pressing it against the palm in a forward movement bpr the right hand. Carry the right!:hand way with the card palmed. Now C3.ll attention to the half exposed card of the back portion. By reaching forward with the first finger, pulling the back card of the front portion towards you, you cause the half exposed card of the back portion to change. To cover, turn the face of the pack quickly away and back, repeat once, then carry the right hand containing palmed card over causing it to change, at the same time changing again the half exposed card of the back portion without necessating the turning of the pack as the right hand covers the movement. Change a la Erdnase Bottom First, I will explain the "Erdnase" bottom palm. Place the pafek in left hand at the near end, the right side resting in the ro.ot of the thumb, the thumb resting on the top parallel to the near end, the loft side held between the first and second f£nger, the fingers of the loft hand resting on the thumb on the near end. Riff the cards at the front end with fingers of the left hand. With the second finger of the right hand separate card or a few cards from the bottom of the pack by bending the corner of the card or cards at the corner near the second finger. Carry the bent corner backwards slightly, the card or cards turning on the corner held in the root of the thumb as an axis. This causes the far left corner to protrude slightly from the left side of the pab^c, under the tip c.7 the fourth finger of the left hand which is partially covering Lb.c top of the pack. With a straight backward pressure of the tip of the fourth finger against the corner of the protruding card or cards, at the same time releasing the hold of the second finger of -16-
the right hand on the near left corner, the cards will rotate into the palm of the right hand. Now for a caution. Move only the little finger of the left hand and do not anticipate the approach of the card or cards to the right hand by a forward move by this hand. Riff cards with left hand again to cover, carry the pack away in the left hand turning and dropping the right hand. Hold palmed card or cards to the side naturally. This palm is very Useful in conjunction with the bottom count in the trick of passing a number of cards from a Portion of the pack held by one spectator to the portion he 111 by another. "(Bertram*-a Thirty Card Trick by Neil,) Hold the thirty cards before being cut and count five from the bottom palm as explained. After cards are cut, restore palmed five to the bottom of the counted portion and with an upward move with right hand sweep the counted portion off the table with the left hand into the right, Im proved C hange. Hold the pack in the right hand in position for bottom palm being careful not to show the bottom card. With the left hand remove the top card and show to spectators calling no particular attention to it as this is only misdirection. Replace top card and palm off bottom card as explained. You now hold the pack in left hand face downward, the right hand hanging naturally at the side containing the palmed card. Turn pack in left hand and call particular attention to the bottom card. Now turn the card slowly face downward dropping the left hand and at the same time start bringing the right hand upwards toward the pack of cards held in the left hand. Just as the right hand is adjacent to the pack held in the left hand with a quick move turn the palm upwards and deposit palmed card on the bottom. Immediately start sliding the pack away from you off the now extended palm of the right hand. Slowly turn pack and change is apparent. Under the Thumb Change. Hold the pack in left hand face up, the thumb placed parallel across the face of card and if possible touching the fingers holding the left side of the pack. Let the right hand rest on the pack, palm bottom card by the use of the Side-Slide. The left hand assumes the described position again. By a pressure of the right hand at the base of the thumb cause the palmed card to bend outward from the ends away from the palm. Bring the right r.and over the face of the patek slipping the card under the left thumb which is resting lightly on the. face of the pack. Release card with right hand when square and effect is that you have changed the card with no possibility of depositing or palming a card as the thumb apparently holds the face of the pack secure. Pace to Face Change. The effect is that you cut the pack and rub the faced portions
together and change both faced cards. Hold the pack in front of you horizontally, faco downwards, between t/.-. ' ;" p of the th'.iQib and tips of the second and third fingers of the ri o at hand near the right end, first having reversed the second card from the bottom. Grasping the top of the pack near the left end,, cut off the top portion in the left hand turning it over to the left, show bottom cards of both portions. Now turn the portion held in the right hand which is the bottom portion of the- pack and rub the faced portions together. As a portion in right hand is rubbed against the portion in the left hand deposit the bottom card and reversed card ocf this portion and leave on the left hand portion by counting two bottom cards of right portion at side with right thumb. Turn and show both cards to have changed. Change Making: Palmed Cards Disappear* Place the pack in the left hand face outward holding horizont a l s to left of the body between the tips of the thumb on the upper sic1.-., the tips of the second, third and fourth fingers on the lower side, the first Singer resting on the far end. Say for illustration the card shown on the bottom towards the spectator is the nine of clubs, proceed as follows. "Now first, I want you to note that I have the nine of clubs and by simply passing my right hand over the face of the card it changes to the Jack of Hearts." As you pass the right hand over the cards, palm and take a few away, continuing say, "But the trouble is you have the cards in this hand," fan and show and replace back in original position on the pack. Repeat once or twice fanning cards in the right hand each time. As )^ou replace the fanned cards the last time snap the bottom card of the pas^i held in the left hand against the fingers of the right hand, (a la 'Snap Pass) and drop the right hand containing the palmed card to the side* Continue patter. "Now I have found the difficult part is to change the card," (Pass the right hand over the face of the nine of clubs depositing the palmed card causing the card to change. Drop right hand to your side, keep back of hand towards audience and hold in a slightly cramped position as though you were palming a few cards) continue saying, "and then by rubbing your fingers together make the cards disappear." Start rubbing the fingers of the right hand together and tur& slowly and show empty. CRIMPS* I have found that very few if any manipulators appreciate the value of the crimp. I prefer it to a bridge as the bridge is universally known. The following is my method of crimping and is indetectable. ICingor Crimp From the Side. Hold the pack naturally as for dealing in the left hand,
In
collecting a selected card, instea-d of cutting as is usual, hold the pack and ask the spectator to return the chosen card any place in the pack, being careful to make the far end the only possible place he can insert it. Afterfee-has inserted the card about an inch, by bending the wrist quickly to the right you will find that the card which the spectator is in the act of inserting will be carried to the left, causing the near right corner to protrude from the right side of the pack at about the position of the second finger of the left hand which is holding the pack. Immediately crimp this corner by bending it down on the side of the peck with the tip of the second finger of the left hand, when you have the card in the favorable position for this crimp squeeze down on the top of the pack with the left thumb. This prevents the spectator from inserting the card or in fact from moving it at all. When he remonstrates and you have crimped the corner, say "But, I meant you to take the pack and place the card wherever you please, in fact I don*t want to touch the pack at all." Push the pack in his hand and even if he removes the card and palces it in a different position you have it marked. Ask, Are you satisfied? Well, shuffle them for good u.ensure." After Cards arefcspturnedto you it is easy to locate the chosen card by the crimp in the corner. In crimping be sure to tend the corner but slightly so as to make it unnoticable to the spectator. By experiment and practice you can easily ascertain the bend required to distinguish the card. If performing two or three tricks using the crimp always be careful after each trick to bend the corner of the card back to the original position so it will not confuse you in later experiments. Finger Crimp From the End. In some cases I have found it impossible to turn the card in ' •;: the pack to the left so as to crimp with second finger due to the spectator grasping your left hand, when he is inserting the card, I overcome this as follows: After he has inserted the card about three-quarters into the pack, squeeze down with the thumb of the left hand so as to prevent him inserting it further and pull your left hand containing the pack out of his grasp, towards you, asking "What is wrong? Won't it go in?" Immediately place the first finger of the left hand under the middle of the protruding end of the inserted card. Now, with the right hand pretend to attempt to drive the chosen card into the back, but what you really do is this: With tin? first and second fingers of the right hand press down on the extmcled card the second finger pressing at the right corner and f;;:~ first finger pressing at the left corner. This causes the corners ::o bend down, the first finger of the left hand pressing r,:r..rd :vx.inst the middle of the extended end. Tihis causes a crimp 1 i "oho middle of the end of the card where the "wise" ones can!t rlircover it. After the crimp push the card into the pack and hand it to be shuffled. In operation it merely appears .you tried to drive the extended card into the pack but that the i'irst attempt w a s unsuccessful. -19-
TRICK BASED ON THE CRIIuP. £he. Roval Finders. Performer first removes two like cards of either a red suit or a black suit, for example say the King of Clubs and the King of SBa&es, and shows them to the spectator, laving them face up on the .table. Performer now hands the pack to a spectator asking aim to shuffle the pack and to take, out any card he desires and remember it. Spectator returns the card and shuffles the pack. Performer new takes the pack and without any hesitations inserts the two kings together in the center.,of the pack about three-quarter way, and draws them out together, ^erformer askg the spectator to name the chosen card. The kings are~fanned and the chosen card is found between the two cards. (Note that the Kings are never placed full way in the pack.) The method of accomplishment is as follows: First, remove the King of Clubs and the King of Spades and place face up on the table calling the spectators attention to the fact that there are just two cards used. Hand the pack to a spectator to shuffle and remove any card he desired. After he has selected a card take the pack out of his hand, (calling ho attention to the fact,) and holding the pack naturally in the left hand invite him to insert the card in any position in the pack he desired. Now accomplishing the crimp as described in my first method of crimping, (finger 1 crimp from the side,) remembering the part where you push the care , into his hand saying "But, I meant you to take the pack and place the caret wherever you please, in fact I don1t want to touch the pack at all." Ask him now to shuffle and hand the pack to you. Take the pack and note the position of the crimped chosen card anc! if it s' oulcl lie near either the top or bottom, cut the pack anc! bring it near the center. nolcl the pack perpendicularly, backs of the cards outwards towards the spectators in the tips of the fingers and thumb of the left hand, the thumb holding the side towards you at the middle, the first, second and third fingers holding the far side near the bottom, the fourth finger supporting the bottom end of the pack. In placing the carcis be careful to plade so the crimped corner of the selected card is in view at the near upper corner of the pack. Note that a crimped card makes a slight opening in the pack at the end, below the crimped care! a1ne"! ar slight opening QX the corner of the pack, above the crimped care .. « ith the right hand pick up one of the Kings and carelessly insert it a little way into the enel of the pack near the top, uthat is, anywhere above the crimped card totends the spectators. sing this as a cover, pick up the remaining King ane. insert it a little way at the break in the end of the pack caused by the crimped card, towards the bottom of the back remarking that you are going to pla£e the two KSngs together in the pack. Turn the end of the pack slightly towards the spectators saying, "but I want the Kings to go in together." Withdraw the first King and insert
it a little way at the break caused by the crimp at the corner of the pack. You now have the two kings inserted a little way with the crimped card in between them still square in the pack. With the righ| hand square the two Kings with 'each other and start pushing them in the pacfc at the upper end until about an inch of the kings pro~ truda. Now Remark, "I never want them to leave your sight," grasping the Kings between the thumb and first finger of the right hand, the first finger, on the side towards " spectators, s.nd by squeezing withdraw the Kings about an inch pivoting them slightly towards you* This you will find causes the crimped car'-" to be moved slightly upward out of tho pack and by raising the third and fourth finger of the left hand holding the pack at the far side, you will makes the far note that the action of piloting the K$ngs p g g towards y bottom corner of the crimped card protrude slightly at the side about an inch above the far lower corner of the pack, ^lace the third finger of tho left hand under this protruding corner and with the right hand push downward towards the third finger of the left hand and you will find that this move squares the crimped card between the two Kings without tho Kings ever being pushed full way into the pack. Grasp the three cards together at the upper near corner with thumb and finger and withdraw giving this corner a bend outward (this eliminates the crimp) and withdraw from the pack. Ask spectator to name the chosen card and fan the three cards showing the named card between the two Kings and immediately hand for examination. This same effect can be accomplished by forcing the inked edge card, but I prefer the above method. You Gill alll readily see the opportunities in regard to patter and presentation the above trick offers. If you should have difficulty in accomplishing the Counting Trick previously explained under the title of "Vibrating Cards", you will find you can produce the same effect b^ the use of the crimp, the only disadvantage being that you have to watch the edge of the cards and if you arc not careful the spectators mijjtvt discover the crimp. There arc unlimited uses fir the crimp and it is always a life saver when dealing with one who interferes and tries to expose you. However, just a word of advise. Donft repeat tricks that depend on its use. "Nurse" it and you will always have an "Ace in the Hole" FORCING. Forcing is perhaps an antiquated subject in conjuring but I feel I have a right to a few words in regard to the methods used by others and those I use mysolf. -fcrsninally I think of it as timing, that is, not of shoving a card-to one, but rather of having the desired card at the proper place at the moment the spectator*s fingers arc in the act of drawing the card. There arc many methods -SI-
of making the glimpse prior to the force. I usually glimpse the bottom card, cut, and use the flesh grip to hold the cut. Advance toward the spectator for selection of card and request that a card be drawn but do not spread cards until .you are at a convenient distance for the drawing of a card. Start to run the top portion above the break at all times, carefully watching the hand of the person who is drawing. If he advances the hand quickly run the top cards above the break so as to have the desired card at the most convenient position as the fingers of the drawer- reaches to select. Always be careful that'this care', is in no way ever exposed• It really is a matter of tempo, perf6ct timing of your fingers and judgment of the approach of the spectator's hand. A force, is only successful when the party drawingftfre card has no suspicion that he has, in cny way, been influenced to select a desired card. In the event of a force don^b become over anxious and show any concern but let the spectator drawj My getaway for a miss in forcing, is to have the card returned using the crimp and change the effect, accordingly producing an entirely different effect and then repeating on a less suspecting victim and continuing and accomplishing the original desired effect. In a case where a force of one card is absolutely necessary,' and the victim refuses to take the desired card, as his hand approaches and you note ho is antagonistic and is insistant on a card other than the desired one, proceed as follows: As he attempts to draw other than the card you desire'^just take his hand and lift it away saying, ttMy, what a pulse you have. Not feeling well?" or Gracious, I must know your manicure,11 or something equally absurd. Pass on to one who may be more in spirit with your desires. In the method of showing the cards faced, exposing a card more than the others, I have a peculiar method of getting results; first, I take the pack as for riffling with the old stop where the card to be forced was exposed absurdly, allowing the spectator little chance of seeing but that one card, explaining that this method ig very old and that you do not want them to confuse this method of forcing with the selection of a card they are about to make. You now take the pack and spreading them fan wise between the two hands, holding pack upright, face toward spectator and run pack from one hand to the other exposing the cards as equally as possible but making just a slight pause at the desired card to be forced.. I have found if you hurry and try to force, instead of time you antagonize; and in nine times out of ten he will try to fool you, but if the force is slight, by that I mean he is allowed to see many cards but the card to be forced is but slightly prominent he will unconsciously bend to your will. In the event that you miss, be showman enough to ignore the failure end try to turn the trick to your advantage. Let's suppose you miss the above force. The cards are square, you prepared for your effect, you ask for the card to be named. It turns out to be the wrong card end you have no idea .of the position of the card named, deliberately take the pack, run thorn and find the card saying, "Now you know I ha.ven't removed your card." As you make the remark boldly slip the card named to the seventh from the top and rovert to your original plan and attempt the force which was necessary for your original effect. Surely you should be successful once in two attempts.
