Swindled! The 3 Card Monte ebook - Trickshop.com.pdf

! D E L D N I W S TRICKSHOP.COM Three Card Monte eBook

© Copyright 2004. All rights reserved.

WIINDLED! S W Three Card Monte eBook

TABLE OF CONTENTS

INTRODUCTIO INTRODUCTION N ........................... ............... 3 SECTION I – Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 SECTION II – Basic Handling

SECTION III – The Deal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 SECTION IV – Finishing Big . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 23 Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 SECTION V – Presentation

SECTION VI – Utility Moves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 31

© Copyright 2004 by TRICKSHOP.COM INC. All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the express and prior written consent of the publisher. publisher. This eBook is licensed for individual, personal use only. It may not be re-sold or re-distributed. If you purchased a printed copy of this document, please report it to “[email protected]”. TRICKSHOP.COM TRICKSHOP.COM INC. P.O. Box 68441 Schaumburg, IL 60168-0441 http://www.trickshop.com/ [email protected]

SWINDLED! Three Card Monte eBook

Introduction Along with the Three Shell Game, the Three Card Monte is one of the world’s best known street cons. A “game” you are just as likely to see played today on the streets of Europe’s capitals as those of America’s inner cities. As a result, this swindle provides fertile ground for any commercially-minded magical entertainer. entertainer. Audiences are always fascinated by gambling and condence game themes. And so, any performance that offers a risk-free glimpse into the mysterious world of the grifter is a sure winner. Even people who dislike card tricks are likely to enjoy this one. This eBook was written to rst take you step-by-step through the basic sleight of hand moves involved and then to help you construct a complete routine with a strong nish. We hope you nd the result a refreshingly straightforward approach to teaching the “Art of Tossing the Broads.” Broads.” It is generally believed that this im-am rst appeared in New Orleans in the early nineteenth century, having come from Mexico by b y way of Texas. It later appeared on the Mississippi riverboats and from there traveled westward with the railroads. In those early days, mobs of three to six men, would run the games and often rake in serious money from rich travelers and merchants. It was not entirely uncommon for a skilled mob to score as much as $10,000 from a single “mark.” The success of the “game” and traveling grifters eventually took it to the four corners of the world. Amazingly enough, even with today’s advanced technology, the basic moves and pitch remain virtually unchanged well over a century later. Nowadays, the monte man might be found in the doorway of a closed storefront, an alleyway, or a racetrack parking lot. His “table” becomes whatever at surface is available to him at the time – be it a packing crate, car hood, or even an overcoat on the ground. This modern day monte thrower is also likely to have at least one shill working the crowd. And while the stakes may not be as high as they once o nce were, human nature ensures a steady ow of victims willing to try their “luck.”

© Copyright 2004 by Trickshop.com Trickshop.com Inc. All rights reserved.

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WIINDLED! S W

SECTION I – Getting Started

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Photo 1

Types of Cards to Use Before we get started, let’s discuss the proper type of cards to use. While you’ll nd descriptions and images in print of the Three Card Monte using all manner of card faces and backs, it’s best to start out using two identical red aces (either diamonds or hearts) and the Ace of Clubs, and a brand that offers a borderless back design. See Photo 1. This will make your handling more deceptive, while minimizing your chances of ashing the true value of a card when it is over-thrown or “hiped.” If you’re wondering why not use the Ace of Spades instead of the Ace of Clubs, the reason is that the former card usually has more prominent markings and so, is more likely to be ashed if your technique is less than perfect. The Ace of Clubs offers a wider margin for error and as a result, for success. As your skill progresses, you can eventually substitute the Ace of Clubs for a Queen and a nd play, “Find the Lady.” Good borderless card brand choices include Steamboats, Bee or Gemaco (used by most casinos). Many writers on this subject recommend using narrower bridge-size versus standard, poker-size cards when learning the Three Card Monte. However, most magicians will not experience a problem learning and performing the Three Card Monte with poker-size cards.


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Of the three types of cards mentioned, “Bee” brand is the most readily read ily available through mainstream (non-magic) stores. In fact, you should be able a ble to nd them in just about abo ut any retail establishment that sells playing cards – from pharmacies to liquor stores. All three of the brands mentioned – Steamboats, Bee or Gemaco – are readily available from Kardwell International, a playing card supply specialist. Kardwell also sells used “casino decks” with their logos on the back (such as Harrah’s, Harrah’s, Trump, etc.). Casino cards can add a nice commercial gambling touch to your presentation. Remember to buy at least two decks, since you’ll need two identical red aces. If you would like to contact Kardwell, here are their details: Kardwell International, Inc. P.O. Box 33 Mattituck, NY 11952 TOLL FREE: (800) 233-0828 PHONE: (631) 298-0005 FAX: (631) 298-1517 WEB: http://www.kardwell.com/ http://www.kardwell.com/ E-MAIL: [email protected]


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Preparing the Cards You’ll also want to place a ” high length-wise crimp or buckle into the cards. This is done simply by exing the cards upward as shown in Photo 2. Align all three cards and pull them upward. Now, Now, put the top card on the bottom bo ttom and repeat this process. Finally, put the top card on the bottom again and an d repeat. This will ensure the buckle is uniform across all three cards. In case you’re wondering, won dering, the length-wise crimp makes it easy to pick up the cards and position them correctly in your Photo 2

ngers.

