After Hours Magic: A Book of Al Thatcher Card Magic

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in seeming to bury one card you actually bury two as one. Namely, the short card and the one you want forced. This is done with the second set. The cards to be noted are now already knvwn, of course, so the deck can be handed out to be immediately shuffled. From here the proceedure depends onthe effect one had in mind to begin with. FOURTH METHOD: In the absence of corner shorts the method here described will be found ideal and perhaps, for the more skilled cardicians, preferable as it embodies the elements of the short card without the short card.

This method depends on previously Jogging a cardj or cards, at the back end of the pack thus making these cards short at the front end. There are many methods of obtaining such a Jog but the following method will be found quite good.

1. Hold the pack face down as for dealing with all the four fingers on the right side of the deck.

2. With right thumb at back lift up the cards at about center and press fourth finger against opening to hold this break. The position at this stage is the same as for the Standard Peek with the right hand still above deck lightly squaring the ends.

3. The left fourth finger-tip is now inserted into the break. The fourth finger-tip presses upwards on the card above the break, then by moving this finger to the left the single card is jogged out to the right as in Fig. b where the right hand has been omitted to show the jog. Normally this 1b covered by the right hand above the pack.

Fig. h Fig. 5

k. With right hand still above deck the left hand shifts position so as to grasp the front end of the deck between the thumb on one side and second finger on the right side. The left forefinger is curled underneath and the third and fourth fingers lie idly alongside the jogged card', as in Fig. Again right hand has been omitted for clarity.

5. The left fingers now move in towards the deck to push the card flush into thé side of the deck. Due to the grip in Fig. 5j the side-Jogged card will become automatically inJogged at the back end.

6. The left hands position, after the card has been in-1 Jogged Is still the same, i.e., thumb and second fingers grasping the front end. Retaining this position with the left hand, the .right hand moves down to grasp the lower right corner of the pack with thumb on top and first and second fingers below.

7. Once the right hand has grasped the lower right corner the left thumb and second finger bevel the deck, at the upper end, in readiness for the Riffle Peek.

8. Right hand retains its grip on the loWer right corner while left hand moves down to later take the pack as in Fig. 6. This position effectively conceals the inJogged card.

9. The right forefinger can now riffle the upper right corner having spectator say, 'Stop'. Naturally the injogged card is used Just like a short and the card behind the injogged, card is automatically stopped at.

10. The card having been noted the right hand grasps the upper right corner of the deck,then lowers the deck into the left hand which takes it into dealing position.

11. With right hand above thé right thumb lifts up on the injogged card but Immediately the right thumb has pushed the injogged card flush, it also releases this card plus the selection so that it falls onto the lower packet. At this point the break with fourth finger is maintained, then later the deck is Double Cut to bring the selection to the top.

12. With the card on top a second eard can be noted by merely repeating the Jogging of the card, then forcing this Spot as already ¿^plained. The break is, of course, obtained under the injogged card, two cards released later but the break maintained. The second selection and the first selection are brought together at the top by cutting the deck as explained for the Third Method, Steps 5 to 7, except in this case no short card is used. A repetition of these moves and you can get a third, fourth, etc., cards to the top of the deck.

The above injogged method can be used as an out and out Peek Force as follows:

1. In jog your card as needed and get the deck Into the position of Fig. 6.

2. Tell spectator that you will riffle deck and he is to call 'Stop'.

3. As you speak to the spectator with right forefinger you deliberately riffle the upper corner of the deck but doing it so that only you can see the indexes. During this brief action you spot the card that will later be,of course, noted by spectator.

4. In this case after the spectator has noted his card, the cards can be handed to him for a shuffle. As you know the card there isn't any problem connected with its subsequent discovery.

The above can be used as a Double Peek Force as follows:

1. The right thumb at back lifts the deck at about fifteen from the bottom and the left fourth finger presses inwards to hold a break here. The right thumb now breaks the deck, at the back, at about fifteen from the top and the left third finger presses inward to thus hold a second break.

2. With the two breaks held the left third fingertip presses on its card to sideJog it as in Fig. The left fourth finger now also side-jogs its card. Thus two cards are side-jogged.

3. Now follow the mechanics as outlined for in Jogging one card except in this case there will be two cards injogged. Get the deck into the position shown in Fig. 6.

From here you can spot the two cards, that will be eventually forced, by using the method explained to force one card; however, if it is desired to control them, then proceed as follows:

5. With deck back in left hand dealing position, after the selections, the right thumb presses down on the first jogged card, then places these cards onto the table. The right thumb presses down on the second in Jogged card, then cuts the deck at this point while, in the hands.

6. Here one of the cards is at the bottom of the portion on the table the other card is at the bottom of the cards still in the hand. Place these cards on the table and riffle shuffle the two sections together keeping both cards on the bottom.