Sure Fire Force, An excellent force, requiring absolutely no skill is as follows: The card to "be forced is concealed under the belt, at back, under coat tails, or in hip pocket. Offer de<3k for shuffling. When pack is returned place it behind your back and ask a spectator to cut the pack anywhere. When he has done so you turn half way around and say, "About how many cards have you cut?" During this half turn and while your back is momentarily out cf sight' c" audience your right hand brings down the concealed card from under b..l^ or hip pocket and places it on top of the portion held in his loft hand, ^e then turns around once more and says to spectator, "Please take theunext card." this is a sure fire forde and extremely effective. Mechanical Forcing; Packs. For those who prefer a self working pack, there can be obtained from the dealers in magical supplies, such packs as the regular forcing packs consisting of fifty-one cards all alike and one indifferent card on face of pack. Three way forcers to force three cards can also be obtained. Those consist of about sixteen each of three cards that arc alike and on indifferent card on the face of pack. The disadvantage with these packs is that they cannot be shown all different cards. The Svengall pack which you can show apparetly all different, and, yet be able to force one particular card, is very practical and clever, Probably the best mechanical forcing pack ever devised is the Ivans Brown Triple-Force pack, that automatically and cleanly forces three cords after pack has first been shown apparently to consist of T-nnn-irp.ft no skill and is fool proof and sure fire. regular :arfis. It requires no skill
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EDITORIAL NOTE. The editor of this scries wishes to express his thanks to Mr. Charles J. Maly, who has given us much valuable assistance in preparing these manuscripts. Several of the effects are written by the editor or Mr. Maly from memories of tricks clone by Mr. Merlin; hence, any slight variation from Mr. Merlin's routine must be charged to our sometimes faulty memories* This has only occurred in one or two instances, as the man'-1 :ipt submitted us by Mr. Merlin was very comply!~~ A few of the effects and sleights that were originated by Mr. Merlin have been "rediscovered" by some of the other writers on Magic. However, in most cases, the reader will be able to trace back the use of these to Mr. Merlin in the beginning. Of course, not all of the things j^%hc nenuscripts are original* V/herc possible .crcc^t^has been given to the originator when known ^^S
:
Merlin at the Card Table Jack Merlin
Section Ttfo of "and a Pack of Cards"
Cherished Secret s of a I "aster ivlaniyulator
Section Two "and a Pack of Cards." Second Revised Edition By JACK MERLIN.
ited. by A. W. C. Brumfield. Published 1928. By THE V/ELWORTK COMPANY. 36 West Pratt Street, Ind ianapoli s,Indiana. U. 8. A. Cherished Secrets of a Maeter Manipulator
•
Copyright 1927, 19 28.
TK2 WELWORTH
4 ROUTINE OF SLEIGHTS X£ T.JS C;\HD TABLE, The following is suitable only at a small gathering, that is, say up to twenty people. You will note that "I" predominates. Forgive the apparent ego as I am only trying to impress you with the storj-T as I tell it, and the continual phrasing in the first person is of necessity to show the different phases of misdirection used to obtain the effects most of which crowns the performer with a halo skill he does not possess. I usually do a few color changes, continually repeating the move at close quarters with individual members of the audience following with perhaps an effect such as the card in the pocket, A spectator is allowed to glimpse a card passing to the bottom. One card is slipped from the top to the bottom by the top slip and pack is turned, calling attention that chosen card is not on the bottom, as at the present it gests two from bottom, and top card is shown notto be chosen card. Spectator chosing card is asked to place pack in pocket, performer noting whether pack is placed face outward or face inwurd in pocket. Performer shows hand is empty, reaches into spectator pocket asking name of selected card and producing same by bringing from pocket the second card from the bottom, which must be a selected card. I continue with similar effects till the usual remark is eventually- made. "Ifd. hate to play cards with you" or "Could you deal any hand at poker?" his is the desired opening. "Let's gather around this table" I seat myself* "Now gather close and I'll demonstrate how my fingers work and the control I have over a pack of cards," I show the top card and deal a few seconds and disclose the fact that the top card still remains on top vn the same position. Carelessly I shuffle and cut and then deliberately deal tops saying as I deal."Just a few more seconds." I continue till asked, "^re those seconds?" I reply of course, "Why yes, and in order to prove it I'll reverse the action." With this statement, reverse the top card and deal perhaps two or three genuine seconds, exaggerate the movement of the a n s and deal slowly as the ugh. to show the method saying, "Thats how it looks slowly but when you deal it fast it appears like this." **s you remark the above, turn reverse card, and continue to deliverately deal tops for perhaps ten cards, then slowly deal two or three seconds, apparently exposing the movement. Stop, think re-read the above and the psychology of the routine is apparent. Bottoms are an exact daplication of the above. First, I take the pack and start deliberately dealing the top cards speedily, remarking, "Those are bottoms." One of the spectators are bound to say "Bottoms?" Calmly I say ^Certainly they are bottoms." I now reverse the top card and deal a i'cw legitimately keeping the top card in the place saying, "I'll do it slowly." and as in the seconds I exaggerate the move. After dealing a few uotooms I again turn the top card and start in reality dealing tops bat remarkuThis is how a bottom looks when dealing fast." Slow up gradually, finally dealing the last
two readily from the bottom. Remember It is misdirection and psychology which produces the desired effect and exaggerates your skill of manipulation and inbues your audience with the hopelessness of playing cards with an adept, "You have often heard that no one can really run in a hand of poker, what I mean is shuffle a pack so the dealer will receive the highest hand, No?/ truthfully that is absolutely skill and perhaps I might say technique,. I am showing you that the fingers are capable of placing any card or- any series of cards in a give:.i order for dealing so that the advantage is in favor of the dealer. Remember I am explaining as a man who is cheating lone handed in a poker game, ^or instance of the deal previous to mine I stay out, in other words I do not play. As this hand proceeds it affords an opportunity to 'the dealer, who is the cheater', to scan the cards out of play, that is, the cards in the • discard. I nonchalantly pick up the cards not In use preparatory to dealing, Jhe hand in play is in progress now. | want you (designating the nearest man on your right) to deal out at random a hand of poker,ff Let the play go on, pick up your cards and play the hand as tbbugl [you were really playing a hand of social poker, Remember you pick up the cards not in Play after the draw and run through uhassumingly and place any cards, of similar suit on top, For instance, say in the cards not in'play you find two aces, and you note in the carefs shown when the hands in play are shown that there is an ace or perhaps two aces* You deliberately place the two aces as you pick up the cards In play on top of the pack in hand. This places the four aces on top of the pack preparatory to'the'dealers shuffle for deal, n Now you have hearcl it saicT that no one can really run a pack in, so that each card which'in poker is dealt one' at a time, can be place#in an ordinary shuffle so that each ace is placed so as to fall one at a time to the dealer, I?ll prove this and want you to watch why this happens,1! First, I slip the one of the aces on top to the bottom, this leaves three aces, on top, Now proceed with the Erdnase injog a,nd outjog shuffle running up a hand for four placers, , those not familiar I'll explain, You injog the top ace, cut about a third- of the pack from the bottom, run the first six top.of the cut portion of top of the'injogged ace, outjog the seventh card and shuffle remaining cards on top being sure to shuffle the bottom ace on top, Pick up at.the outjog, making a break with thunjrt) at the injog run three top cards and throw to remaining cards to break of1 thumb. Run one, injog the 'second, run six, outjog the seventh, card and • shuffle remainder naturally. Cut below'• injog and throw on top, ; Cut below outjog, run three cards on top and;throw remaining cards/on'top and you'll find that each ace is the fourth'card. However, the pack must be cut, After cards are run up cut them yourself holding the break force spectator to • cut at the desired place, • Deal after cutting and the four aees will fall.to the dealer«: -he.above explaination I use as pa.tter explaining that is the way you do it, although it is the truth, no one will-believe it the real method so it serves as ..misdirection*
When entertaining a few nen I find that methods of cheating in different games at the card table makes Ihs greatest appeal and never fails to hold interest. I always make pretentions to expose lout in reality only expose a few moves which are of no consequence. Remember I show these as an entertainment and not as a procedure of cheating. Three Card Monte. Take two red aces and a black queen from the pack and prepare as follows. Place them together, square on the table, face downwards. With the fingers and thumbs on the sides bend the sides so the middle arches upward. This enables you afterward to pick the cards up easily by the ends. Pick them up and being carefull to retain the bridge, bend the corners at the two indexes upward and back, once or tiwco finally leaving the corners as they were originally. This enables you later when crimping to crimp each card identically the same. Spread the three cards at intervals on the table before you, the ends toward j'Tou. Practise picking the cards up between the tip of the thumb at the near end and the tips of the second and third finger at the far end holding face downward and throwing them down one at a time on the table always face downward, someti >es holding two cards .in the right hand and at other times holding two ii" the left hand. Throw the bottom card down first in each instance until this movement becomes natural, being careful to hold the cards close together when holding two in one hand, the first finger always resting lightly on the cards or card. how practise the following with each hand. I will describe the action with the right hand. pick the two cards up in the right hand one at a time at the ends between the thumb on the near end and the second and third finger the bottom card and keeping them very slightly separated. Now with an upward and downward move of the wrist throw the bottom card on the table andplace the too card to the right or left. Pick up as before but this time throw the top card first by pushing it out to the left with the tip of the first finger which is resting on top of this card. It is easy and vary deceptive. Practise with both hands until proficient, Now for the effect. Place the three cards on the table the aces on the outsides the queen in the middle. Now repeat, picking the aces up in each hand alternating picking the queen up under one ace then the other showing each time and throwing "the cards one at a time back on the table saying, "You see the queen is always on the bottom and all you have to do is pick the queen." Mow by alternating first throwing the top card and next throwing the bottom and sometimes failing to show the cards when you pick them up you can readily see now confusing you can make the effect. After a few attempts on the part of spectators to pick the queen sometimes meeting with success merely b}
ace, the shill reaches over a.rA bends up the Indexed corner of the card crimping it upward. The sharper apparently 3.cc sn't notice the bent corner and continues to-cfeal.'1 To illustrate cc tc; the corner of the queen and deal the cards down on the table again, continue "Now the shill immediately wants to bet five dollars on the card with the bent corner and if anyone else tries to bet on this card, the sharper immediately exclaims, 'Now just a minute Gentlemen' and turns to the shill ignoring any of the other bots and says, 'You want to bet five dollars that is the queen? This is raising the limit as I have only taken fifty cent bets up to now but to oblige you I will pay the bet,' Sharper reaches over and turns up the card showing it to be the queen, and pays the bet. The shill winks at the crowd and pockets the five. H At this point turn the bent corner card and show it to be the queen. Now caution and invite the spectators to watch every move expecially calling their attention to the queen with the bent corner. Continue the story.tt After a few moves the sharper again places the cards on the table remarking, 'Now Gontlomen as you have raised the limit I will take the limit off. Anyone pick the queen?1 Of course everyone prompted by the shill backs the card with the bent corner. The sharper turns it over showing it to be an ace, draws in the money, picks up the ace with the bent corner and straightens the corner remarking, 'Gr^lomon ploase don't bend the corners of my cards. ' As you tell the story suit the action with the words. Following is my method of changing the bent corner. After that part of the story in which you pay the five dollars, you remember I called t::e attention to the queen with the corner still bent. Pick the queen with the bent corner up under the ace in the right hand, throw the queen down on the table calling attention to the bent corner, immediately pick it up under the ace in the left hand showing the face of the card and again calling attention to the bent corner. While the direction is attracted to the left hand, the right hand holding the ace is resting on the table, the ace still held as for dealing. Now with an upward action of the third finger against the far right corner bend the corner up. (Yon will find this easy owing to the bending you gave all the corners before starting.) Now throw the queen on the table and pick up the queen again showing the bent corner of the queen. The second and third, fingers of the right hand covering the bent corner in the right hand, the second and third fingers now covering the bent corner of the queen. Throw the ace from the left hand and as you do move the first finger of the right hand soas to touch the left far corner of the queen. Throw the ace from the left hand and as you do move the first finger of the right hand so as to touch the left far corner of the queen, the second finger being at the middle of the end and the third finger near the bent corner. Now by a downward pressure of the fourth finger against the bent corner and an upward pressurs of the second and third fingers you will find the bent corner straightens easily. The first finger assisting i/. covering the move from the spectators although there is little danger as the misdirection with the other two cards covers perfectly• Throw the straightened queen on the table and when you have reached the point of your story, turn the card with the bent corner showing it to be an ace. ^lso calling attention to the straight corner on the queen. It is surprising what a good effect
this is and I find althoughmc) o Itiree oar a .i.ionce is universally known very few know the real method of accomolJLhment. The Riffle Stack. The following method of "running" up a hand of pok'ir is dependent on my method of shuffling described under "False Shuffles and Cuts," in part one. In presenting, I take the the top of the pack saying,"In dealer preapratory to dealing, kind available sccretlv on the
four aces and show them and place them on gathering the can .s after the previous I place the four ? aces or am 7 four of a top of the pack."
Cut the cards as for the shuffle holding the top portion in the right hand and the bottom portion in the left hand with the sides ad jacent, in position for riffling the sides dovetail one portion into the other. In this shuffle make the right hand portion which Is the top, larger than the left hand portion. Let the cards in the left riffle off the second and third"finger until you have but three cards left, hold these and riffle the upper portion until you are holding the three top cards of this portionin the thumb. Let the three cards drop from the fingers of the left hand under the three held by the thumb of the right hand and square the pack. Repeat the above move always riffling and holding three cards at the top of the left hand portion, but making the cards hold at the top of thericht hand portion one less each time until the last time or fourth time the three on top of the left hand portion will be placed on the top of the right hand portion. Always lace the lower cards of the left hand portion in that part of the right hand portion which will not interfere with the arranged cards on the top which you are gradually "running up." Immediately false shuffle and have a spectator cut as follows. After completing the false shuffle, cut the pack at about the center placing the lower portion on the top, making a break with the little finger «Ask a spectator to cut, holding the cards cowards him ana force the cut at the break. Now deal four hvnds one card ?.t a time end. turn over your hand showing you nave dealt yourself the four aces. Later I will Explain numerous ways of "siippinfj" a cu ,, any of which can be used in conjunction with che above effect. You 7/1 11 note the left hand in riffling, places three cards each time on the top of one of the aces star- -ing at the bottom ace • If five hands are dealt of course the number held ".t the top b" the left hand must be increased four ets. Hold the pack on the table will under the eyes when "running up Fake Cuts on the Table. Often you will be asked to show how ?, cut can be slipped. 1 make t' is a part of \y entertainment by exposing different methods all of which amount to very little e.s some of thorn would be impossible in a game, but at the same time seem to id-press the spectators as highly probable. Following I will giv e my metnod with just enough patter to •6-
make them clear. "First as you all \::r,o:'i the money or ante is in the center of the table at the time of aeali ><='., Now we will say for instance the sharper has the cards 'run up1 for a ha:^ but as he is working lone handed he must slip "one cut. After lie completes the shuffle*1 (you are shuffling the cards during this explanation) "He places h'ci& pack in front of the player on his right to be cut the player cuts the pack." (Have some one cut) !'^nd in placing the lower portion or: the upper portion the sharper makes a step at the ends- Now drawing the pack towards him he retains the stepl Looking at the money in the center of the table he cuts the lower portion away and points at the money with the lower portion asking, 'Who is shy there? ; Immediately bringing the portion he pointed with back and places it on top, restoring the cards to their original position." Before having the cards cut, show the top and bottom card. After you have shifted the cut show again proving that the pack is restored to the original sequence. I have seen this move "worked" in a game by sharper's on the boats successfully. You will find the misdirection to be perfect. A Barefaced Method. In this method during the shuffling the sharper carries on a lively conversation on some topic foreign to the game and after the cards have been cut, he comes to some startling announcement in the convercation such as the direct assertion following, "And do you know I met him in London two months ago and he told, me thessame story etc." at the same . time deliveratly picking up the "portion and slapping ict down on top of the lower portion as though in emphasis of the last remark. In other words, placing the pack as before cut. This has it's advantages as should his attention be called to the fact, that he replaced the pack in the same position he can apologize and have the'.:] cut again and lose the formation in that instance or he c m give them thefalse three way cut (Erdnase) saying,"Well, hows that" and start dealing. Herrmann Pass as a Slip for the Cut Picking up the cut portion one at a time and place in the left hand with the little finger holding separated at the break in position for the pass. Nowfeakea Move as though to deal and say,"I suppose none of your realize I have already shifted the cut so I'll show you." Point to a spectator saying, :!Do you remember what was on the bottom?" (You have shown the top and bottom card before the cut) As spectator names card turn the pack over accomplishing the pass remarking, "You see on the bottom is the so and so and. on the top is the ett. etc." O;-ce more I want to remind you I am not explaining methods of cheating although most of then are possible, but am showing you a method of entertainment. Fake Runn Up. hand.