One of the best learning aids is to number the cards by putting pu tting a small “removable” label or “sticker” on the back of each card. Number the black ace as “1” and the two red aces as “2” and “3.” Photo 3 shows your practice cards numbered and crimped. This makes it easy to follow the the ow of the cards as you perform various moves and patterns.

Photo 3


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Later on, when you’re ready to practice the bent or crimped corner dodge, you can soften the corners of the cards, so it’s easier to put in and remove a crimp. This is done by placing the corner of the card with the pip over the edge of a table or counter top with a hard edge. Photo Photo 4

4 shows the correct angle. Now holding down the card with one hand, lightly press down on the extended edge with the ball of your thumb. Work it a few times and then

Table Edge

turn the card over and do this to the other side of the same corner. Repeat this process with the opposite index corner. Prepare all three cards in this manner. manner. The idea is just to soften the corner – not to crack the surface of the paper pap er.. So take care when doing this.


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S W WIINDLED!

SECTION II – Basic Basic Handling

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Before we get started working on the actual moves, it’s important for you to know that Three Card Monte work hinges on two basic actions. These are: THE UNDER-THROW

This is when two cards are held for dealing monte in the right hand and the lower card, the one the spectator sees and believes he is following, is actually thrown. The under-throw is used when you want the audience to be able to actually follow the card. In a real game of monte, the the worker begins by hustling the mark and that means letting him follow the money card while his shill wins a few hands. Once the mark becomes convinced the Three Card Monte is easy money and gets into the game himself, the grifter switches to the over-throw described next. THE OVER-THROW

This action looks identical to the under-throw un der-throw,, except that the upper card is thrown or “hiped” instead. A card is over-thrown over-thrown when you want to deceive the spectator into thinking he is following a card, such as the black ace (or money card), when he is not. The word, “hipe,” with an “i” not a “y” “ y” as it often appears, means to “cheat” in grifter’s parlance. In monte work, it has evolved into a verb for the over-throw of a card.


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Photo 6

Photo 5

The Pick-up Move Both of the under-throw and over-throw share the same pick-up and positioning of the cards in the right hand. Start with the three cards in front of you on the table in the following order: 2, 1, 3. The black ace is in the middle and there is a red ace on each end. Pick up 3 at the raised, crimped corners, thumb at inner end, rst nger at outer end. See Photo 5. Place 3 over 1 – the lower left corners of both cards are almost aligned – as you pick up 1 between the thumb and second nger of the right hand. See Photo 6. Rotate your right wrist to show the two cards. You You should ONLY ONLY be able to

Photo 7

identify the bottom card. In this case, the Ace of Clubs. As you can see, when the two cards are are held correctly, the bottom card is angled a ngled just slightly. See Photo 7.


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The Throw PRACTICING THE UNDER-THROW

You’re now ready to practice the throw. We’ll begin with the under-throw. under-throw. Remember, the under-throw is used when you want a spectator to be able to follow the movement of the cards. Begin with the cards, facedown, in the order shown in Photo 3: 2, 1, 3. The middle card, No. 1, is the black ace or “money card.” Pick up 3 and then 1 using the Pick-up Move just described on page 13. Turn your wrist over and show the two cards. See Photo 7. Your

Photo 8

hand should be about three to four inches above the table. Your right wrist is now going to turn back over with a short downward sweep to the right motion, release the lower card – No. 1 – facedown onto the table. See Photo 8. A few important points, here. Don’t force the card, just let go of it with your second nger. Also, the arm motion described should be “compact” – using only the minimum of effort required to accomplish the move. The throw should never be performed as a broad, sweeping gesture. From the spectator’s perspective, you’ve simply shown a card and tossed it onto the table. Nothing else has happened. So don’t add weight to its importance in the spectator ’s mind. Try the under-throw a few more times before we move on. At the completion of the under-throw action, you’ll note card 3 is retained between your rst nger and thumb, and your second nger is away from the cards. This is an important point to keep in mind when we perform the overthrow, since you’ll want to nish with your ngers in the same position – right thumb and rst nger holding the remaining card, second nger away.


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PRACTICING THE OVER-THROW

We’re now ready to progress to the over-throw. over-throw. As discussed earlier, this action is used when you want to deceive the spectator into believing the card he is following is somewhere it’s not. This throw should look identical to the under-throw just covered. Let’ Le t’ss try it. Place the cards in the same order as before: 2, 1, 3. Pick up 3 and 1 as before. Turn over your wrist and display the two cards. Once again turn your

Photo 9

wrist back down. This time however, with the same downward throw and sweep to the right action, you release or hipe 3 from between right rst nger and thumb. See Photo 9. The card drops to the table. It will look to the spectator as if you’ve just thrown card 1 (the black ace) onto the table when in actuality, you’ve thrown No. 3 (a red ace). Remember to bring your rst nger to No. 1 (the lower card), after throwing 3. See Photo 10. This completes the effect that the lower card has been thrown.

Photo 10

These two throwing actions – “under” and “over” – along with the Pick-up Move explained on page 13 form the foundation foundation of of Three Three Card Card Monte work. work. You You should completely completely master master all three three before before progres progressing sing to the next section.