Using the injog of this Fourth Method, it is 12

possible to have a Multiple Control with only one cut yet all cards are noted while the pack is at the fingertips, the process is given below.

1. Have deck shuffled and on its return get a card Jogged, in readiness for the first selection, as in Fig. 6.

2. The first card having been noted the pack is lowered into dealing position. While apparently squaring the deck from above, by the right hand, the right thumb lifts up on the injogged card, then pushes it flush but holds the break.

3. Now the right thumb releases only one card, then retains the break/ Next the first selection is now side-Jogged as per Figs. ^-5, then deck brought into position for the second selection as per Fig. 6.

k.. What you are doing is using the first selected card as a short in order to get the second selected card noted. Naturally, once this card, has been noted it in turn is used as a short card to get a third selection noted. A repetition of the moves and any number of cards, that apparently are selected while deck is at the fingertips, will be eventually all in one spot.

5» After having had as many cards noted as may be needed* the last time the injogged card, plus the final selection, are released onto the others. A simple Double-Triple or Quadruple Undercut will bring all the cards to the top. (Later we will give what we consider a more commercial application of the above idea.)

Flb'l'H METHOD: This method makes use of the Step Principle and while it is fairly easy It requires movement in order to conceal the Steps which ordinarily may be visible to a sharp eye. Its use will be described in connection with cards the performer has no knowledge of and must control and also as a Peek Force. To use a Peek Force proceed as follows:

1. With deck in left hand as for the Standard Peek the right forefinger opens up the deck at upper right comer in order to glimpse the card. This need be very slight and can pass off as a mere gesture; however, the left fourth finger presses inwards to thus obtain a break under the glimpsed card.

2. With right hand above the deck the left fingers move or step the cards, above the break, to the right to leave a very minute ridge or step on the left side as in Fig. 7 which shows two such steps that are later used in a Double Peek Force. Steps are exaggerated for clarity.

3. The right hand now grasps the deck by the ends fi"om

above vhicn leaves the left hand free to run its fingers over the sides of the deck. It is during thijj. action that the steps, if they are too big, can be narrowed down. The steps should form a sort of a V with practically no step at all visible at the back end but wideiiing out towards the front.

The right hand now moves the pack so that left fingers graBp it as in Fig. 2. The right forefinger now must riffle the upper corner but more on the side of this corner so that the step at the step will be under control a lot better.

5. Once the card has been noted it is obvious that the pack can be handed out for shuffling.

UBing the same Step Principle , a Double Peek Force is possible:

1. Holding deck in Standard Peek Position the right forefinger breaks the deck at about fifteen cards from the front, notes the card, then the left fourth finger moves In to hold a break on it. The right forefinger Immediate-lifts up the corner of a card about fifteen from the top, notes it quickly, then the left third finger moves in to get a break on this card.

2. With the two breaks held the right hand comes over to ostensibly square the deck; however, the left fingers jfeove the two portions forward to cause two steps as In fig. 7. Again the right hand takes deck from above while left fingers run along the sides of deck to cut down on the steps if necessary,

3. The deck is finally held at the fingertips and the two cards forced by forcing the front card first, then the second or back càrd.

Remember to keep the deck moving in order to keep the Steps from being spotted. The best action seems to be to hold the pack down atray from the spectator. Now lift the pack up but immediately start to riffle the upper cor-ners. This will keep him busy noting the' card. Once he h&s noted the first card the pack is again immediately lowered to the side and the hand kept moving in a gesture •• you say, "Can ^ou rémeniber two cards?" The second card is now likewise handed but after this the pack can b* squared and handed out for shuffling.

Fig. 7

The Step Principle explained can be used as a definite control of unknown cards. The proceedure is outlined below:

1. Have the pack thoroughly shuffled first to impress that you could not possibly know the position of any card.

2. Getting the deck back hold in left hand as for the Standard Peek with cards already slightly beveled.

3. With right thumb lift up, at the back, about half the deck and get break there with the left fourth finger. Next make the necessary step.

U. Have spectator note a card but, of course, forcing his choice at the step. As soon as he has noted his card the right hand takes the deck from above by the ends, then turns it around so that the left thumb and second finger can grasp the upper ends of the deck. Of course, this brings the step over to the right and on the inside right corner. Once again the right hand takes the deck from above by the ends and the deck is lowered into the left hand as for dealing; however, the base of left thumb and forefinger tightly pinch the upper left corner to insure not loBing the step in the next move.

5. The right hand is still above the deck but the stfep can be seen thru the arch of the right hand. Thfe left fourth finger now comes over and pulls down on°this step and then retains the break.