Now previously I have explained the true method of running up a Now I will explain a method for which the spectator gives you
more credit as there is very little nove ^nt. Pirst remove three of the aces and lay on the table, having secretly placed the remaining ace the fourth card from the top of ';"he pack, Now prccee'd explaining, B If a sharper continually dealx himself four of a V~.ind he would soon attract too much attention to the f^ce that he held phcnor-iinal hands when he dealt. Three of a kind are in most cases •:.. big enough advantage so I will show you it is possible with one riffle to r;«n these three aces so that each ace is the fourth card from the top." Place the aces on top of the pack and cut the pack as for "run up1' shuffle, cutting the top portion in the right hand. Riffle with right hand and hold the two top cards, drop the three cards held by the second and third finger of the left hand below the two c^rds, held by the thumb of*the right hand, and square the pack. Now count two cares from the bottom with the thumb of the left hand on the side of the pack towards you, cut these two off with the righthand and place them on the top. Immediately deal four hands showing the three aces in your hand. The appearance being that with-one riffle and a cut you run the three aces in. "what you really do is to place the bottom ace on the three shown aces as the second ace to be dealt to yourself, the secretly arranged aco ucing the last ace dealt to yourself and be cutting two cards from the bottom onto the top, you place the second ace of the three placed on top in the proper position for dealing it the first :ce in your hand. The top ace of the three shown becoming one of the indifferent cards dealt to the spcatators. This may seem vague but take a pack and try it. In fact to appreciate the value of any of those Experiments, always read the solutions and follow each move with the pack and you'll find they readily become clear. Audacity Run Up. A five card run up requires a lot of movement so I have devised this simple method of apparently rtmninr up a "straight" in one riff and a cut. First, place the five of hearts, six of clubs, seven cf diamonds, eight of spades and the nine of diamonds in indifferent positions near the bottom of the pack. Second, place the six of spades, seven of hearts, eifeht of clubs and the nine of hearts on the top of the pack with four cards between each card and four on the top card, in other words arrange them so if .you were to deal five hands these four aards would be the first four dealt to .yourself. Of course, these arrangements arc done secretly, but I usually manage it easily in picking out the cards* Now announce that you are going to run up a straight for a five handed game with one shuffle and a cut. Turn the pack face up and start picking out the straight you have placed in different positions near the bottom of the pack that is the five of hearts, six of clubs, seven of diamonds, eight of spades and the nine of diamonds. Now give the spectators a glance to show you Lava a straight, saying at the same
time, "Here is a straight, five to the nine." Have the five of hearts on the bottom, the indexes of the other cards showing. Square the five cards and move as though to place on the top of the pack, hesitate and showing the five cards say, "Yes, and the first card I deal myself will be the five of hearts." This seems bat an idle boast but this impresses THE one card in the :.:inds of the spectators. Drop the five cards on top give one false shuffle and cut. Now the act Of placing the five cards on top with the five of hearts on the bottom automatically maises the first five cards dealt to your self a straight, the alternating of the suits confusing the spectator and really the only card noted being the five of hearts. As you deal the five hands, the first card dealt to yourself will be this card, turn it over name it and continue dealing turning your card each time and nam-ing them without mentioning the suits. This is presumptions I admit and is one of those times when the audience give you credit for skill rrou do not possess. These are other possibilities by it's use which I am sure you will discover. Using the "Spread" as a Trick. In order that you can grasp to the fullest extent the purpose of this sleight I will first 3cplai.11 it as it is used by gamblers to fill each others hands, say, for instance, in a game of poker two sharpers are vorking as confederates and we will suppose for illustration that one sharper after the draw is holding two pairs say of sixes and queens with the ace of hearts. The other sharper is already out of the hand having thrown his cards in the discard. The sharper holding the hand signals his confederate immediately secures a six or a queen from among the discards and "high signs" the sharper that all is will, at the same time palms the queen or six face upward in the right hand,resting the hand so as to hide the card on the table infront of him. The sharper now continues betting and at the first opportunity palms the ace of hearts face downward in the rightfcand and "unloads" by naturally pushing some of the discarded cards out of the way en the table. Ke now holds but four cards the queens and the sixes. ?/hen he is called he says he holds a full house and lays his hand, down on the table face upward squared. The confederate reaches with the right hand and spreads the sharper's hand, at the same time adding the palmed card and making the sharper's hand, a full house. Now as the other players might notice the fact if the confederate merely laid the card on the faced card of the sharpers hand, he avoids this as follows. Lay a hand of four cards on the table face up and squared, the ends being towards you, now palm a card in the right hand and as you reach to add it to the hand, with the little finger grasp the side and draw it up between the third and fourth fingers similiarly to the way you hold a card when back palming but retaining the original hold between the root of the thumb and the first finger. As your hand reaches the position at the right side of the four cards release the hold of the thumb and first finger, allowing the side of the card to rest on the table. I/love the nand to the left slipping the card partly under the four cards and with the fingers of the right hand spread, the cards to the right releasing the palmed card znd spreading the others over
the face of it. You C3.n eit-icr show this as an expose or as i often do by- playing both parts explaining the circumstances but not the porcedure.
Secretly place any hand of poker on tbe bottom of the pack, say for instance'" a" straight flush, that is a sequence oi five cards all of the same suit. Give the pack a false shuffle and cut saying, "First I must find a good hand and shuffle it to the bottom." Stop shuffling and show the straight flush. Replace the five cards on the bottom face downwards bridging them b y bending down the sides sharply. Now watch me get that :-and.tt Deal out a few hands of poker. Ley»some money on the table on your left to represent your chips. Turn your ov/n hand of five cards showing them to be of no vaihue. Having placed the pack sidewise immediately in front of you on the table, the.straight flush still being bridged en the bottom of the pack say, "You know is a game of poker there is a psychological moment when everyone is exem". ,:ng the value of their hand-". 4nd that is the moment just after the last card is dealt. Now the sharper takes advantage of that moment in this way. As you are looking at your hands :.:e reaches over ?rith his left hand and picks up a chip. Deliberately places his valueless hand on the top of the pack picking up the pack in"the same move hopping (leaving( the straight flush laying infront of him and slapping the pack down on the table to his right and placing a chip on top of it,( a common custom, in poker.) Picks up the straight flush ?.s his hand and remarks brazenly ,"Well, what are you doing boys?" + his is very deceptive if accomplished quickly without hesitation. In picking up the pack and depositing the chip onto:: try to accomplish the movement by counting as follows: Count one and"pick up the pack with the right hand placing the five cards you already hold in this hand on top, at the same time, leaving the five bridged cards on the table, on the same count with the left hand pick up. the chip. Count two place the pack with a slap on the table"to your right. Count three and place the coin or ship on the top of the pack. Now practise the move counting one, two, three until you can do it quickly without pausing on the numbers. T his is very interesting and never" expose how you leave just five cards when you pick up the pack. Topping the Pack. This is usually done by sharpers using a confederate in the game of poker but I show it as a trick'. Make this assertion, "inyono can shuffle and cut the cards and I will deal any number of hands and I will always make "our ''and the winning hand," pointing to the nearest spectator" on ^our* loft, that is the spectator to whom you deal first. After the cards arc shuffled and cut, ocal out tho number of hands requested', seeing that you deal the first hand to your left to the spectator you designated as the winner. Of course dealing yourself a hand. Ask the spectator on your left to turn his hand over saying, "Lot's see what tho others have to beat." Note quickly the possibilities of -10-
the hand, for instance I will cite a few possible combinations and name the missing card or cards to fill the hand. Two pairs Jacks and eights. Hissing either a Jack or an eight. Ar.y broken, (Sequence such as deuce , tray, five, six, ten, missing card a four. Any pair such as Jacks. Hissing card a Jack and a pair to make a full house or two Giore Jacks to make four of a kind. Pour hearts and a club. Hissing card a heart. Three nines. Hissing cards either another nine or any Pair, etc.etc. As there are over two million different five card combinations in a pack of cards, I could continue forever. However, you will grasp ay meaning. You note what cards or card would give the spectator a good hand. Now to find them. In many cases you will find them in the hand you dealt yourself. If so, palm and In picking U D the pack deposit on the top. The spectator being the first to draw cards after discarding naturally you fill his hand each time. If at times say he held the four five and six now if you should have the tray and the seven in your hand when he discards suggest that he might retain the four, five or six it being very unlikely that he would draw two cards to a straight. If you can't find the needed cards in the hand dealt to yourself why you will have to Either get them from the discards or use a peep by riffing the pack at the index and using the sideslide to bring to the top. The action of placing the wanted, card on the top of the pack is catted "Topping." Explain after you have filled several hands that of course the sharpers work together and never have to show each other what they hold. Of course, never expose how you fill the hand. It requires a great deal of ingenuity and address to present the above, but if you v/ill sit down and watch the different possibilities in dealing different hands I am in no time you will discover little methods of your own in securing cards to top the pack and fill the hand of the spectator, ^ven if at first you fail a few times you willfincl it holds their interest. A Bottom Run Up. Place the cards to be "run up" on the bottom of the pack, for instance four queens. Take the pack in the left hand as for the haymow shuffle. The first time you bring the cards into the right hand during the up and down movement of the pack in the left hand with the thumb of the right hand draw off the top card, at the same time with the first finger of the right hand reach back of this portion and draw off the bottom card as well counting one and continue taking the top cards with the thumb one at a time continuing counting one less than the number of the hands to be dealt (for instance if there are five players, count to four and start at one again.) Each time you count one take the bottom card as well. Repeat in this instance three times (that is you count four, four times) outjog the next card following the last count of four and shuffle the remaining cards in any manner on top being careful not to disturb the cards under the outjog. Cut below the outjog and throw the portion intact on the top of the pack and every fifth card is a queen and whan dealt are in the hand you hold. This is an easy way of "running" up a hand no matter how many players are in the game. Be careful not to make a noice when taking the bottom card. i his can be avoided by not pressing too hard again?.*- the bottom intaking it away. —i i —
False Shuffle Using Outjog and Haymow Shuffle. As there may be some confusion as to my-references to the outjog and the haymow shuffle I will explain these in detail. Hold the pack in the left hand at the ends, horizontally, the top outwards between the second and third fingers at the far end, and the thumb at the' near end, the first finger resting on the top side, the little finger held at the near end ana used occasionaly to square the bottom side of the pack as necessity demands. With a perpendicularly up and down movement of the left hand start depositing one or,more at a time, the card or cards In the left hand from the top into the right assisting with the thumb of the £ight hand. This Is the shuffle as adaptable to the "bottom run up" xhe right hand, brings palm upward. The cards resting horizontally, faces of the cards to the left, the back to the right supported between the thumb and fingers. False Shuffle. This false shuffle is only adaptable in holding an ax-ranged portion on the top in position. Hold the pack in the right hand as in the previous shuffle/ With the left hand cut a portion of the pack from the bottom below the arranged portion and outjog the first card placed on the top of the arranged portion in shuffling. (Tc outjog is to place a card so the end protrudes over the far end of the pack. To injog is to place a card so it protrudes over thenear end of the pack. In other words you merely make use of a card as a Darker. Do not exaggerate by causing the card to protrude so far that it is noticable.) Now shuffle the balance on top of the outjogged card. Then pick up the portion back of the outjogged card and drop intact on the top of the portion held in the right hand. This keeps the arranged top portion in order. By repetition the shuffle can be made more conclusive. This shuffle can be used in .most of the preceding sleights if you find the Riffle False Shuffle too difficult. To name the Hole Cards in a Stud Came. In the game of Stud poker the first card dealt to each player is dealt face down, the balance of the cards being dealt face up. i he betting of the game is entirely dependent on the face down card.' If a player knew the cards dealt face downward it would give him a big advantage. Often I am asked if I can name thehole cards (the face down cards) so I have devised the following routine for Stud Poker. In picking up the cards after the deal previous to yoBw own, note the four cards v-rOu place on top remembering their order (this is for five players.jj G ive the pack a false shuffle and slip the cut oy one of the previously explained methods and deal. You know what each player holds as a hole card. -IS-
Peep in Conjunction with, the Second or Bottom as an Aid. After dealing the hole cards, loosen the first two cards of the top of the pack held in the left hand with the left thumb, and by pressing the base of the thumb against the indexed corner near you, slightly raise the two cards keeping them separated a little. Reach forward with the right hand to bend up 'our hole card which is lying face downward on the table in front,of you, apparently to see what it is. At the same time carry the left hand holding the packforward and rest it on the hole card as though to hold it down while the rig tit hand bends up the front of the card so you can see what it is. Press the base of the thumb against the indexed corner of the pack, holding the edge of the pack towards you and peep and note the first two cards on top and the bottom card of the pack as well (with a little practise you will find you are able to see more than the two top cards.) Now for instance say that you have a ten as your hole card and that either the bottom card or one of the two top cards is a ten. If the bottom card is a ten when you deal yourself the first faced card, deal this bottom card to yourself. If it is either of the top cards hold this card by dealing seconds to the other players and dealing the desired ten to yourself. This gives you a decided advantage. If none of the cards are of any use to your own hand very often you can prevent them from getting a card that is of value. This is easy as you know their holG In stud after each round of cards the players bet. This gives you the opportunity to repeat the peep before dealing each time. The continous movement of looking at your hole card will attract no attention as this habit is prevalent with stud players. Be careful in peeping to keep the front"end of the pack towards the players squared. #Of course if you have a pack of "readers" (cards with marked backs) this peep is unnecessary and your work is much simplified. - ^f
'Bottom Deal as Used in a Game. Place the cards you wish to hold in your hand on the bottom of the pack. (Never used more than three that is three ofa kind as three aces or three sixes etc.) False shuffle and slip the cut or use the Bottom Palm (Erdnase) to hold out the three cards while being cut and return tc the bottom after you place the pack together, by sweeping it off the table into the right hand. I find it is advisable to deal two of the bottoms into your hand before the draw and the other bottom to fill the hand after the draw, I suggest this as the attention is usually centered on the number of cards the dealer Is going to draw. There are many different combinations which present themselves in the foregoing deal as you will find in practise. The Story of the Cold Deck. h "cold deck" is a prearranged pack which is secretly introduced -13-