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S W WIINDLED! SECTION III – The Deal

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We’ll assume at this point, you’ve invested some time mastering the fundamentals covered in Section II. In this section, we’ll discuss the movement of all three cards as part of set dealing patterns. These sequences are the building blocks of a Three Card Monte Routine. Practice them individually until you’re comfortable c omfortable with each set of actions. You You can then string them together into a cohesive routine. In a real Three Card Monte game, game , there is an unhurried and deliberate rhythm to the grifter’s movements, which you should seek to duplicate. Speed is not the goal, since the grifter wants the mark to buy into the hipe. If he goes too fast, he knows he’ll just confuse the mark and he’ll either guess or not play at all. The grifter knows if the mark guesses, he might be right! Contrary to popular belief, a real grifter never lets the mark win. If someone does win in a game of Three Card Monte, it’s almost always a shill from the grifter’s own mob. In other words, the money is always kept within the mob. When a mark does pick the right card, ca rd, the grifter signals his shill to touch a wrong one. Since only one person can “play” at a time, the shill “loses” and pays the grifter with the mob’s own money. money. In the same way, when a new mark comes along, the grifter will let a shill win a few hands to entice the newcomer into the game to make what looks like some easy money. In a magic presentation, you should always start off with the under-throw and make it easy for the spectator to follow the money card the rst time around, and then use the hipe for your subsequent throws. If you like, you can point the card out ou t yourself the rst time, saying “See here it is.” The spectator will think to himself, hey I knew the location of the winning card, too. As a result, he’ll now think he can pick the winner every ev ery time. In a real game of Three Card Monte, it’s called the “come-on.”


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Photo 11

Let’s move on to the rst sequence. This is the set of moves every grifter masters rst. Start with the cards in the 2, 1, 3 order – except, this time, begin with them face up as shown in Photo 11. Turn the cards facedown. Now the correct movement for the three cards is as follows: 3 is picked up with the right hand and shown. See Photo 12. Finger positions are as already explained and covered in detail. Now,

Photo 12

pick up 2 with the left hand and show. See Photo 13. Retaining 3 in the right hand, pick up 1 using the Pick-up Move. See Photo 14. After the two cards are shown, turn them facedown and hipe 3 (over-throw) to the center, your left hand then throws 2 to the right and your right throws 1 to the left. To the spectator, it looks like you have thrown the black ace in the middle and a red ace on each end. In reality, the Photo 13 black ace is on the left side with the red aces in the middle and right position.

Photo 14 © Copyright 2004 by Trickshop.com Trickshop.com Inc. All rights reserved.

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Practice this series of movements over and over until it becomes automatic. You should become procient performing this pattern using both the over-throw and under-throw under-throw.. And regardless of which action you are using, the moves should look identical to the onlooker. Your Your rhythm or pacing should also be exactly the same whether you toss a card legitimately or hipe it. If you hesitate when you hipe a card, you will tip off the spectator that something different has happened.


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Photo 15

Mixing the Cards Every time the cards are thrown down, do wn, it is followed up with a simple “mixing” of the cards. This should be deliberate and easy for the spectator to follow. For example, lift up the left card with your left hand and the middle card with your right, cross your hands and exchange the position of those two cards. See Photo 15. Next, pick up the middle card with your left hand and the right card with your right hand and a nd do the same. As far as the spectator is concerned the initial throw down is simply to show the starting position of the cards on the table and the mix is done apparently to confuse him. As you know, just the opposite is true. The cards are switched as they are put (thrown) on the table and the mixing means nothing. You You must, of course, always know the true position of the black ace. That way, if the spectator does guess right, you can do a switch and still prove him wrong. See the Mexican Turnover on page 32. AN IMPORTANT POINT

When the spectator picks the wrong card, never show him where the black ace actually is. Simply gather the cards faces toward you, mix them and then lay them back down in the regular starting order. In other words, do not give the spectator too much information!


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Additional Practice Sequences HIPING LEFT

You will also want to practice hiping 1 to the left. In that case, ca se, the three cards are handled as follows. Set up the cards in the standard 2, 1, 3 order. Pick up 3 with the right hand and show. Pick up 2 with the left hand and show. Retaining 3 in the right hand, pick p ick up 1 using the Pick-up Move. After the two cards are shown, turn them facedown and hipe 3 (over-throw) to the left, your left hand then throws 2 to the center and your right throws 1 to the right. The spectator thinks the black ace is on the left end, when it’s actually of the right. Mix the cards. Note: The beginner should nd this action even easier than hiping to the center position. DOUBLE HIPING

You can also use the hipe or over-throw twice on the same throw down. do wn. Here’s how it works. With the cards facedown in 2, 1, 3 order, o rder, show the black ace is in the center and a nd place it facedown again. Now, pick up 3 in your right hand, lay it over 1 (Pick-up Move), and show the cards. Hipe 3 to the center. Retaining 1 in your right hand, lay it over 2 (Pick-up Move), and show the cards. Hipe 1 to the left and drop 2 to the right. Mix the cards. The net result of this sequence is that while it looks to the spectator like the black ace a ce is in the center, it’s it’s actually on the left end. HIPING WITH YOUR LEFT HAND

While this publication describes the standard hiping technique with the right hand, some monte workers can do the hype with either hand. While this ability is certainly not necessary to perform a great Three Card Monte routine, you should be aware that it is possible. ROUTINING TIPS

As previously discussed, you should start off your Three Card Monte presentation with an honest throw and let the spectator easily follow the movements of the black ace. Then, follow-up it up with at least two or three more sequences using one or two hipes. Structure your routine so that you vary where the black ace ends up each time. Once you’ve nished your standard monte series, it’s it’s time for your big nish. We’ll We’ll look at some ways to do that in the next n ext section.