6. With the selection above the break it is released to the top of the lower half and a cut made to bring the first selection to the top.

7* The cards are seemingly squared and the step put in again for a second selection. This is handled in titfs same manner and the two cards brought to the top using the cut explained in the Third Method except here again the short corner is not used. Obviously subsequent cards can be brought to the top as needed.

Using the Two Steps idea as per Fig. 7 two unknown cards can be brought to the top. Proceedure is given below:

1. Holding deck in left hand the right thumb breaks the pack at two fairly equi distant points which are maintain-

fby the left fourth and third fingers. The two sections are now stepped as per Fig. 7 and d deck held at fingertips as per Figs. 2-3 for cards to be 1 noted.

»3. The turning of the pack, which is similar to that of MARLO'S D.F.C. explained further on in this book, brings the two steps to the inside on the right.

b. The left fourth and third fingers now pull downwards on these steps to regain their respective breaks. From here the 0ut and Riffle Shuffle, used in Method Three with the two corner Shorts, is done to bring the selections to the bottom.

SIXTH METHOD: This makes use of the Tilt Glimpse and is very good if handled correctly. There are no steps or markers and the choice is free, yet the performer can know the card.

1. Hold the deck as in Fig. 12 and riffle it as in Fig'. 3 hut with this /big exception. The deck is held down at about waist level and the backs of the cards are uppermost. That is, you and the spectator will be looking down on top of the deck as it is held and riffled close to performer's body at waist level.

2. Ask the spectator to call 'Stop'. When he does the right forefinger holds onto these cards and although the separation is maintained, the spectator as yet ¿an not see the card.

3. Ask him if he is sure he wants you to stop there. When he has answered, you say, "All right, just look at the cfard." Right here the left wrist turns to bring the card into view to be noted; however, as this is done the left hand turns inward just enough so that on the turn THE PERFORMER ALSO GETS to see the cards1 inctex corner as in Fig. 8 which is a side view of you and spectator.

Immediately that the card is spotted the lieft hand ioDves forward towards the spectator and the right forefinger also at the same tine releases the rest of its cards. The pack can be shuffled but the card being known to the cardician can easily be used to his best advantage.

The above Tilt Glimpse can be used to spot or note the top card of a shuffled deck or that of a small packet of cards. In this case the

Fig. 8

the top card is taken by the lower right corner with the right thumb on top and first and second fingers below. The third finger is directly under the lower right corner and this finger moves forward to tilt the card so that its face may be shown to the audience; however, it is tilted far enough so that the cardician also gets a glimpse of the card. The other card is taken under the first one and the two cards shown but from here on in the tilt is no longer pronounced as you already have spotted the top card. The whole etction is one of seeming to take off a few top cards, one at a time, in order to demonstrate what you will do. Actually the rest of the cards are practically handled face down and the audience will never realize that you could have possibly glimpsed the top card or even cards. Although this has led us away tram our main purpose we felt that the above Tilt Glimpse of a top card has many possible uses.

Before proceeding with what we consider the "Piece de Resistance" of Finger-Tip Control we will llsfcg the COMMERCIAL PEEK that we mentioned earlier in the book. First, the COMMERCIAL DOUBLE PEEK FORCE and the preliminaries are:

1. Holding deck in Standard Peek position the right forefinger pulls back the cards at about fifteen from the bottom. The card is noted and the left fourth finger obtains a break here.

2. Repeat the process a second time but somewhere near the top fifteen cards with the left third finger obtaining this break. You now have two known cards above the left fourth and third finger breaks.

3. The two cards are now forced by timing the riffle so that spectator calls 'Stop' at the card which is marked by the left third finger. After this card is noted the left third finger releases the break but the left fourth finger still retains its own.

If. The second card, marked by the left fourth finger, is now Riffle Forced, then this break is also released. With deck squared on all sides it can be handed out for shuffling, then later the noted cards used as planned.

This second commercial idea we call the Free Force. It depends on the principle of RE-FORCING THE BREAK and first appeared in print in a manuscript titled flWJNE CLASSIC. Basically it is the same as the Multiple Control of the Fourth Method except here a break is used. 1. Have the pack shuffled,-then on getting it back hold

It la position for the Standard Peek. t. Riffle upper corner of deck timing It so that the first selection Is made at shout center. Card Is noted, then rest of cards released but a left fourth finger break is held. .

3« Seemingly square the pack. With right thurib at back release the card just noted to the top of the lower half and retain thé break with the left fourth finger.

A second spectator is asked to note à card. Again the riffle is timed to stop at the break and the second card Is thus noted.

5« Card just noted is released onto the lower half as in the first case. The left fourth finger again retains the break. This proceedure is continued for as many cards as may be desired to have selected. Later a Double, Triple or Quadruple Undercut will bring all the selections to the top.