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in a game, that is, substituted for the pack in use. it derives it's name from the fact that a pack which is in play is usually warm clue to the handling of the cards and the danger lies, in introducing a cold deck, tc the probability of the players noticing by the cold feel of the cards that a substitution has taken place. Hence a cold deck should be warmed just previously bv handling or by placing in a pocket which is close to the bod]" and in this way kept warm until needed. A ©old Deck is arranged so that each player is dealt a hand which is out of the ordinary and the sharper is dealt a hand which lust irtops" the others. For this, reason a confederate cut o£ the game who appears to be an onlooker is necessary as the hands must be arranged so as to 8fa.ll where the money lies" and it is useless to deal a player who is nearly broke a wonderful hand as there is nothing to win. The procedure of the sharper is to let the game proceed until the money is located, that is to find out who has the cash tc lose. Then by a signal to the confederate who by the wa-r has noted 1 he position of f-e players, the sharper telegraphs that, he is ready for the cold deck. The confederate retires to a place of secrecy and "runs up" the cold deck. After he has accomplished this he warms the"pack and all is ready for its introduction into the game. There are several methods of procedure. Of course, the cold deck must be introduced at the time of the shrrpers dealing either previous to shuffling the pack, or immediately after the cut. Needless to say the cold deck must be identical to the pack in use in the game. The first procedure 1 consider the cleverest. In this instance the confederate is a waiter and after he has signaled the sharper that the cold deck is in readiness the method is as follows: Perhaps two deals previous to the sharper's turn to deal, he signals the waiter and orders a drink. The waiter departs to fill the order and places the drink on a tray holding the cold deck with the fingers under the tray. He now times his approach so that the sharper has shuffled the pack and had it cut and is lust at the point of picking it up tc deal. 'At this precise moment he interrupts delivering the drink. The sharper has left the shuffled and cut pack very close to the edge of the table so that the end of Pack slightly protrudes over the edge of the table and picks up the pack in play at the protruding end and carries it way with the tray. The sharper is careful to keep both nis hands in view during the operation. The sharper now picks up the cold deck and starts to deal. Other methods involve the use of mechanical devices too numerous to mention. ^m: Lhor natural method is to have the "banker" in the game a confederate as well and as it is usual for players in the course of a game to call for different deck of cards, the confederate slips the cold deck to the banker who deposits it with the other packs and when the sharper calls for a new pack he hands him the cold deck. The sharper false shuffles and slips the cut and deals as before. Another clever method of procedure is of taking the "mug" (the player who is to be trimmed ) into Trour confidence and pretending to "frame" one of your own confederates, who the"mug° believes to be unknown to you. In this way there is little dangerof discovery as the mug dare nof'squeal!' after he has incriminated himself. The sharper
takes the "mug" into his confidence and pretends that they are going to ''trim" the cor.federc.+ e, i he cards are cold decked and introduced into the game and after the "draw'1 the confederate holds a bettor hand than the "mug" and wins. The sharper's explanation being that it was an accident and makes the argument look good by apparently losing his none" to the confederate. Later tee sharper and the confederate split the winnings. .All of the above if presented as an expose creates a vab'o amount of interest and inspries respect for your knowledge of the procedure cf cheating at cards and really does the sharper at large no harm as the spectators would never know or recognize they had been cheated if they should play later in a fixed game even armed with the above knowledge. I have a great eespect for the professional sharper or as he is called in Europe "the reek/' not for his method of living by his wits, but for his wonderful resourcefulmess in action. 1 he ability to do any of the preceding procedures indetectably means nothing, as in magic"it is all in the presentation, the way you sell it. And in addition the sharper must have nerves of steel. Another little interesting coincident which I call to memory illustrates admirably the stand one sharper takes to ease his conscience in taking his "ill gotten gains." This particular gambler who has a vast knowledge of humannature cites the following. "All, or nearly all people are cheaters at heart. F or instance, in a game for high stakes if by accident in the course of the betting the average man held an excellent hand and intended to back it to the limit of his resources and by accident if tie should see my hand and note that nime was the winning hand, do you think he would* c-^rry out his intentions and bet as he intended or would he take advantage of his knowledge of the value of my hand and refuse to bet, throwing his hand in the discard? I am sure that in nearly all cases he would refuse to bet. In other words he cheats if opportunity presents and I cheat by use of my skill and create the opportunity." You must admit the foregoing is logical. I have met gamblers who are so skilled and watchful that in the course of dealing by the ear alone they could distinguish when a second or bottom was dealt. Of course, I believe this canbe overcome on the part of the dealer in practise. If you should accomplish the bottom the true top card and the second or bottom.
TO DEAL FOUR ACES FRO,- AM W
M{'S 1'ACK.
I have often been asked if it :.s possible to run up a certain winning hand in poker while dealing so that it is indetectable . My answer is yes, absolutely. To prove my assertion I will give you a practical demonstration, running up a hand so that when I have thoroughly shuffled the deck and permitted you, yourselves, to cut it I will have the winning aand, T Q r:lake the demonstration more interesting and more difficult, I shall first of all remove from the pack tfee cards I intend to run up. Let!s see, suppose we us^ the foiar aces. There they are, four aces. You will have to admit that the he
player would be extremely gladdened, at any time, by these four cards. Now watch carefully v:hile I stack the deck so that in dealing four hands these very four aces will fairly fall in my hand. 1 will place them here in the center of the pack." During this ratter, you have removed the four aces, shown them and then placed them in the center of the deck. However, you have held a break above them and at an opportune moment, while pattering you bring them to top of pack by .the pass. To stack them so that every fourth card v/ill beran ace proceed as follows: Cut the pack in two parts, top half in right hand. Riffle the two halves together but let all the cards, with the exception of the three top ones, of the half in, the left hand fall in between the lowermost cards of the topralf. 1 he three cards on top of left half are let drop in between third and fourth ace on top of right hand half. Push the two halves completely together and then proceed to cut pack into halves as before and riffle together, but this time you let the three top cards from the left hand half fall in between the second and third aces on top of right hand half. Repeat this same proceedure twice more, the third shuffle letting theee from top of left hand half fall in between first and second ace, while on the last shuffle thethree top cards from left hand half fall on top of right hand half and this new stacks pack so that the four aces arenow the fourth, eighth, twelveth, and sixteenth from top. To the audience, the aces are hopelessly lost in pack/ To make it look even sore genuine you over hand shuffle, using the haymow shuffle as follows: Undercut about half of the pack run off into .left hand, outjogging first card and running the balance. Cut at outjog and throw on top and again your pack is all set as before. Offer the pack to be cut, slipping the cut when you pick up pack from table. Now deal four hands, deal all the cards face down but whenever you deal your own card turn it face up so as to make it more effective. Continue whileshuffling, "I.ly friends, you can see that in all these shuffles those four aces are hopelessly lost somewhere in the pack and where—ah, that is beyond all human comprehension, ^ut, to a card shark it is different. Will you cut the pack please?" Thank you. I shall now deal four hands. Look there are those aces coming righ t home tofather right where they belong, I believe I have convinced you beyond all reasonable doubt that it is possible to stack the pack ri^ht before your very eyes. It makesno difference whatever, how many hands are to be played or what cards are to be stacked for the result is just the same. The moral to this is, do not play cards with a stranger if you want to save your money and live to be a ripe old age." The Shooting of Pete IvlcGuff. "No doubt most of you,, at some time or other, have read the story of the shooting of Pete Llc^uff. Pete sure was a slicker with the cards and could run up a pack in the twinkling of an eye; could deal from the bottom as well as the top, and in fact, could always deal himself the winning hand. It was in the town of Cripple Creek that a bunch of hardboiled cowboys and all good gamblers too—challenged Pete to a game of poker. Beisdes Pete six other players entered. It was understood that all hands -were bo be 'Pat Hands' and drawing would be out of order. -16-
Pete agreed, provided he be permitted to deal the cards. After a few moments of debating among the other six It was finally agreed that Pete bo permitted to deal the sevfjn hands, but that he must use a brand new' pack that would be furnished hy the proprietor. It wes f'urther understood, that the pack, after receiving one straight cut, should be dealt without the usual shuffling, each one taking their chances on the possibilities of the law of averages. Now, my friends, I shall assume the role of Pete LicGuff toiiight in this demonstration. You ",\ay furnish the pack of cards or we can use this one, brand new; right from the maker with seal unbroken. You sir, please bteak the seal and remove the pack. Tftank you. Now you, sir, give the cards one cut. Now, Pete took the pack, and proceeded to deal seven hands, the seventh being his own. But In dealing, when he dealt to hitsself he dealt a card off the bottom each time like this. There, we have the seven hands dealt just as Pete dealt them with Pete's hand dealt from the bottom. All the players picked up their hands, just as we will do now and you notice that all six of them are exceptionally good poker hands, ^ut my hand, which is supposed to represent Pete's is turned over and It is a strai*ght flush and beats them all. T^t's what Pete did. However, the other six were not satisfied. One o£ them accused Pete of dealing from the bottom of pack. All right says Pete, if that is the way you feel about it I will discard my hand entirely and one of you boys take the pack yourself and deal me five more cards. So one of the hardest of the six picked up the pack and dealt the five cards from top of pack and when Bete turned them up he again had a straight flush, thereby topping them all. In unison six revolvers were whipped out and Pete was shot dead. That, my friends, is supposed to be the exact reason or the untimely death of the famous Pete Llc^uf f.M '^he trick is practically self-working. Host packs as they come from themakers are arranged from ace up to king. All Bicycle cards are arranged in that manner. It is best to steam the seal off the pack and examine the pack to see if It ij I.: -'his order. If not, arrange It so. Offer for cutting and after cut, got a glimpse at the bottom card. If it is less than a six spot secretly cut again or let another spectator cut until you get a card on bottom that is higher than a five. Any card from six taking is all right. Deal sevenhands, but when you deal your cards take them from the bottom. You let audience see you do this as It is past of the explanation. After the deal you will find you have a straight flush. Turn up the other six hands and then your own. Go on with your story and when the proper time comes let spectator take up deck and deal you five more cards from top of pack. It is sure to be another straight flush and higher than all the other six hands.
MASTER POKER DEALING. After you have dealt several different poker hands, or done other gambling tricks you explain to audience that up to this point they no doubt think you are marvellous in being able to run up various hands etc. but not" you are about to show them a master feat that is known only to one or two of the greatest card manipulators in the world. You tell them that you are going to deal four hands of poker and your hand will
not only be the winning hand, but that.it wi..l ue a royal flush of c.r;; suit that they call out. Suppose they ask for a royal flush in hear^t.. You give the pack a shuffle, then have it cut in the regulation uiAiirtrr then deal four hands. T Q Q other three hands will be beauties, me si- cf them straight flushes, but when you turn yours up it is a royal flush of hearts—the suit they requested. For these who are not familiar with the royal flush let me say that it is a kand consisting of Acs} King, Queen, o'ack and Ten of one suit, the highest hand possible in poker and dealt out only about once in four thousand times. You can stress this point in your patter and also announce that you are making it four times more difficult by dealing the royal in a specified suit. Y/QRKIHG; The working of this marvellous trick is simplicity itself. First of all, arrange 'To ".r pack in Si Stebbins order, using your r-wn arrangement of the suits. Personally I prefer the •Spades, Hearts, Clubs Diamonds arrangement, the suits being rotated and each card being thBee points higher than the proceeding one, like this: Ace of Spades, x''our of Hearts, Seven of Cllibs, Ten of Diamonds, King of Spades, Three of Hearts, Six of Clubs, Mine of Diamonds, Queen of Spades, Etc. After you have arranged your pack in this manner cut it so the two of Spades will be the bottom card. If you were to deal four poker hands of five cards each from the pack now, your hand, the fourth one, would be a royal flush of spades. If you cut the pack so;as to get the ttwo of Hearts to bottom of. pack you will deal a royal flush of Hearts to yourself. Same thing is true of Clubs and Diamonds. In other words for what ever royal flush you want to deal for yourself you simply cut pack so that the two spot of that suit is on bottom pack. Now for the working. Have pack set ready to deal Sp a ( } e s # ^ow riffle bottom of pack until you come to the two of Diamonds and hold the break with the little finger. ihen riffle top cards until you come to two of Hearts and hold this break with third finger of left hand. Now ask for the suit to be dealt. If they say Spades, simply take little and third fingers out of pack, and have pack cut slipping the cut and proceed to deal. If they ask for hearts you pass the top thirteen cards,where you' arc holding break with third finger to the bottom, and proceed as above explained. If they want Diamonds you pass the bottom"thirteen cards, under little finger, to top of pack and proceed. If Clubs are called you first of all pass the top thirteen cards, to bottom of pack. Then take pack in right hand and snuffle off-haymow shuffle-into left hand, the top thriteen cards and throw on bottom of pack and. you are all set to deal a royal flush of clubs. To make the trick more effective, you can perform the following overhand shuffle; after you have passed the puoper number of cards from top to bottom or vice versa, so that the two spot of requested suit is at bottom of pack you take the pack in right hand and undercut about half of the pack from below and shuffle off onto top of upperhalf, first injogging first shuffled card and run off the rest. Now cut ai injog and throw on top, and you have the top half intact and ready to be dealt, I have gone into much detail on this trick, but I thought it worth while as the effect is truly marvellous to the layman. Guard the secret well as it is a valuable one.
1'xhibition Poker Feat. Arrange your pack in the following aanner, reading from top to bottom. 73. QH. AS. 8H. JS. KK. 9H. 10H. IOC. 9C. 7D. QC. AD. 8C. JK. KS. 9D. 103. 10D. 95 7C. QJD. .AH. 8D. JD. 2C. 3C. 4C. 5C. 6C. KC. 7H. JC. 2H. 3K. 4E. 5H. 6H. Bridge pack here. 83. 33. 4S., 53. 63. QS. AC. KD. 33. 2D. 3D. 4D. 5D. 6D. Joker. Have this arranged pack bridged at above mentioned place1, and joker at face, in your right coat pocket - ith a pocket handkerchief. Offer your regular pack for shuffling and when you take it back place the poker at the bottom saying: "This joker is the master of cerimonies,n Ask for five assistants and while they are coming up you put pack into coat pocket and bring out hanky and arranged pack at same time, Wipe your hands with the hanky and return it to pocket. Deal five hands of poker, one to each assistant and when they turn them ever they each have a full house. The remainder of pack is laid on table and you tell assistants that vou will ncv; deal yourself a hand but that you will do it in an unusual manner. Cut the remaining portion of pack into two piles—but be sure to cut at the bridge This cutting leaves the two portions with a straight flush on top and bottom of each half. You then tell then that you will now deal yourself a hand from either portion that they might select. Let them here designate, freely, which portion you shall use. V/hen this is cone tell them that in order to make it still more convincing you will permit them to say whether you shall deal the five cards from the top or the bottom of selected portion. It makes no difference whatever, which theyask for as you will get a straight flush either way, In the event they should select the portion that has the joker at the face, and if they should ask you to deal your hand from the bottom of this portion, you remove the "Master of Cerimonies" first a:id throw it face up on table. 'This :' s an excellent poker trick and if clothed with appropriate and interesting patter it will be exceedingly effective.