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WIINDLED! S W

SECTION IV – Finishing Finishing Big!

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As a magician, you’ll want to give your Three Card Monte routine a strong nish or at least one with a unique twist. This doesn’t have to involve a difcult move. In fact, you should never over-reach when choosing material for any routine, however your ending should stand out and add an exclamation point to your performance. Here are some possibilities: GOING HORIZONTAL HORIZONTAL

After you complete your standard Three Card Monte sequences, take out the crimp and place the black ace on the bottom. See Photo 16. Perform The Glide, see page 33, and apparently place the black ace down horizontally in the middle. Now, without showing the remaining two cards, place one on each side vertically. See Photo 17. Say, since the spectator is having a hard time keeping track of the money card, this should make it a bit

Photo 16

easier. easier. Slowly, mix the cards by sliding them – making sure to keep their horizontal or vertical relationships intact. Photo 18 shows an example of this after the cards are mixed. When the spectator picks the horizontal card, say “No, remember the black ace is the money card!”

Photo 17

Photo 18


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MONTE SLIDE

This one can be used as an ending by itself or as a prelude to it. It’s a very deceptive move and it doesn’t involve a throw down. Perform the Monte Slide as described on page 34 and after a simple mixing of the cards, ask a spectator to pick the black ace. He is, of course, wrong once again. NO THROW MONTE

This one is as bold as it gets, but after all you’re a magician – you’re expected to do the impossible. Start with the cards in the usual arrangement: 2 , 1, 3. Pick up 2 with the left hand and 3 with the right. Show the faces of each red ace and place them back on the table, but don’t show the black ace in the middle. See Photo 19. Say, “I’m going to make it impossible for you to miss this time!” Now, Now, simply “mix” 2 and 3 – exchanging one o ne for the other. Do it just once and do not touch the middle card. Ask the spectator to touch the black ace. Make sure he doesn’t lift up the card. When he points to the center card, pick up 2 (now on your right) and do a Mexican Turnover, see page 32 – showing that it’s a red ace! After ipping it over, use the black ace you are now holding to do another Mexican Turnover of card 3 (on your left) to show the black ace was “really” there. Say with a wink, “I guess the hand really is quicker than the eye!”

Photo 19


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THE TORN CORNER

Jay Ose, the rst house magician at a t the famed Magic Castle, was

Photo 20

well known for this one. The audience impact is just as strong as the classic bent or crimped corner bit which follows, except this one is a lot easier to perform. Before your presentation, tear off the index corner of a matching black ace. This piece can easily be stolen when you’re ready for it from a cigarette pack, card box, your pocket, etc. and concealed at the base of the left second and third ngers – face out. See Photo 20. Pick up one of the red aces with your right hand. Take care not to ash its face. Place the back of your left hand with the extra piece against the back of the card, as shown in Photo 21. Now, tear off the corner of the red ace, but drop the extra corner from the black ace face up on the table – retaining the corner from the red ace. This piece can be disposed of by dropping it behind your table, in your pocket Photo 21

(while reaching in for something else, etc.). Try and make the piece torn from the card match the extra piece as closely

as possible. Place the card with the missing corner facedown in the center position. Everyone will assume it’s it’s the black ace. Now pick up the actual, facedown black ace from the table and lay it over the remaining red ace. See Photo 22. Rotate your wrist and show the two cards (only the red card shows). Hype the black ace to the left, show the remaining card in your right hand (the same red ace), Photo 23, and drop it on the right. To To all appearances, you have torn a corner off the black ace and shown and fairly placed both red aces on each end. en d. Do a simple mix and watch the incredible reaction when the card with the torn corner turns out to be a red ace!

Photo 22

Photo 23 © Copyright 2004 by Trickshop.com Trickshop.com Inc. All rights reserved.

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Photo 24

THE BENT OR CRIMPED CORNER

We’ve saved the most difcult bit for last. The “crimped “ crimped corner” dodge is the classic nish to a Three Card Monte routine and it is also probably the reason more magicians don’t perform this effect or give up while learning it! While it is a wonderful way to climax your routine, it is by no means essential to a strong and entertaining presentation. My point here is, don’t get so wrapped up on mastering this very difcult series of moves, that you lose sight of the overall routine. Use one of the alternate nishes just given and rene your core routine in front of real people until you’re ready to add in this dodge later, if you choose to. In order to perform the crimped corner dodge, you’ll need a shill or confederate in the audience. The cards are face up on the table in the usual order. Now, Now, while your attention is momentarily diverted – lighting a cigarette, cleaning up a drink spill, or talking or arguing with someone – your partner in crime, slightly bends back the upper index corner of the black ace. See Photo 24. The shill makes sure that the spectator sees him h im do this. When you’re ready to start the game again, you pretend not to notice the marked card. You You proceed with a simple throw down do wn and mixing of the cards. You You ask the spectator to pick the money card and he, of course, picks the card with the bent corner. You You turn it over o ver and it’s a red ace!