In Pinochle fortfe eight cards are used, (that is, the Ace, King, Queen, Jack, Ten, and Lliae of each suit is duplicated.) The game is played either two, three or four handed, and the cards in each case are dealt three or four $t a time, this being optional with the dealer. The usual cut is made, and in four handed or bid pinochle usually but three hands are dealt, each dealer in turn staying out, Fifteen cards each dealt to each of the three players, this leaving a &ummy of three cards which are placed face down on the table. The bidder who wins the bid is allowed to pick up these three cards and discard three of lesser value from his hand. You can readily see the advntage the bidder would have if he knew the value of the cards in the dummy. The following is a method of ones partner always knowing at least two of the cards in dummy. This is accomplished in the following manner. In picking up the cards preparatory to dealing, your partner places three cards of high value such ;.s three Aces on top.' He hands you the pack. You shuffle, hoidinr the t:~ ^-•-'—19—« " ' c
that la, use a riff shuffle, 'out do not disturb the three top cards. Lay the pack to bo cut, after cut in picking up the portion, hold trie break of the cut ]y- the fleer: grip or merely by making a slight step or jog at the junction of the cut, i-j'ow deal in the usual way three at a tine until you cone to the flesh grip or jog, som&t ' .vies you nay have one card on top of the break ?r at other times you may have to take one card on top of the break or at other times you may have to take one card below the break. In any event you now place the throe cards in the dummy. ;/c all times, your partner knows at least the denomination of two cards in the dummy ^n?. at fortunate times three. One can easily see the advantage this little knowledge gives your partner in bidding. I want to add that it is comoulsary to deal the dummy at some time during the deal but it must never hy dealt from the top at the beginning nor can the last three cards be olaced as dummy. i ais is Ho"~Ie, The reason for this is obvious. As you play partners and the dealer is out, the lone player opposite is the one who Places the cards he wishes in the dummy on top before handing the pack to his partner for dealing. Now, as he watches the deal, and knowing the sequence of the aces placed on the top he notes which cards fall to the dummj/, whether all three or an indifferent card is dealt first on top or two of the placed cards or ..vice versa. If one of the placed cards is included to the three dealt the last player in this case the second and third ace and an indifferent care lay in the dummy. Ke has noted the sequence hence he knows the denomination of two of the aces at all times and infertunate instances knows all three of the cards in the dummy. He bids accordingly. A Simple ^un Up For Pinochle. In picking up the cards preparatory to dealing. The partner of the dealer places the four aces of different suits on top. Now using the haymow shuffle previously described run the four aces from the top into the right hand, then run the next four indifferent cards on top, injog the fifth, and shuffle off the balance holding the break at^the jogged card, cut below the break and throw bottom stack on top. Hither ignore cut if possible, or slip the cut by any of the methods described in a previous chapter. Dealing the first round four at a time you will note that the four aces fall to the partner of the dealer. This gives the partner an advantage of a hundred aces. In games where pinochle is counted as three hundred the two queens of Spades and two Jacks of Diamonds give the partner a trememdous meld irrespective of the playing value of the hand. I would advise in reading the above that you deal a pinochle hand and follow eaci phase of the operandi* Although you may think these methods of negligent value it is just the little advantagein any game with little risk that will, in the long run, win* Please understand I am writing in the sense of entertaining, not to encourage those ambititious to cheat in games of chance -20-
BRIDG:C-W:-;I5T. Bridge-whist, or as it is commonly called Bridge, has perhaps in the last few years become a close rival to our latest out door sport, golf. Bridge as you know is practically from a basic standpoint, all in the bidding. The playing of the hand demands a certain amount of skill but still the bidding which is preliminary can truthfully be called the science of the game. The different partners by their bidding are en"~ deavoring to enlighten their individual partners as to the strength, of their respective hands. These preliminary remarks may seem unnecessary but in order to explain my methods of deception, I must impress that the success of bridge depends in It's entirety in solving, by the bidding of the relative value of your partner's hand, as well as the strength of the opponents hands. If one were to be sure fof perhaps two high honors whether they lay to the opponents cr in your partners hands you can easilv see the advantage in the biddins. The following though vague to the uninitiated will be readily decerned by the hardened bridge player. In bridge two packs of cards are used, to illustrate the procedure of dealing, last and West are partners and North and °outh are partners Diagram. N
E
When North is dealing South mixes the other pack for west's deal after shuffling he places pack in front of West, .After completion of hand North cuts the cards and West Deals. The following of this procedure is neeessary to understand what follows. Bridge is dealt one card at a time each player receiving thirteen cards. The dealer being the original bidder in this particular case '.Vest is the first bidder. Ple.ase make a picture up to this point of the relative position of the tables-, East and West are partners. North a..:d South are partners and it is Vest's deal. Now I must go back prior to the shuffling of the cards by South and the laying of the pack for West's deal. Remember North and South are partners and South shuffled the cards for .Vest's deal. In picking
up the cards South places on top the /;ce of Clubs, Jack of Clubs Ace of Spades, Jack of Spaces and Ace of Hearts. Note the Ace of Diamonds Is absent. After shuffling and holding the five cards placed on top he placed pack in fron t of ftest for his deal at completion of the hand in progress North cuts the cards and West deals. After the deal, if South holds either the Ace of Ciu"bs, Hearts or Spades, he knows his partner N rtb holds the others. If South holds two of the above mentioned aces he"knows North holds the other. If South holds none of the above aces or holds the Jack of Spades or Jack of Clubs he knows that his opponents, East and West bold the three above me nti one d .Aces and bids accord! ngly. Any bridge player can readily see the advantage of knowing the position of three aces at all time in the bidding. Apparently all is fair and nothing that would give rise to suspicion has taken place. Take a pack and try it, at the same time carefully following exand diagram, it's a revelation and well worth while.
. CHALLENGE BRIDGE DEMONSTRATION. Bridge experts will tell you that the chances of dealing^ or being dealt, a perfect bridge hand, that is, one consisting of all thirteen cards of one suit, is only one in twenty thousand. ^hat is true—but it all depends upon who is doing the dealing. In my demonstration I am going to attempt to not only run up, and deal a perfect bridge hand, but will do so in any suit you may name thereby making the chances four times as great against me, or in other words, one chance in eightythousand. However, I will take that chance. Here is the pack, new name your suit. What? Hearts? Fine, All that I ask is the privilege of giving the pack two dove-tail shuffles and one cut. Is that satisfactory? ^hanks. Here we go. Your pack is arranged in the Si Stebbins order, although this is not entirely necessary. The important part is to have the suits separated so that every fourth card during the deal will be the same, no matter in whatever, suit is selected, no particular arrangement of the thirteen cards of each are necessary. When audience call out the suit of the perfect hand lay Pack o.n.itable ready for riffle shuffle. With right hand cut off the top half of pack and do the "lace Thru" false shuffle. Repeat this, then square pack and offer it for cutting. After cut, notice the bottom card. If it is not of the same suit cf the hand called let several more persons cut until a card of the suit is finially at bottom of pack, ^his extra cutting will actually enhance the trick as the average person believes that the cutting of a pack completely disarranges it. Now, with a heart at bottom of pack you are ready to proceed. "You will have to admit, folks that the pack has been thoroughly shuffled and cut several times and that it would really be beyond all human comprehension to knew "uhe location of any one card in the pack. However, you will remember that
I said before that it all depends upon wl o is doing the dealing. I shall now deal four hands of bridge in the regulation nasner one card at B time. You asked for a pcrxee": hand of Hearts •> Lock, hero is thirteen beautiful Hearts." The patte ter above is all tti-^t is n oce is8.ry to explain the finish of the trick, After the shuffle and CUT,S sim-.ly deal the four hands, and expose only your own hand. Gather U D the other three hands before turning yours over
GLOSSARY. DECK, TOPS,
a common expression for a pack of cards better; or in the sense used, hand that "tops" the other hands, would be a better hand or the winning hand. FALL WHERE THE MONEY LIES, that is that the next to the best hands would be dealt to the players having the nost money. RUNS UP, To prepare a pack placing certain cards at different positions in the pack so tlie cards will come out in planned order when dealt* BANKER, one who holds the money and issues the chips, also conducting the game and providing packs of cards when requested by the players MUG, a confidence man's term for a person which he intends to take money from by cheating. TRIM, To take money from a person by cheating. TO WP.^ME, to fix or prepare to cheat someone. SQUEAL, to tell or to inform the police. DRAW, in jtf'-cr five cards are dealt at first and each player in sequence has the right to discard certain cards and call on the dealer for other cards to replace the cards which he discards. The advantage of the foregoing sleights as a method of entertaining is evident and even if you are discovered at times in different procedure, it does not detract from the effects nor does it expose anything which might lead to solution of tricks of a purely magical ra ture They are not necessarily adapted to the game of poker only, by slight variations they may be made useful in any game. I have used poker in most cases as that is the most universally known game In this country. In closing I would like to state that I have yet to see a method of slipping the cut of the cards on the table that was indetectable. I have spent many futile hours trying to devise one.
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EDITORIAL NOTE. The editor of this series wishes to express his thanks to Mr. Charles J. Maly, who has given us much valuable assistance in preparing these manuscripts. Several of the effects are written by the editor or Mr. Maly from memories of tricks " done by Mr. Merlin; hence, any slight variation from Mr. Merlin's routine must he charged to our sometimes faulty memories. This has occurred in only one or two instances, as the manuscript sub- • mitted us by Mr. Merlin was very complete. A few of the effects and sleights that were originated by Mr, Merlin have been "rediscovered" by some of the other writers on Magic. However, In most cases, the reader will be able to trace back the use of these to Mr, Merlin in the beginning. Of oourse, not all of the things in the manuscripts are original. Where possible, credit has been given to the originator. Some effects that are not in theirselves new have been given new presentation or improvement. In carefully rechecking the various sleights contained herein, we note that Mr. Merlin is ambidextrous; and some performers will have to reverse some of his instructions from left to right, and from right to left, as some performers.can use only the right hand for certain manipulations. A. W. C. BRUIIFIELD.
"and a Pack of Cards." The following three manuscripts comprise the Series entitles "and a Pack of Cards." Invaluable to any one who does card tricks and written by a Vaudevillian of many years experience. All workable stuff, no Padding. Concise and nothing held out. MERLIN'S MA5TZR MANIPULATIONS. Exclusive sleights and manipulations. Covers very thoroughly Theory, Passes, Second and Bottom dealing, False Shuffles and Cuts, Thumb and Finger Counting, Changes the G ii3e ; forcing and Crimps. Hi*. Merlin has in addition to explaining many exclusive sleights and methods, given many tricks based en these principles. MERLIN AT THE CARD TABL2. In this, Mr. Merlin has given a very clever routine of card tricks to do at a card table or in a club room. Just the thing to use when some one says, "I would hate to play cards with you." Contains quite a selection of card effects all based on Poker, Bridge, Pinochle or other card games. Enough material to give quite an entertainment as an expose of "How Gamblers Cheat" but really you expose nothing. •** work that has long been needed, by the Magician and treats entertaining by Magic in a new angle. IvIIRLIN'S MASTER IILxACLES» Some of the tricks that have made Merlin the outstanding Card Conjurer of the World. Contains the explanation, so you can work it, of his famous Spread on the Table, ^his he has done at Club entertainments all over the world and it surely seems a miracle. ^Spread out the cards, face downwards, on the table. Look at a card. Replace it in the pack yourself. Gather up the cards." And then he locates the cards. This is only one of the Master Miracles that he explains for the first time. Each "Section complete in itself. Price per Section Qs.00 prepaid. The set of three, ordered at one time, ^5.00 prepaid. Foreign add lOjzf per Section. Order of your dealer or from the publisher.
36 'J7est Pratt Street.
THE V/ELWORTH COMPANY. .
Indianapolis, Indiana.
i£~
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Jalerlin 's Master Miracles Jack Merlin
Section Three of "and a Pack of Cards'*
Cherished Secrets of a Ulster Lan
Section Three "and a Pack of Cards,'" Second Revised Edition,
By J^Ci: LIPuLIN.
Edited by A. w'. C. Brumfield. Published 1928. By 35 west Pratt Street, Indianapolis., Indiana,
Cherished Secrets of a Paster manipulator.'
S25H5EI5H5H52SH5HS252525H5H5H5E5H5E5252S25H525E5?
"ART IN MAGIC" ELMER ECKAM, Prop. 1407 E. Main St.
Rochester, N. Y.
Copyright 1927, 1938.
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EDITORIAL NOTE. The editor of this series wishes to express his thanks to Mr. Charles J. Maly, who has given us much valuable assistance in preparing these manuscripts. Several of the effects are written by the editor or Mr. Maly from memories of tricks done by Mr. Merlin; hence, any slight variation from Mr. Merlin's routine must be charged to our sometimes faulty memories. This has only occurred in one or two instances, as the manuscript submitted us by Mr. Merlin was very complete. A few of the effects and sleights that were originated by Mr. Merlin have been w rediscovered" by some of the other writers on Magic. However, in most cases, the reader will be ablerto trace back the use of these to Mr. Merlin in the beginning. Of course, not all of the things in the manuscripts are original. Where possible credit has been given to the originator when known. Some effects that are not in theirselves new, have been given a new presentation or improvement. In carefully rechecking the various sleights contained herei.., we note that Mr. Merlin is ambidextrous and find that some performers will have to reverse some of his instructions from left to right, and from right to left, as some performers can only use the right hand for certain manipulations. A. W. C. BRUMPIELD.