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Photo 25

The secret as you might have guessed is that you must take out the crimp from the black ace and put one into the corner of one of the red ones. This feat is made a little easier if you soften the corners beforehand. This process is described on page 9. Here’s Here’s the basic handling. Turn both 2 and 1 face down. Flip both over horizontally, so the crimped corner of 1 stays at the top. With your right hand, now turn 3 (on the right), face down and pick it up. This time, use your second nger and thumb – the second nger is positioned to the left of the crimp,

Photo 26

as shown in Photo 25. You’re now going to put a crimp in the right index corner by bending your third nger above it and pulling up with your little nger. See Photo 26. This action only takes a moment but must be done with suitable misdirection, such as directing attention toward the facedown black ace with your free right rst nger. After putting the crimp in, re-position the card in your right hand with your right rst nger and an d thumb for the regular Pick-up Move. Your Your second and third ngers temporarily conceal the crimp in the red ace. Now, lay 3 over 1 and pick it up. As you lift up, you bend the right

Photo 27

index corner of 1 down by pushing on it with your third nger – your second nger gripping the card at the crimp. See Photo 27. Now, lift up 2 with the left hand, show its face and then turn it face down. Show the cards in your right hand and Hipe 3 to the left, drop 2 on the right and 1 in the center. Give the cards a simple mix and ask where whe re the money card is.


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WIINDLED! S W SECTION V – Presentation Presentation

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There are several different presentational approaches you can take when performing the Three Card Monte for your audiences. You You can offer it as a lesson in the “game,” use it to tell a story about a grifter you once saw or who bamboozled you, or you can even present yourself as a self-styled, magical im-am man “a la” Harry Anderson. Whatever approach you take, make sure to script out your entire routine. Your Your patter will be key in setting the mood and tempo of your monte performance piece. The following is a sample of the standard pitch used by grifters or “broad tossers.” The basic premise of this script has changed little in well over one hundred years. We We offer it here as a starting off point in developing the patter for your own routine – a presentation p resentation that is in keeping with the spirit of a genuine ge nuine Three Card Monte game. Your Your words should of course always match your actions. “Step right up gentlemen to play our little game. It’s easy. Just pick the Ace of Clubs and you win! Watch closely as I shufe the cards. Here it is, now here, now here. Just point it out the rst time and you win, but if you miss – you lose. See, here it is. See it’s easy. Now watch again. This is the Ace of Clubs. We call it the money card. Just place a bet, point to it and you win the money. I take no bets bets from from paupers, paupers, widows or orphaned orphaned childr children. en. The Ace Ace of Clubs Clubs is the one to to watch. Are my my hands quicker quicker than your eyes? Play and see see for yourself. yourself. I always always have two chances chances to your one. If your sight is quick enough, enough, you beat me and and I pay. pay. If not, I beat beat you and you you pay. pay. The Ace of Clubs. Clubs. Who will bet bet me $20. It It is a very simple simple and plain plain game, but but you can’t can’t always tell. tell. Here it is gentlemen, gentlemen, the Ace Ace and the Ace. Who will will go $20?”


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WIINDLED! S W

SECTION VI – Utility Moves

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The following moves can be used strategically as part of your regular Three Card Monte series or to help climax your routine. All appear to make it easier for the spectator nd the black ace, but in the end, leave him more bafed than ever. Bear in mind, they are most effective when they are used with restraint. THE MEXICAN TURNOVER

This is a great utility card move and one which is particularly well suited to Three Card Monte presentations. Most magicians will already be familiar with it. However, if you’re not, here’s how you do it. Pick up the red facedown ace on your right at the lower right corner between your thumb and rst nger. Slide it under the middle card, so it extends about ” above the top edge. Keep your second nger next to your rst. See Photo Photo 28 28. When the lower card is about ” from the left edge of the upper card – your right second nger will come in contact with the upper card. At this point, transfer your thumb’s grip to the upper card. The upper card is now gripped between the thumb and second nger, while the right rst nger maintains it position below the lower card. Now lift your right hand straight up – taking care to not ash the card. Your right thumb and second nger holding the upper card still facedown, while rst nger ips the lower card face up. See Se e Photo 29. To the spectator, spectator, it will

Photo 29

look like you simply used the right card to ip the center one on e over. In reality, reality, you have switched the right card (a red ace) for the center one (the black ace). This sleight is best performed on a mat, rug or other non-slip surface. If you must perform it on a slippery table, try bracing the left edge of the middle card with your left forenger when you slide the card in from the other side. See Photo 30. This move can be used as part of your nish or held in reserve as an “out” in the event a spectator guesses gu esses the correct location of Photo 30

the black ace.


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THE GLIDE

This is another versatile magic sleight, which is ideal for use with the Three Card Monte. It is very easy to do, yet extremely deceptive. dece ptive. Take Take the buckle or crimp out of the cards (important) and hold the cards facedown on the long edges between the left thumb and your rst, second and third ngers. Your Your left little nger is behind. The Ace of Clubs is on the bottom with the two red aces above abov e it. Turn your left wrist over and show the Ace of Clubs. See Photo 31. Photo 31

Then, turn it back down. Your Your left third nger (only) now draws the bottom card backward about ”, as your right second and third ngers draw out the next card (a red ace) and place it facedown on the table. Photo 32 shows an exposed exp osed view. Only a very light touch is needed to execute this sleight. To the audience, it looks as though you’ve simply shown the black ace and placed it on the table, when you’ve actually switched it out. Now, place the other two cards (the second of which, is the black ace) without showing them, facedown on the table. Mix the cards. Photo 32


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MONTE SLIDE

This is an old John Scarne move. And while many variations of it have appeared over the years, none are more deceptive. Try it for an audience and see for yourself. Take Take the crimp out of the cards and display them face up in a small fan with your right hand – ngers at top, thumb underneath. The Ace of Clubs is between the two red aces. Hold all three cards down against the table surface. See Photo 33.