ILrRCvZD CURD 7RCU PQCICi. You all remember the old trie;-- of riffliiv? "''-he pack and letting a spectator think of a cp.rcl, being careful that ail he saw was c::e c,:rd. In this tricl: I use that but first I make a t;reat pretense calling their attention to the fact that they have an equal view of each card and that I do not influence them in anyway. Of course I force a card by showing it a trifle more than the rest. I insert the little linger below it and bring it to -the bottom by the pass then immediately slip the top card on the bottom of the pack. This places the chosen card the second from the bottom. Show the top and bottom card of the pad; to Drove the "selected card is raally somewhere in the middle of the pack." Hand the pack to a spectator asking him to place it in his pocket, noting which way he places it whether face outward or face in-* ward. Mow the old procedure was to reach '.n the pocket and count two from the bottom and bring out a card holding it face downward and have the spectator name the card looked at a:;d on turning over the card show it to be the chosen one remarking, "You see it's how you reach," This is a very effective trick. Now for a variation. There is no difference in the procedure up to the point cf having the spectator place the pack in the pocket, As he places the pack in the pocket note and remember the bottom c:.rd of the pack. AfteP the pack is placed in the pocket ask the spectator to reach in his pocket and hand you a card telling him no matter which one he choses it will be the chosen card. Caution him not to name his card, but ;iust to say Yes, or iTo. After he reaches and brings out a card, note if it is the bottom card you remembered* If so you know the chosen care is now o-o the bottom of the pack in his pocket. After he looks at the ca:xl and tells you it is not the one (Sometimes he will accidentl- draw out the card he selected, if so the trick abruptly finishes.) As he has failed to find his card you assert th.it you will find it. Yor reach :. to his pocket and take the chosen card a/i
J-his affords many places for comedy situations. It may even be combine'7, with the first method by having two cards remembered but I leave this all to you. Combining the Passing cf Cards Y/ith The Pocket Trick. The following is an effective combination of the trick of passing a few cards from portion held by one spectator to another portion held, by a second spectator. This is an effect whtc! is old but by combining one of the methods in the "twelve card trick to the pocket," you are en*
abled to count both portions held by the spectators. I use only twenty cards in the effect. Valm five carets off tne pack and hand the pack to the one spectator requesting him tc count tne:ity cards. Place the five palmed cards on the top and spread the1:: in your hands requesting one of t. e spectators to remember them. Of course he can not, and do not give him much of a glance as he may notice there are more than twenty cards. Dur:".ng this, separate the t w e on top and palm again in the right hand. Place the twenty cards or: the table and reruest the cards tc be cut. ^lwaTrs have at least five in the smaller pile. left hand, asking him first how many five from thirteen leave. After he replies "eight"' have him count the cards one at a time on the table. Now turn tc the other spectator saying, "You'll be blamed for this, you have seven in your pocket and if I have caused five more to pass in your pocket, how many have you?" After he replies, "twelve" let him remove the cards and count them one at a time on "he table. There is wonderful scope for comedy in this trick. JLIany will say this is too complicated, I will admit it is not as effective to the two spectators, but it is double so to the balance of the audience*
A FOUR AC2 ASSIIUH,] Show the four aces and place on the top of the pack, holding the pack in the left hand horizontally to the left of the .body, the thumb holding the pack oh the upper side, and the second, thrid and fourth finger holding it on the lower side, the first finger resting on the far end.. Now start inserting the first ace with the right hand at the far end, pushing it in the pack with the first finger of the left hand with a quick movement. You will find although this locks conclusive to a spectator there is a very sm.^1.1 edge of the ace protruding. You can show the edge of the pack with impunity as it will not be noticed. Reach withihe first finger and separate the pack at thi. * protruding ace and insert the second ace with the right hand at this break being sure to push the first ace square with the pack, with the first finger
with tho first finger of tho left hand, continue until the four Aces are inserted in the same place in the prick with the edge of the pack at the end near you and reach with the first finger of the left hand and separate the pack at the protruding edge of the last inserted Ace and pull towards you causing the bottom portion of the pack to slide towards your right hand with the Aces on topf Grasp this portion at the root of the thumb with the right hand and with a sweep of the right hand over the top of the pack deposit the palmed portion intact on the top of the pack. Make a riffle v/ith the thumb and show the Aces to have passed to the top of nne rack. Thit is only a flourish and is very difficult, the apparent effect being the Aces were placed in different parts of the packT
PRODUCTION OF CHOSSN CARD BY RIFFLING PACK FR0I.1 ONE HAND TO THS OTHER, Hold the pack in the right hand and riffle the cards into the left hand by means of the well-known old flourish, I have devised a use for this old flourish as follows. Have a spectator select a card and return it to the pack. Bring the chosen card to the top with the pass and say, " Now take the pack and run the cards along slowly like this," Piffling the cards from one hand to the other. When the spectator admits he can not say, M Well 1111 do it, and wherever you say stop, I will stop and the card lying, face downward on the portion in my left hand will be the card you chose. Now I do not care where you stop but be sure and stop at the right one.* Start riffling the cards and when he says, " Stop,* you stop and bring the hands together, the dropped cards resting naturally face downwards in the left hand the thumb holding them on one side, and the second, third and fourth finger holding this portion on the other side, the palm of hand being up and the first finger resting on the far end of the portion. The upper portion with the selected card on the top being held facfe downward in the right hand at the ends between the thumb on the near end and the second and third finger at the far end5 the finger on the top of the pack. In bringing the two portions together, after being told to stop riffling, turn the portion held in the right hand face towards the spectators, holding the portion horizontally and rest the lower side edge of this portion on the lower portion held in the left hand at the extreme left side so that the portions are at right angles to one another. Reach up back of the left hand portion with the second, third and fourth fingers of the left hand and place the tips of these fingers on the top card, which is the selected c-rd. Pull this c^.rd downward off the top of the right hand portion on to the top of the left hand portion , covering the move by turning the left hand over to the right and pointing at the bottom card of the right hand portion saying, "First, I want you to note that here we have the ten of Clubs" (or whatever, the card happens to be) "and I cannot drop another one off without you noticing the fact." Ask them to name the selected card and turn over the top card of the right hand portion showing it to be the right one remarking, " You stopped just right.w
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I usually follow the above effect with this by saying, "Now some of you may think I stop where I want to and it is not a fair choice, so I will prove that you really find the card." Have another spectator draw a card and return it to the pack. Bring the card to the top by the pass. Place the pack in the left hand downward; the palm of the left hand being up, the thumb holding the pack on one side, the second, third and fourth finger holding the pack on the other side, the first finger resting on the far end of' the pack. Extend the second, third and fourth fingers straight up so they are at right angles with the top of the pack. Hold the pack and invite any spectator to tip a portion of the cards at any place he desires from the thumb side, up so it rests at right angles with the rest of the pack, against the second, third and fourth fingers of the left hand. In other words,feemerely cuts the cards at any place in the pack; so the cut portion rests c gainst the fingers. II a f e w times by doing it yourself. Caution the ;xra spectator to notice thqt it is a free choice of cut and announce that no matter where he cuts, the top card of th< lower portion l3"ing in the left hand will be the selected card. After the cards are cut as prescribed the selected card is on the top portion which is cut, and the second, thrid and fourth fingers are resting against the card. Grasp the side of the lower portions with the thumb at the side near it and turn the left hand to the right, bringing the upper portion in a face up *:c.3ition resting on the fingers and the lower portion at right angles held by the thumb. Now with a quick movement to the right with the left hand toss the upper portion into theright hand holding the top card of that portion (which is the selected card) secure on. the finger tips, and by closing the left hand bring this card on the top of the lower portion handing the right hand portion to the spectator remarking, "Mere, you hold this portion so I cannot tamper T/ith it." Previously always call attention to the bottom card of. this portion and again call attention, to it in handing him the portion. Ask spectator to name the chosen card. Turn over the top card of left hand portion showing it. This is really nothing but theold top slip disguised a bit. Both of these effects are good and are better if presented in secuence.
CAUSING A SPECTATOR TO DO A This is reallv more of a practical loke than a trick but I use it to silence a pest. In the routine of having a number of cards selected and producing the same by "slapping" the bottom card of the pack, causing each change to be one of the selected cards, on the last card I hesitate and pick one of the spectators announcing that he can do the trick as well as I. I then ask him to try, and as he has been awaiting an opportunity to distinguish himself, he agrees to try it. For example we will say the bottom card of the pack faced is the ace of Hearts anql the last selected card is the ten of Clubs which is on
the %rt>'cf the pack in i O. \X .1 i I yft for trie ch:. _ • - Now hold the pack in the left hand face out' about the height o^ the knees, bending over forward to enable to Illustrate how you want the spectator to hold the pack. Place /He ; ;aci in his left hard first having reversed the chosen card on the top of the pack so it is face upward. (Accomplish this secretly with the fingers of the left hand while vou are holding the pack face outward iust previous to placing the pack in his left hand.) Now ask him to think of the card he selected and to slap the of Hearts and it will be his card. Be careful, to keep one hand near the pack in order to prevent him turning the pack and seeing the faced, chosen card. At any time that this seems evident grasp his hand holding the pack and interrupt something like this, "Your not feeling well, are you?" in fact anything to- divert his attention. After two or three futile attempts by him at slapping the ace of Hearts and meeting with no success, ask him to name his card. After the card is named, turn the pack over showing the chosen card, the ten of Clubs and exclaim, "You slapped it too hard, rou drove it right thru the pack." This is a sure fire laugh and at the same time evens the score with the pest. 1 have used the above trick for the last len years In my stage routine constantly, and. for some unknown reason the audience like it.
RUBBING- OFF TtJS SrOT A'.D SHCVING I have been using this effect for many vears and am not sure whether it has ever been explained-or not* After rubbing off a spot b" using a four and five of one suit I say, "But the trouble is you do not show where the spot goes, Now I am going to do the trick and show you -just where tee spot goes," Previously you have arrang ed the cards as follows. In order to make it clear T will ask you to place the pack face upward on a table havin. first placed the five of clubs on the top of the pack, and having re•ray and four of clybs-. Now, place the three of clubs moved the deuce face upward on the pack, then the four of clubs face downward, and then the deuce of clubs face upward, pick the pack up and crimp the two corners of the three cards just placed on the pack at the corners which bear no indexes (this enables you to quickly remove the cards and holds them together so they look like one card.) place the pack face downward, the five of clubs being on tov and the two, and four of clubs being on ttn bottom, in the left hand holding the pack by the sides horizontally, the thumb being at the upper side and the second, third and fourth fingers at the lower side, the first finger resting on the far end of the pack. Take the pack in the right hand and turn it face toward the spectators saying, "Now on the bottom of the pack I have the deuce of Clubs." Place the pack back in the original position in the left hand continuing, "and on the top of the pack I have the five of
Clubs." Reverse the five on the top of the pack and under cover of the movement reach witt first finger of the left hand and sepa ate the three c-.rds (deuce, tray and four of Clubs) on the bottom by bending them slightly away from the b t t and watching the crimped corner to assure ottom yourself that you hav but three. Tow push the three c?rds tog"ther towards you and grasp them as one ard ?.t the end where they are profirst and second finger being caretrading, between the thumb and fiul to hold them toget . 61 a.iQ turn then over to the right showing the deuce :f Clubs saying, "And o: i thebottom I have the deuce and by rub— bing the face of thedeuce over the five," Suit t e action to the words, still holdin g tight to the three cards, rubover the face of •h the five once and take ztie cards away and pointing with the corner of cards at the middle s'oot on the five sav, "I find, that the spot on the five always comes off." vub the deuce again over thefive, t is time leaving the two bottom cards
TELLING T:,Z ALIQUOT OF C^HDS CUT BY ^ Sl-CCTViTOR. This properly comes under the heading of thumb Counting Tricks but owing to similar effects derived ~'oy the use of a prearranged pack I om— itted it in that chapter. This has several variations and depends a great -deal on the showmanship of the performer First Ivlethod: By the first counting method count sixteen Gards f r o m the bottom of the pack with the thumb of the right hand and bring to the top of the pack making a break with the little finger of the left hand, holding the portions separated, (the number of c ^ d s used being o p t i o n a l . ) Now held the pack towards a spectator and. ask him to cut a few cards. That i s , a fair number. •"'hen he cuts slightly, in fact when he lust begins to c u t , raise the finger below the s i x t e e n counted cards and force the cut at this p l a c e . After he has cut pretend to seriously weigh the remaining portion o f the pack in the left hand and after a little t h o u g h t , avoiding looking towards the portion he holds announce Upon counting and this is found to becorthat he cut sixteen cards r rect remark, 'It is just a question of weight and I will prove it by —8—
cutting off any number you suggest. Will someone suggest a larger number," At the sane time start counting the remaining portion in the left hand with the thumb at the side as in the second method of counting. Just count about five and take the sixteen cards out of the spectators hand and place on top of the pack, holding the brea.:: below the counted five and keeping the thumb in position for further counting if this should be necessary. You have twenty one cards above the thumb9 being careful to keep this side of the pack away from the spectators. Now 5^ the number twenty-one is given, you merely cut to the break and hand the cards to be counted. If a number larger than twenty-one is given, continue the counting and cut when the desired amount is reached. Should the number be twenty, cut the twenty-one cards and weigh them seriously with the right hand and take one away saying, n T had too many they were just a trifle heavy," and hand the tv/cnty to be counted, replacing the od.d card on tee pack. If the number be nineteen,take two cards away etc. Should anyone suggest a very l^rge number, say for instance like forty-two, drop the break and with the thumb of the right hand count ten cards from the bottom as in first method of counting ?n& cut at this point and hand to be counted. Of course, if a clown is in evidence and asks you to cut fifty eight, count the pack and false count six ear^s and satisfy him, then let him count them and laugh at him.
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Fasten a long hair to one of the buttons on the right sleeve of your coat, on the other end place a small pellet of wax^ Place the pack on the table face downward and ask a spectator to cut the cards. Jhile he is cutting attach the end of the hair to the underneath portion of the table near the: pack by pressing the wax which holds it firmly. Ask the spectator to look at the card he cut, that is the card on the bottom of the portion he is holding. During this you maneuver so :.s to bring the hair at a direct line over the middle of the pack. Ask the spectator to return the portion he cut. Now square the pack slightly taking your original position 759ar the table where you attached the hair. You v/ill notice the hair is forming a loop around the portion cut and replaced ''oy the spectator. Now point with the right hand at the same time place the left hand on the right sleeve and bv pulling up on the sleeve you will cause the peck to cut itself at the chosen card, which of course, you have him name previous to the illusion By a side movement of the right arm you will be enabled to slip the hair free of the pack and w-he- the opportunity presents itself, detach the hair from the table and stick the end out of the way on one of the buttons of the same sleeve. It is better to have a cloth on the table as it facilitates the turn over movement. Sometimes I deliberately attach the hair to the bottom of the pack and proceed as before. Placing a book against the pack insures a neat turnover on smooth topped tablesi It is something you will have to experiment witn to accomplish results. I plant this trick in the midst of a routine of counting
tricks and as it is a surprise I have no trouble getting it over. good. It creates talk and I like it.
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This little contrivance of a hair and pellet of wax holds possibilities that have never been explored. It is always ready for a rising card trick or a match box rising on the back of the hand by dropping the pellet of wax in the box and closing it and placing the box on the back of the hand, stretcb the ha:U\ between the fingers and now by pushing the right sleeve up goes the box. Familiarize yourself with this neglected little friend and become accustomed to handling it because it takes a lot of practise just as any sleight does to perfect. Yeats cards with the effect breaks but with it.
ago in London, I saw the late Dr. Byrd Page do the rising a hair and 1 have never seen a piece of apparatus to equal for innocence and apparent simplicity. Sometimes the hair what of it. You can always change the effect and get away
SNA? CKANGSS I have developed the above change so it covers perfectly, but I did i:ot include it in the Chapter devoted to changes as it's use is rare and it can only be shown as a trick in itself. First practise taking two cards at once from the top of the pack making them to appear as one. This is accomplished by the use of the second method of counting with the thumb of the left hand counting down from the to of the pack one, two and taking the two cards away in the right hand Ey careless handling of the two cards, impresses the spectators with the idea that you hold but one card. Place the cards face outward ir the left hand which is also holding the pack at the same time between the fourth finger irjv! tk.~ rc^t of tho thumb. The tips of the thumb and the second and third finger holding the two cards at the sides and the first finger keeping them square at the far end. Now take the cards in the right hand at the near end face towards spectators between the first and. second on the face side and thumb on the back of the cards being held horizonstally, the first knuckle of the third finger resting lightly on the back of the cards below the thumb. Start gesticulating with the left hand holding the pack. In calling the attention to the "card" you hold, hold the card well away from the body in the right hand and then move it back towards you until it is about on a line with your waist and eighteen inches from '^our body. By pulling directly towards you against the face of the front card with the second and third finger of the right hand you will find that the front card will snap back into the palm, grasping it between the second and thir d finger as soon as it clears the back card. Leave the hack'card it its original position with the exception that the face is now showing, it being held by the thumb and first finger the front card being held in the palm against the base of the thumb by the third finger of the right hand. Practise this snap -10-
until ^ou acquire speed. Just as the card is snapped during your gestures bring the top of the pack I Limed lately below the card held in the palm and drop the card on top of the pack quickly carrying the right hand forward and way. Snap the changed card between the fingers and pass for examination. It depends for its success or; the face that it is a surprise. If repeated it will be discovered. Write your patter to suit the gestures that is, find a reason for them. A gro°t deal of practise is necessarv to perfect this.
THREE CaRD FORCE MD FL9QR I am giving themethod as I have used it on the stage for the past few years. I consider it so good an affect that at present I utse it at the finish of the act. a spectator to choose a card. Spread the pack in the usual manner, force a card, say the four of Spades. Just as he takes the card from the pack remark, 1lBut not the four of Spades," and take the card from his hand turning it towards the audience and showing it to be the four of Spades. Replace the card on the top of the pack cut the pack and force the same card on the same spectator repeating the showing of the card to the audience, making and accentuating + he same remark • Repeat the force once more making three times inall. In replacing the forced card to the top of the pack after the last force , push the top card of the pack sidewise with the thumb of the left hand which is holding the pack and place the four of Spades the second card from the top:. This nee3 not be done speedily as the attention is diverted at the time to the spectator, who has drawn one card three times. Look hopelessly at the spectator a moment, at the same time remove the two top cards together as one carelessly showing the faced four of Spades to the audience. Place the four of Spades with the card back of it as one card in the left hand which is holding the pack, holding it by the tips of the fingers and thumb face dowavvards. Take the two cards in the right hand again, the back of the hand towards the audience Placing the near upper corner (the two cards are held in the left hand horizontally back towards the audience at the time the right hand approaches the left to take the two cards) in the root of the thumb and hold the cards between the thumb and first finger of the right hand, the thumb holding the cards on the face side near the upper side edge and the first finger being bent, the tip resting on the back portion of the two cards exactly opposite the thumb, the second, third and fourthfinger being held straight and away from the cards. Take the cards away turning them over to the right so the four of Spades is facing towards the audience holding the arm straight downwards at arms length, turn to the spectator and say, "I suppose by this time you think the\r re all fours of Spades, however, what is this card?" ''hen he replies, "the four of Spades," remark, ""/ell, you shpuld know it and T-'n going to place it so you can't draw it." Bend over and bring the pack in the —11—
left hand so its position is on a level with the knees and directly in front of them, the back of the cards being towards the audience and turned a little towards the right. Remark, "There is no doubt about that being the four of Spades, here put your foot on it." Turn the cards in the right hand back towards the audience and with a throwing movement downward from the wrist throw the top card, which is not the four of Spades, on the floor, face downwards, by placing the tips of all the fingers on a line with the tip of the first finger and straightening up quickly, pushing the top card outward at the same time retaining the hold at the root of the thumb on the four of Spades and in straightening up from the bended position bring the right hand naturally across the top of the pack held in the left hand and deposit the palmed four of Spades on top remarking, "Now you can't draw it." Immediately cut the cards and force the four of Spades again taking it from his hand and holding face towards the audience, say/'But that's the four of Spades." Naturally the spectator dives for the card under the foot and on turning it over it proves to be a different card. Be careful in handling the two cards to keep them together so they appear as one. Sometimes, after spectator has picked card off floor, I take it from him and ask, nbv the way, what card did yeu think you were standing on?11 During this question you make the regular top change leaving the four of Spades on top of pack, and taking the card that was originally shown, holding it face down between thumb and finger of right hand. i-Then he names the card, you slowly turn over the one you are holding and it is seen to be the one he names, saying, "so it was." Sometimes when it is hard to repeat the force, a word or two to the spectator spoken so as not to let the audience hear will influence the spectator and make him enter into the fun of the situation and you may be assured he'll never mention it to the others. In forcing cards do not force by showing one card more than another. Learn to time the movement of the spectator's hand and see that the desired card is in a favorable position for picking from the pack at the time of the approach of his fingers. Avoid showing that the cards are held with a break. I prefer this method of change to the top change- :\s it is so conclusive to an audience and the f*.^rd is in view up until the last moment. Try to pick a card which is in contrast to the forced card, for instance for the four of Spades you would have the changed card a Jack of Clubs so the change is immediately apparent. I have often seen performers do similar effects such as make two or more cards change positions. This bears out my argument never to confuse the audience or expect them to remember to any great extent. Study this method and you'll note the effect is direct and "hits with a b?.ng.tt HY FAVORITE FOUR ACE TRICK, Years ago I presented this trick to Mr. V/ill Goldston, of London England, and also gave him permission to market it. This he did and
with gro.tifying results, and although time will place many a good trick in the background I am pleased to say that in addition to myself there are several well-known performers still using the trick and getting out of it all that could be desired. To the newer generation of magicians it will be a brand new effect that should be added to the program at once. IT"PICT: The four aces are placed, face upward, on the table. On top of these four aces, face downward, are placed three indifferent cards. These indifferent cards are laid upon the aces in such mariner that about half of each ace is visible. The spectators are now asked to select one of the aces and its complement of three indifferent cards* The selected pile is moved to one corner of the table, but without disturbing the four cards in any way, That is, the ace still lies face upward while the three cards are face downwards on top of it, The audience is informed by the performer that he intends to vanish the -.:ther three aces, visibly, while they are all watching his, and that the three aces will join the selected ace and the indifferent cards will return to the pack. Performer picks up one of the piles, holds it in his right hand, and then begins to throw the cards, one at a time, upon the t-^ble , face up calling the name of each when he does so. ./hen the last card is reached, which is supposed to be the ace, it is given a snap with the fingers and turned over with face to audience when it is seen to be an indifferent card. The ace has vanished, This same manuover is gone thru with the other two piles, then as a big finish the selected pile is shown to contain the three vanished aces while the indifferent cards are b?ck in"the pack. V/ORKING; Three of the aces are double-faced, that is, on the back of say the aces of clubs, diamonds, and hearts is pasted an indifferent card. Cards of this kind can be purchased from all magical depots. The ace of spades is unprepared and is the regular ace from the pack you are using. Place the four aces at the face of the pack the see of spades being the third one. Call attention to the trick and lay out the four aces on the table face upward. vVith the pack held in the left hand, still face up, you deal three cards from the bottom onto the fourth ace. Turn the pack over in your hand so it will be now face down, and proceed to deal the three top cards—the other three aces fro::: the packonto the third ace, which is the real ace of spades. Deal three cards onto the other tv/o aces and lay pack aside. It is now necessary to force the ace of spades pile. £o this in any manner that best suits you. My favorite way is to have someone mention a number between one and four. Naturally it can be only a three or tv/o. If two is asked simply count from the right, while if three is called then count from the left. When pile is selected push it to one side. The move necessary to vanish the other three aces is very difficult to describe on paper so the best way is to follow these instructions with the cards in hand. Start with pile number one. Turn the three indifferent cards face up,laying them to one side of the ace on the table. Now place the ace on top of the three cards. Pick all four of the cards up in the
right hand holding them exactly as though you were going to deal, with thumb lying across the back, faces towards palm. Now with the t...umb push over the top card about half way off of theother three, and with. a throwing motion the hand is turned over so that the back of hand is now facing upwards, and the top card is thrown face upward onto the table. As it falls on table you call out its name. Now repeat again with the next top card, throwing it upon the table and naming it as you do so. All this time, the ace has l^een facing the audience when hand' was held palm up. Mow when read}r to throw the third card a little different proceedure is necessary, and upon this important move hinges the success of the trick, ^s the right hand turns over with the pretence of throwing the third card onto the table the thumb leaves its position on top of the two cards and goes beneath them touching the face of the ace. The right fingers press down rather firmly on the cards while the thumb presses upwards against the face of the ace and the two cards are now lifted up and the thumb pushes out the bottom card of the two—the ace—and throws it upon the table. Of course, the ace side falls face downward on top of the first two cards and the indifferent side of the ace shows to audience. Soon as it aits the other cards you call out its name. You are still holding one more card, face down, and t&is the audience thinks is the ace. You say, nand the see here I will give the little magic snap and away it goes to join the other ace while it its place I take one of the indifferent cards," You now turn this fourth card face up and note the surprise on the faces of the audience. This same routine is gone thru with the other two aces and finally the selected pile is shown to consist of the four aces. The beautiful part of this trick is the apparent visible vanish. In holding the four cards in the right hand preparitory to the vanish hold them in such manner that nearly half of ace at the front is visible up, the last moment. T'he throwing ±s' iacy as the right thumb does^all the work while the throwing movement conceals the third throw. In making the throw to the table the right arm should describe an arc of good size as this covers up the tricky move. .After the apparent vanish of each ace spread out the four cards so audience can esee the faces of all of them and that the ace is not among them. EXTRA' An extra valuable tip that £ have used myself but have never given out generally is, that instead of turning the last card up and showing that the ace has vanished, I continue to hold this last card face down after the third card has been thrown, and gay,"And the ace here I will place in this corner.ff During these words I la}r the last card at one corner of the table without exposing its face. Naturally, the audience are sure it is the ace because you have just shown them three cards face up and ace was not among them, so surely the one in your hand must be the ace. Do this with the other two piles and then you finally cause the three aces in one corner of the table to travel over to the opposite corner with the selected c.ce, while the indifferent dards are not where the three aces were supposed to be. You can see the real advantage of this method. It is not very like.ly to be detected. -14-
In the first method, the repetition of vanishing three cards in the same manner might be discovered by the vise guy, while in this latter method the audience don't knew what you are actually going to do until the last moment. Sometimes I use this excellect trick: in my grilling demonstrations in the following manner: Fir.st, I deal the four aces with three inhen I have one selected as before. I then different cards upon each. go on to say, "Ladies and Gentlemen, I have often been asked if it is possible to* cause cards to travel thru spaces, invisibly. Liy answer is that I am sitting in a yes, absolutely. For instance, let us has one ace inhis hand. I little game of poker, my partner there want him to have the other three aces, so I give them to him. How? Very easy, just like this." From here on the trick proceeds exactly as in the first method. The last card is turned over and shown that the ace has left your hand. After the three aces have been vanished you say, f: to Now my friends, I told you that I would pass these aces thru space + t h e r e . Jus look my partners hand over there. Well, they ought to be for yourself. They are there all right, arent they? Thanks. tt ibis makes an excellent demonstration.
Ati ILiPRCLiPTU LAUGH. This is more of a surprise than a trick and during the years that I !n.ave .been working it, it has never failed to create . big laugh and put the audience ir. good humorv The time to pull it is when a brand new pack is handed to you for the purpose of doing a few tricks. Nearly all new packs as they come from the makers have one card that has a bridge score printed on one side while the back matches rest of pack. Remove the cards from the sealed pack, locate the "bridge" card and hold break with little finger preparitor\/" to doing the force. Advance towards one of the ladies andrsay,- M I beg your pardon madam, but do 'r-u play bridge? Oh, you do. "Jell, will you take one of these cards please."" She takes one and you of course have forced the "score" card onto her. Tell her to keep card face down while you explain as follows: "Being a bridge player I would not be surprised but what you drew will be of great help to you. Turn it over please.11 She does so .and then for the laugh's and guffaws. HERE THERE AND EVERYWHERE. • For a clever card trick capable of being worked under any and all conditions this one is hard to beat. •15-
Performer offers the pack for thorough shuffling, and while it is in the hands of the audience one spectator is asked to remove his favorite card and to place his initials upon it so he will be sure that there is no duplicate of this card used. While spectator is marking his card the performer takes the pack back, and holds it face down in his left hand. With his right hand ha takes the selected card from the spectator and places it, face upward; on top c~p the face down pack. He calls particular attention to it and then sloy/ly and deliberately turns it face down. Now with his right hand he taxes off this top card from the pack and places it under the next card. -In other words, it is now the second card from the top. "Watch closely," says the performer, "while I riffle the pack, and here you see the selected card is back on the top again*n Performer shows that card has mysteriously returned to top of pack. He turns it over, face upward again as he did in the first place, calls attention to it and then slowly turns it over face down again. Once more he places it second from the top, and once he causes it to return to the top of pack. The next move is to place card into center of pack and without any suspicious moves it is found to have returned to the top of pack again. Again it is placed &n the center of the pack, and after the mysterious click of the cards it is found on the bottom of the pack. Performer tells the audience that it is just impossible to lose the selected card and to give further proof of this he replaces if.in the center of the pack, shuffles several times and cuts, and then lays pack upon the table. With the right hand he takes the cards from the pack, one at a time, and deals them upon his left palm. He tells the audience to say W5top" at any time they wish and he will be on their selected card. He proceeds to deal the cards until told to stop, and when the card which is last dealt is turned over it is found to be the selected card. Truly very ubiquitous* WORKING: x irst of all prepare one card so that it is a double backer, that is, it shows a back on either side and of course should match the pack you are using. The best way to make this is to soak tv/o cards in water until you can peel the backs off them. Put them while wet, between tv/o blotters and let them almost dry out, I say almost because in order to make a perfect job it is much better to paste them together while they are still damp, then when they dry cut they will be perfectly flat and free from wrinkles. Let them dry out under pressure. Put them between the leaves of a book and then place some heavy weights upon the book and let stand for twelve hours. With your card prepared you are ready to start. Have this card in your right trouser pocket o.rpany other convenient place. Hand out pack for shuffling and v/hile it is out you palm your double-backer in right hand. Take pack back and add this card to top. ;7hen ready to turn the selected card face down 3^0 u actually turn down with it the double backer. T o the audience it simply looks like you turned over the selected card. You can at once see that this automatically places the selected card second iron the top. You now appear to place the selected card second from top, but actually placing the double-backer there. -16-
Riffle the pack with left thumb making .a clicking sound and show the card on top. Repeat this once more. For the third move a different proceedure is necessary. Take the selected card in right hand, pack in left hand, face down. Push the card into the pack and the right ^tri^cr tip?? ko3p. tapping it apparently pushing it home. What really takes place is that during the tapping with the right fingers the finger tip of the index finger of the left hand, comes in contact with the slightly protruding card, pushes up against it so that card is pressed against right finger tips, and then in going sway from the pack the card is palmed. :away in to the right hand, out is immediately placed on top of pack and the tapping on end continued once or twick to give the spectators the idea that the card has been pushed all theway into the pack. Now riffle the pack as before and show that the card is back on top of the pack. For the next move you place the card into the pack in exactly the same manner as the last move and start tapping as before. V/hen the right fingers give the last tap and actually drive the card in square with the pack, the left first finger pushes all the cards below the selected one into the fork of the thumb of the right hand where they are palmed away but immediately placed on top of the pack. Once more riffle the pack and show that the selected card is on the bottom this time. For the final move place the card into the pack, make the pass and give pack, a false shuffle still leaving the card on to ) of the pack. One or two false cuts will help too* Lay pack on table. Pick up the cards one at a time from the top of the pack, with the right hand, andlay them on top of palm of left hand,. The first card, is the selected one so don't expose it prematurely. Keep dealing the cards until told to stop, and as the last card is placed on top of those in your hand, the left finger tips push out the bottom, selected card, into the palm of the right hand where it is immediately placed on top, turned over and shown to be the selected card. Sometimes I work this trick using the ace of spades in the following manner: Ace placed in middle of pack but a break is held above it with the little finger ready for the pass. Top card shown and then the pack is turned around and the bottom card is shown, but I am still holding the break with the little finger. In turning the pack ever face down again I make the pass, which is practically invisible, then I hit the top of the pack a hard slap and show the ace back or. the top. I repeat but this time cause the ace to appear on the bottom. Removing the ace from the bottom I place it in the center of pack and hold the break with the little finger but I manage to have one card above the ace so that when I make the pass the ace is second from the top. I have slap the top of pack again and remove the two top cards as one showing the ace. Place them back on top again, apparently place the ace, top card in center of pack, slap top of pack and show ace on top again. This is a wonderful routine and should be worked up. SUPER L1ENTAL CARD EFFECT. Here is a real trick and the secret should not become common pro—17—
perty.