Photo 33

This may feel a bit awkward at rst, however it will become quite natural with a little practice. Lift the cards off the table and snap the outer red ace between your left thumb and ngers as you say “Ace of Diamonds.” See Photo 34. Turn your hand and the cards face down. Now, snap the same card face down and again say, “Ace of Diamonds”. See Photo 35. Remove it from the spread without showing its face and place it on the table. Photo 34

Photo 35


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Photo 36

Turn your left hand and the two cards face up as before. Your Your left thumb and ngers now snap the next card, the Ace of Clubs as you call out its name. See Photo 36. Turn your left wrist over again. However this time, your left thumb slides the red ace to the right – switching positions with the black one. Your Your right thumb and ngers once again come over and snap the edge of the card, as you say “Ace of Clubs”. See Photo 37. Lay the card on top of the other tabled card without showing it. For the last facedown card in your left hand, which the audience believes is another red ace, but is actually the black one – you simply snap it and say “Ace of Diamonds.” See Photo 38. Place it on top of the other two cards without ever showing its face. You You can now do a simple mix and fool the spectators.

Photo 38

Photo 37


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O T H E R T R I C K S H O P. C O M P U B L I C A T I O N S A N D E F F E C T S COLD READING TRADECRAFT

Imagine meeting someone for the very rst time and being able to reveal not only some of their innermost thoughts, but details of personal events yet to come. It appears to be nothing less than a genuine demonstration of extrasensory perception, ESP. ESP. This is the power of cold reading – a process used by professional psychics, mind readers, fortunetellers, intuitive counselors and guides, and mentalists. In “Tradecraft,” “Tradecraft,” you’ll you’ll learn l earn how to harness this power to entertain your clients. Our concise “how-to” manual takes you step-by-step through the process of developing YOUR OWN cold reading abilities - from gaining a solid grasp of the underlying scientic principles at work to the practical application of specic methods and techniques. Plus, you’ll even learn how to correctly answer the most difcult questions readers face. Rated ve stars by MagicWeek.com. 52pp. MASTERING HYPNOSIS

If you’re you’re interested in mastering the art and science of stage hypnosis, we’re we’re condent you’ll nd no better guide available today. today. This This insightful, how-to guide will teach you everything you need to know – from how to hypnotize both individuals and groups to the closely-guarded professional techniques used to deepen hypnosis and maximize the power of hypnotic suggestions.What’s suggestions.What’s more, thoughtfully designed practice sessions will help you become procient in performing many of the same classic tests and entertaining stage hypnosis routines used by top professionals worldwide. Plus, get in-depth advice on putting together and marketing your own stage hypnotism show. Rated ve stars by MagicWeek.com. 98pp.

EXTREME MAGIC

Interested in strong, s trong, visual,“in-your-face” magic you can perform per form at school, on the street or in the clubs? Extreme Magic brings you over a dozen of today’s most powerful street magic effects. Tricks Tricks you’ll be ready to do anytime, anywhere, to amaze old friends and new. While a few of the effects and techniques do require some practice to master, master, you’ll be able to per form most right away. Spiral bound booklet with easy-to-follow photographs and concise, clearly-written clearly-written text. Learn many of the best tricks from David Blaine’s Blaine’s Street Magic TV Special, including The Marlo Snap Change, Twisting Arm Illusion, Balducci Levitation, Ash on Hand, Two Card Monte, Spoon Bending, and much more. 25pp.

MATRIX MATRIX VISUAL COIN ASSEMBL ASS EMBLY Y

Four coins (US or Canadian quarters, UK 10-pence coins, etc.), placed in a square layout on your close-up pad and each covered with a playing card, assemble one at a time under the same card. The ight of each coin is amazing - the spectators actually see the coin vanish from one card and reappear under the other as you snap the cards. No gimmicks or extra coins are required. At the end, you are left completely clean and all may be examined. Our clearly written instructions with over two dozen large, clear photos make learning this professional sleight of hand routine a breeze. In fact, you’ll probably pick it up with just a few hours hours practice. Rated ve stars by MagicWeek.com. MagicWeek.com. 12pp.

O T H E R T R I C K S H O P. C O M P U B L I C A T I O N S A N D E F F E C T S SI STEBBINS UNPLUGGED UNPLUGGED

While most magicians and mentalists are familiar with the Si Stebbins System, very very few ever tap its true potential. In Si Stebbins Unplugged, you’ll you’ll learn how to transform any deck into one of the most powerful trick decks ever devised. Best of all, it will be a deck that you can use not just for one trick, but for an entire performance of entertaining, commercial commercial card magic effects. What’s What’s more, when you’re you’re done, the deck can be fully examined! Clearly-written explanations and over 50 photographs detail every aspect of the system – from basic handling to innovative concepts and techniques designed to elevate your work into the miracle class. A must-have resource for every magician and mentalist who performs with a deck of cards. Plus, 16 entertaining effects. If you work for real people, this is absolutely killer material. Rated ve stars by MagicWeek.com. 52pp. PREMONITION MENTAL CARD MIRACLE

Eddie Joseph’s Joseph’s Premonition is considered by many to be one of the most amazing feats of Card Mentalism ever conceived. Here’s the effect. ANYONE ANYONE in the audience is asked to name ANY card. The person naming the card is asked to come forward and pick up the deck of cards on your table. This person now removes the deck from its case and deals out every card in the pack but fails to nd the one he named. He is now told to count the cards and nds only 51. ONE CARD IS MISSING AND THE MISSING CARD IS THE ONE JUST NAMED ALOUD. ALOUD. The magician reaches into his pocket and without the slightest delay brings out the very card named by the spectator. 13 pp.