It has been a pet for a number of years*
IPFECT: The pack is first shuffled and then the performer fans it out and asks one of the spectators to think of one card but to give him or any body else no clue of what it is. When spectator says that he has his card in mind performer squares up the pack and gives it another shuffle then lays it upon the table. Ke now asks the person who thought .of a card to cut the pack into two piles. This done the performer asks spectator to mention name of his card. »?hen he does so performer tells him that he will find his card the eight card from the top in this pile, or seven cards from the bottom in the other pile or whatever number performer gave him and thess is his card, SECRET: The secret is simplicity/ itself. First of all arrange the top fifteen cards of your pack in the Si Stebbins order or any other arrangement that is familiar to you. When ready, you can shuffle your pack using the riffle shuffle without disturbing the top fifteen cards. To make it look still better you can use the haymow shuffle as fallows: Undercut about two-thirds of the pack and begin to run off the cards on top of those in the left hand, but injogging the first card and run them all. Now cut at injog and throw on top' and your fifteen cards are undisturbed on top as before, while to the audience the pack has been hopelessly mixed. Now hold the pack in the left hand face upward, and with the right hand slightly fan the pack but in such a way that only the top f ifteen: cards can be seen, Ask part^r - to think of a card in the pack. W-hon he does so, square up the pack and give it the shuffles as mentioned above still leaving the fifteen arranged cards on top of pack. You now explain that it is impossible for anyone to know what card this party thought of etc. During this patter you run off into the left hand, one card at a time, seven from the top and place them on the bottom. You now have eight of the arranged on top of pack and seven on bottom, but these seven are reversed. Have him cut pack into two parts and watch closely which is which. Ask him to name his card, and when he does you figure, mentally, according to your arrangement and you find it is the tenth cardin the set up. That means that since seven cards were dealt off the top that the original tenth card is now the third card from the top of the top half. Let spectator count down and find it himself. 1f the card thought of should be, say number four in your setup it will now be number four also, but from thebottom of the bottom half of the pack. Sometimes instead of only fifteen cards I arrange about eighteen to twenty and this gives the trick a much wider scope and also gives the spectator a larger choice of his card. .Another way I often work this trick is, after I have found otot what card spectator thought of, instead of having him cut the pack I start running off the cards as in the haymow shuffle until I get down to the one I want and then I place the others on bottom of pack. His card is on top of the pack. I am then blindfolded and I scatter the cards all over the table, but of course keeping track of the selected card by looking down along the nose under the blindfold. I then ask for a -18-
pocket knife, have the spectator take hold of my wrist while I am holding the point of the balde over the cards. Suddenly I plunge the knife blade down into the selected card and bring it up and show that I have located it, same time whipping off the blindfold". Another effective finish, is to place the pack i: the spectators inside coat pocket and have him reach in pocket whan rou count three and remove a card.
TELEriiTKY CARD TRICK. In my opinion, this is one of the most startling and effective card tricks in existence. Clothed with the proper patter along the lines of thought transference and mental telepathy it is a winner and has never failed to create a very favorable impression. As in many other tricks it is not so much what you do but how you do it that counts. In this particular trick, after the pack has been thoroughly shuffled by the spectator himself he removes five cards while the pack is still in his own hands and lays the pack on the table. You take the' cards from him and place them in your right trouser pocket, first having shown it empty. You say that you will now .-.•t tempt to read his thoughts and find the name of one card out of the five that he will select. Ask him "CO think of any one of the five cards that he removed from the pack. h oe Qas aone so :you inform Him hat you already know his card and that .you could easily call it out, but to make it considerable more difficult you will reach into your trouser pocket where the five cards are and remove four of them one at a time, and that thefifth card, or the last one left in the pocket will be the card he thought of. You now very slowly remove one card from the pocket and pis.ce it back in the pack which by the way you are holding in your left hand. Slowly remove the second, thrid and fourth one and then say: "I have removed fou cards, and one reaains in my pocket, it should be yours sir. "hat was he name of it please?' Six of clubs, ^hanks. There it is,-the six of clubs. Like all good tricks this one is performed without any skill g at all. Before-hand, prepare yourself l for the trick by placing four cards from the pack in your right trouser pocket but up in the top of the pocket so that you can show it empty. Have spectator shuffle the . and remove five cards. You take the pack from Vim and hold it in yo ur left hand face down, Also take the five cards from him, holding them in the ri, ht hand, face up so he can see them. Ask him to think l/hile he is thinkof one of them and keep it thoroughiv in his mind. While ing of on; you memorize the five cards and their order. The easiest way to do this is to forget suits and put the cares in rotation accorfiing th their value. You will find that in most cases there will not be two cards of the same value such as two aces.: two threes etc. Now close up the five cards and put the m into 70ur trouser Pocket after having first shown the pocket empty. Put the five cards in front of those alreadv there. 7hen vou remove four cards from th< pocket you
remove the four that were put in there at first, the real five cards are still there. Asli spectator to name his card and v/hen be does so you reach into your pocket and remembering the rotation of the five cards you count along the five until you come to the one you want. You are now ready to repeat the trick again as you have four cards in the pocket, ',7hen taking the four cards out of the pocket during the trick never expose the faces of any of them the reason of course being quite obvious. The placing them into the pack proper eliminates the chances for someone grabbing the four cards if they were merely placed upon the top of pack and perhaps some wise party would discover that they were not four of the five cards that were placed in the "Docket,
THE This trick is perhaps more mystifying to a conjurer than to the man in the street in as much as the effeot produced can be accomplished by other means used by the conjurer which perhaps would be as mystifying as the trick as I do it. Other effects I have claimed no originality for, however, this effect I claim as I have never civulgec the secret up to now. First, you must have a sense of the impossible and be in readiness to take advantage of the slightest turn in your favor. The glimpse is taken from the bottom, the cards are cut, the break is held by the flesh grip or the jog with the little finger inserted* The cards are laid face downwards on the table, the card at the break which was previously noted at the bottom is exposed a trifle more than the rest. ™he spectator is asked to select a aard for instance should he select the key card, you make a grand stand play, and tell him to return his card at any position and shnffle the cards, ^fter he roturns the cards you run through the pack and name the card. In case the spectator selects a card adjacent to the kejr card you emphasis that he place the card in the same position as drawn, noting the number either above or below take a chance and let him shuffle and find in the same method running to the key card and counting to selected card. .At times when the card is placed say eight or ten away from the key card, pick the pack up j/ourself and ask the party to cut theo., (as you care not &ake a chance on a shuffle) The cut does not disturb the position so as usual you run them and show card. In instances when the card selected is placed on top that is above the key card after the spectator has shuffled take the pack face up, keeping pack very square and removing the cards one at a time, when you come to the key 'card stop and declare that card to be selected when spectator disagrees move as to take the card but in reality remove second which is selected card, hold, face downwards and ask party to name card, on turning card it proves to be selected one. The trick £s absolutely showmanship coupled with a certain degree of suggestion. For those who would be sure I might suggest the use of -20-
the inked card or if you v/ish to be double sure to use a long card as a key and you can readily see that your off acts are unlimited ?.s these eliminate the necessity of looking through toe pack and thedesired card can be located by touch or ~oy /..lancing for inked edge. The effects are unlimited Crimp for a TablejSprea_d_. Spread the pack on the table face down as for the selection of a card. Ask the spectator if he can spread the cards in that manner. If he replies in the affirmative, tell him to pick the cards up ana shuffle them first, then spread the cards on the table. lifter this is done, invite hiui to select any card and return it to pack and proceed as follows, Place both hands on the spread cards and push tlaon towards the spectator saying, "Well, pick them up and shuffle, you are doing the trick." As you place your hands on the pack in the act of pushing them towards the spectator, rest the first finger of either hand on the side of the selected card, and by pressing down on the side of the card and for/ward with the thumb of the • sane hand you will find you are enabled to crimp the corner of the card nearest to you in the movement of pushing the cards. Cover the crimp with some of the other cards. As in some instances it is impossible to crimp the chosen card without causing undue suspicion, crimp a card near it and remember the number of cards sbove or below that the chosen card lies. Of course, in this instance merely ask the spectator to cut the cards as a shuffle v/ould probably lose the chosen card, After pad: is returned to you Proceed and produce the card in any manner suitable. I oftin use the foregoing method in the inked card trick when the chosen card is not returned to the pack in an adjacent position to the carcl, which makes it impossible to use the inked c?.rd as a key card. Inked Card, as Xey Card. Place inked card on top of the pack, cut to the center of the pack holding the break. Spread pack face downwards on table noting the position of index card but not exaggerating its position by showing more than others. Now invite anyone to select a card and return it. Note the position chosen card occupies, for example whether five above or six below. Let spectator pick up the pack himself. Should selected card be Dlaced next to the inked card let hi . shuffle as an ordinary shuffle seldom disturbes its position. Otherwise merely invite hi to cut andplace cards in your hand face down. Start dealing off one at a time. Now say for example the card was placed four below the inked card. Deal until vou come to inked card then count one, two and • take the third card and proclaim it to be the chosen curd. Spectator replies, "No". You place the card on top;.and take the second card and ask "What was the chosen card?;t when named turn over and show it to be selected one. Or never touch the pack* Have trie spectator deal the cards face downwards one at a time when he reaches selected card merely snatch from his hand asking him to name selected card quickly. This last method, gives great scope fior patter in respect to the spec-
tator doing the trick himself. If the chosen card should lay three above the inked card cut the inked card ic the top show bottom card and place cards in left hand in position for glide- ask him to tell. you to stop, '""hen stopped, ask him to name chosen card. Upon name ing it turn and show on bottom.
?ULS2 OP T.:_.I PUBLIC. in conclusion,I would like to say a few words in defense of the modern manipulators, that is of the Vaudevillian, he of the "talk much and do little," Commercially the only success a performer can really attain is monentary. .As soon as there is no sale for an act ot magic snow there is no act or no show. In other words you can not sell what the public does not wish to buy. It is not what you want to do but what the audience makes you do, although they do not realize it. It is the audience thatcreated the acts by giving the stamp of their approval to certain vogues, as they are submitted b]7" the different performers. Using music as an illustration, perhaps in many cases in these days of canned music and jazz, there are many performers or musicians of real merit who in order to earn a livlihood resort to the vogue of the times and play popular music using eccentric methods in the wild scrable to excite the jaded nerves of the blase. T. B. LI. who seeks forgetfulness in our vaudeville theatres, while really at heart the musician in him resents and looks higher towards the classics. Perhaps he is proficient in his art. To him there is open the concert platform where his true artistry will meet with it's just reward. The same applies to dancers and actors and many ether branches of the profession, but the magician is handicapped. There are not enough magis to inaugurate a classic platform where the skill, technique, and expression would meet its rewards so the magi who is successful feels the "pulse of the public," created a few comedy situations and. makes the tricks secondary and sells himself." That is, establishes a perx sonality in the minds of the public. To most of you who have never been in a late "position on big time vaudeville bill, where the rule is that the show must "build up" as it goes along, where even a stage wait is sometimes fatal to the act that follows, will never realise that terrible feeling after following six or seven acts who have each jarred them from a stand point of applause and laughter of stepping out and keeping up the pace, necessitating your "getting them -A once" and holding them by sheer personality and trying to show them tricks in fifteen minutes that should take an hour to do. Until you have experienced the above, restrain from criticism. If you disagree with the above assume the cloak of the deep thinking magi and build as act which bristles with original and artictis novel-22-
ties, taking it to a booking agent and ^ry and Soil it. Of course, the "Big One Night Stand" magi-cal show has been hit hard owing to the prohibitive rate of railroad transportion ":.n this country. I consider magicians of today cleverer than "their predecessors as they have Qors obstacles to overcome, ar.d those; v.'ho u: the dark lean years, when it was suicide to suggest to an agent Vcv'aX vo'ir v T a magi, ke~t stru.:^lin; on, deserve treat credit in keening it oefor-j :1K-.' public even if only as comedians as one writer has termed we "Of the talk much and do little tribe. Magic is not dead, as there is still a definite place in Vaudeville for the magician who will recognize the trend and will keep his act fast and suitable to the trend of the tines. The public wants amusement. The magician can supply it if' he only will. The fact that a magician likes a trick is no excuse if the audience does not like it. Give the audience what it wants and you will get your booking and be a "success."
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"and a Pack of Cards." The following three manuscripts comprise the Series entitlesffa:id a Pack of Cards.'' Invaluable to any one who does card tricks and written by a Vaudevillian of many years experience, -All workable stuff, no padding. Concise and nothing held out."'
Exclusive sleights and. manipulations. Covers very thoroughly Theory, Passes, Second and Bottom dealing, False Shuffles and Cuts, Thumb and Finger Counting, Changes the Glide, forcing and Crimps. lir, Peril'.: has in addition to explaining man;7 exclusive sleights and methods, given many tricks based en these principles. KIERLIN ;iT TP~E CAzil) TABLI. In this, Mr. I.Ierlin has given a very clever routine of card-tricks to do at a c?rd table or in a club room. Just the thing to use when some one says', "I would hate to play cards with you.1' Contains quite a sel*ection of card effects all based on Poker, Bridge, Pinochle or other card games. Enough material to give quite an entertainment as an expose of "Kow Gamblers Cheat" but really you expose nothing, «• work that has long been needed by the Magician and treats entertaining by I.'agic in a new angle. PIRLIP'S i^STIR PII^CLPS. Some of the tricks that have made Llerlin the outstanding Card Conjurer of the World. Contains the explanation, so you can work it, of his famous Spread, on the Table, '•*-'&is he has done at Club entertainments all over the world and; it surely seems a miracle. "Spread out the cards, face downwards, on the table. Look at a card. Replace it in the pack yourself. Gather up the cards." And then he locates the cards. This is only one of the Master Piracies that he explains for the first time. Pach Section complete in itself, price per Se'ction .'',2.00 prepaid. The set of three, ordered at one time, v5.00 prepaid. Foreign add; lOgf per Section. Order of your dealer or from the publisher. TK2 1/PL1V0RTK CQ&rAitfT, 36 'Jest Pratt Street.
Indianapolis, Indiana.