PAUL FOX MIRACLE GIMMICK

Perform absolute mind reading miracles with a deck of cards. For For years, this was Paul Fox’s Fox’s best kept secret. A small gimmick that allowed him to ascertain the identity of cards merely thought of by one or more spectators. Please note, nothing, nothing, except the deck, is ever seen by the spectators. s pectators. The deck may be handled with perfect freedom – nothing is concealed on the ngers or in the hands. There are no duplicate cards, no false shufing and no memory system or mathematical formulas employed. The gimmick does everything except whisper the names of the chosen cards in your ear. Fits Fits any bridge or poker-size deck. Use your own deck. We We supply the gimmick with our new updated, illustrated instructions that make learning how to use it a breeze! Plus, four four mind boggling routines from the master himself. 10pp plus gimmick. TWO-WAY MARKED BICYCLE DECK SYSTEM

Learn how to mark your own Bicycle deck using the same professional system used by magic shops. No messy inks or colors to match. A simple, inexpensive tool available at any ofce supply or art or craft store is all you need. Our Our illustrated instructions show you step-by-step how to mark all suits s uits and values. Two-way Two-way system works with both red and blue backed decks, and enables cards to be read from the top or bottom. Instructions sold for entertainment purposes only. only. 16pp.

O T H E R T R I C K S H O P. C O M P U B L I C A T I O N S A N D E F F E C T S SEALED VISION

The performance of the X-Ray Eye Act always always leaves a profound impression upon an audience. You You begin by talking about “second “second sight” and how you have developed your own abilities in this area. To To preclude the possibility of subterfuge, you now allow members of the audience to pl ace heavy cotton wads against your eyes and then seal them with surgical tape. To make it even more conclusive, a dark heavy blindfold is placed around your head. However, However, despite your vision has been completely sealed off, you are able to walk into the audience and read money, credit and business cards, pick colors, name objects, etc.This denitive treatise by Will Dexter covers over a dozen types of blindfolds, numerous techniques and subtleties, as well as program ideas and publicity stunts such as the famous “Blindfold Drive.” 73pp. HOW MANY? ROUTINE

The “TWO “T WO IN THE HAND, ONE IN THE POCKET” trick is a classic of magic. And like all classics - the plot is simple, direct and magical. Three balls are shown. Two of these are placed into into your left hand and the third one goes in your your pocket. Magically, Magically, the third ball travels from your pocket to join the other two in your left l eft hand. This effect is repeated a second time. Finally, Finally, just when the audience thinks they are catching on and believe you have three balls - you slowly open your hands to reveal you have none! Over two dozen photos take you step-by-step through this easy-to-master routine. Just two simple moves accomplish everything and there are no gimmicks whatsoever. Best of all, you are left completely clean at the conclusion of the effect and reset for your next group of spectators. Ideal for walkaround, trade shows, etc. 9pp. 9pp.

PICKPOCKETING FOR MAGICIANS

New online edition of Eddie Joseph’s classic book, “How to Pick Pockets,” Pickpocketing for Magicians is a terric introduction to the art. The The techniques outlined in this concise guide are based upon the basic principles of misdirection and diversion. See how virtually anything carr ied in a person’s person’s pocket can be secretly removed - even while a thousand eyes are watching you! You You will also learn how to remove wristwatches and ar ticles of clothing without being detected. Many Many excellent effects that will add a unique blend of comedy and mystery to any magic act. With this guide, anyone anyone can learn to pick pockets. Imagine the reaction you’ll get when you remove a spectator’s shirt or boxer shorts! It’s all explained. Plus, Plus, you’ll you’ll even learn how to practice your pickpocketing skills at home. A fun and informative read. 24pp. 24pp. 648 K, zipped PDF le. Available Available by download only. CLASSIC ACES

This is the classic card effect, effect, where where four aces are are each removed from from the deck and covered with three indifferent cards. One by one, three of the aces magically vanish from their respective piles and assemble with the fourth ace. You’ll master this classic in record time thanks to our new streamlined handling, which which virtually eliminates all difcult sleights. Supplied complete with our own clearly written, photo-illustrated photo-illustrated routine and top quality Bic ycle poker-size gaffs. Use any regular Bicycle poker-size deck.

O T H E R T R I C K S H O P. C O M P U B L I C A T I O N S A N D E F F E C T S OUTBACK

Tom Tom Dobrowolski’s Dobrowolski’s Outback offers offers non-stop magic and a climax that never fails to deliver a knockout punch! The “twisting” “twisting” premise is simple si mple and direct. Under seemingly impossible conditions, four four cards (all the same value) magically turn over one at a time. Next the backs change from red to blue. Sound good? It is, but wait there’s there’s more. For a mind-numbing climax, you now visually transform the backs into FOUR COMPLETELY COMPLETELY DIFFERENT BACK DESIGNS. At this point, you have the option of instantly resetting the cards for tablehopping or dropping them on a tabled deck to leave yourself clean - since the four cards that do all the magic are ungaffed. Two very simple moves do all the work and both are fully explained in the instructions with crystal clear, large photos. Supplied complete with four pages of instructions, including an entertaining Australian patter stor y, and poker-size playing cards. FLASH BILLS

Magicians are suddenly rediscovering this classic Fred Kaps’ K aps’ effect. effect. Here’s Here’s the effect. You You remove a handful of blank strips of white paper about the size of paper money from your wallet and slowly count them out - showing both the fronts and backs. They’re They’re just what they appear to be - blank pieces of paper. Next, you fold them, give your wrist a snap and suddenly, you’re you’re holding real bills of whatever denomination you choose. Instead of blank pieces of paper, you can change ones into tens, ves into fties, tens into hundreds, etc.! etc.! You You get the idea. Best of all, this trick is easy as it is visual thanks to the special gimmick. you can easily make up additional gimmicks. We supply illustrated instructions with strips of coated enamel paper cut to size and a special practice gimmick made up with fake George “Dubya” “Dubya” Bush $200 bills. You’ll be doing this one minutes after getting it! WILD CARD PRO

One of the most popular packet card tricks of all time. Nine cards are shown. Eight of the cards are all the same, for example - the “Jack of Spades.” The ninth card is different, let’s let’s say it’s the Ten Ten of Hearts. (Note, the actual cards in your set may be different than this example.) You explain that in magic, the “Ten of Hearts” is considered a Wild Card and any card that touches it will also become one. To To illustrate your point, you proceed to slowly transform each Jack into a Ten - until all nine cards are shown to be the Ten of Hearts. You’ll get credit for amazing sleight of hand, even though our routine is actually very easy to do. Comes Comes complete with our own clearly written, photoillustrated instructions and a set of top quality Bicycle poker-size gaffs.

HINDU THREAD TRICK

The “Hindu” or “Gypsy” Thread Trick as it is also also known, is one of the most beautiful and visual close-up tricks tri cks in magic. It is also so bafing, many magicians have paid huge sums of money to learn its secret. A two-foot two-foot length of thread, unravelled from a spool, is broken into a number of smaller pieces. Without any false moves, these pieces are bundled up and placed on the remaining piece of string. The two ends are pulled apart and the string is magically restored into one continuous piece of thread. Anyone Anyone who saw David Blaine perform this effect on his “Street Magic” special can attest to its effectiveness. Comes Comes complete with the “proper type” thread along with easyto-follow, to-follow, illustrated instructions teaching the “real work.” No difcult moves. You’ll learn this classic in less than a half hour. Please Please note, we supply enough thread to last you over 500 performances!

O T H E R T R I C K S H O P. C O M P U B L I C A T I O N S A N D E F F E C T S UNCANNY CIGARETTE

The Uncanny Cigarette Cigarette gimmick lets you perform amazing cigarette producproductions, vanishes, and and manipulations without sleight of hand. Works Works with any unlit cigarette. For For example, push a cigarette into your hand and it vanishes in an instant. A moment later you can pull the same cigarette from your mouth, ear or even nose! And then, you can push it back in and vanish it from the same spot! What’s more, this this versatile little gimmick even doubles as a cigarette producer, so you can produce a seemingly endless supply of cigarettes from thin air. Show Show you hand empty, reach out, and a cigarette magically materializes at your ngertips. Toss Toss it into a hat or paper bag and then produce another, and another. another. How many is up to you! Constructed using durable, high impact plastic. One size ts all. Supplied with ill ustrated instructions. You’ll be having fun using it just minutes after getting it! EPICARD TRIPLE PREDICTION

At last, a mental effect that offers you all the impact of Hen H en Fetsch’s Mental Epic without the out-of-date slate! You You begin by introducing a set of three numbered, two-piece cards. On one part of the perforated card you write your prediction, which is put in an envelope and then placed in full view in a wine or other gl ass for all to see. Next, a spectator is asked to name any famous person living or dead. The spectator’s choice is written down and placed next to your prediction. This This procedure is repeated three times - until the spectators have selected a famous person, a city and a playing card. Without any false moves, the cards are removed from the glasses and handed to one or more spectators. One by one, your your predictions are shown to match the choices made by the spectators! ALL may now be examined. If you like, you can even let the spectators keep the business card-size cards as a souvenir. These can also bear your advertising imprint! We supply you with everything you need, including practice materials and enough EpiCards for six live performances (additional rells are available or you can make your own EpiCards using the camera-ready artwork provided). Use any glasses. As with the classic cl assic Mental Epic, you can predict almost any item, including numbers, colors, dates, dates, etc. There are absolutely no sleights, no carbons or image transfers, no gaffed envelopes, no mirrors, no palming, no extra cards, no gimmicked pens or markers, and you end COMPLETELY COMPLETELY CLEAN. Plus, EpiCard ts in your pocket, so you’ll you’ll be ready to per form this mental miracle any time any place. It’s It’s perfect per fect for private par ties, banquets, banquets, comedy clubs, meetings, etc. To order these and other fne Trickshop.com Trickshop.com products, please visit visit our web site at: http://www.trickshop.com/

Swindled! The 3 Card Monte ebook - Trickshop.com.pdf

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