The third commercial Idea, while at first glance seeming to be an old principle, is far above and ahead any such method in that the action does not look like a glimpse but rather a square-up of the deck that the experts have become quite familiar with. It is this familiarity with the Square-Up Move that the following glimpse haa non-plussed the experts. We title it SQfflfflE-UP GLIMPSE.

1. Hold deck as for the Standard Peek. Riffle upper corner for the familiar 'Stop' signal. Of course, the left fourth finger holds the usual break.

2. The right hand comes over to square up the cards but at the same time the left fourth finger enters Into the break just as for thé familiar Pass.

3. The right and left hands moving simultaneously raise the deck away from the left palm on the left second and third fingertips where It rests on its left side. The left forefinger is curled against the face of deck while the left fourth finger Is still inserted in the deck. The left thumb is resting on top side of deck.

U. The right hand which has been with the pack along with the left hand, takes the position so the right thuaib Is on top side of deck in front of left thuafe. The right forefinger is on the front end of deck while the remaining three fingers are on the under side of the deck at the froht end with the right fourth finger actually On top touching the left second finger as in Fig. 9 which Is an audience view.

5. The actions of Steps 3 and 4 merely look as if the pack was turned straight up on its sides in order to square such sides. From the front that is what it appears to be; (See Fig. 9) however, due to the insertion of the fourth left finger, the card can be glimpsed at the back as in Fig. 10. _

6. Immediately that the card is glimpsed, the deck is brought back into the backs up position but at the fingertips of the left and right hands in the familiar face down Square-Up Position. (See Fig. 32 of Chapter Two of the ACTION PAU4 for this standard positibon). At the same time that the deck is turned face down the left fourth finger is removed from between the deck.

7. Once the cards are in the above position the next step is for the right hand to take the pack, from above by the ends, then let the cards dribble off the bottom onto the waiting left hand as shownin Fig. 11.

8. The whole sequence takes on an appearance of impossibility as to the knowledge and location of the card if properly executed.

9. With the„,card known the various proceedure for its final denoument should prove to be no problem.

Fig. 11 In doing the Square-

Up Glimpse be sure you do not make the mistake of turning the pack too far to the right as this action will make it obvious that you are taking a glimpse. Almost a straight up and down deck position should be maintained so as to give no tip off.

Now we come to what we consider quite a gem. We call it MARLO'S D.F.C. or DEFINITE FINGERTIP CONTROL, This method can be done with any deck. The choldte is free, not forced, yet each peeked card can be definitely

tVOMfcfc to the top as needed.

1. iolit the deck as In Fig. 2, then riffle the upper rl&t ooraers as per Fig. 3*

8. Vben spectator calls 'Stop1, you stop. Ask him if he Is sure that he wants you to stop there etc., and at the Mas tine you very quietly bring the right forefinger forward, with its cards until you are in the position shown in Fig. 12. Note that the right thumb is now also touching the top of cards at this corner.

3. It will be noted that the right forefinger will be still keeping a minute separation of the cards at this point as in Fig. 12.

The right forefinger now pushes against the upper right corner of the Fig. 12 lower half, below the sep aration, while the right thumb presses firmly on the back of the top section so that actually these cards are more or less pinched tightly between the right forefinger and thumb. The action is almost that of pinching with the result that the right forefinger tip will cause the lover section to move slightly to the left thus causing a step similar to that shown In Fig. 7* (Only one step is, of course, evident here)

5. To conceal thlB stepping action the deck is moved to the'right so that actually the spectator, at this point, sees the deck as in Fig. 13.

6. It is actually while the deck Is in position of Fig. 13 that the left forefinger tip pinches the cards so as to move the lower section forward. Immediately the right hand takes the deck by the ends from above and the deck is Immediately turned around using the left forefinger as its pivot point.

7. The cards having bean turned, the left second finger and thumb grasp the upper ends of the deck in a position similar to Fig. 5 except in this case a •top «111 bo on the right side of deck rather than a Jog-

Fig. 13

8. Iftie right hand again takes the deck from above, then lovers it into the right hand which pinches it firmly on the upper left corner between base of left thumb and forefinger in order to retain the step.

9. The right hand from above conceals the next action which is that of the left fourth finger pulling down on the step which can be seen thru the arch of the right hand as in Fig. lU. The left fourth finger then retains the break.

be worth it to the cardician wishing to do card miracles.

It is, of course, possible to do the D.F.C. with two cards by getting the first spectator to note a card somewhe re in the front portion of the pack. Then, putting in the step, move directly to a second spectator and have him note a card in the upper portion after which the second step is put in. From here on the two cards are, of course, brought to either top or bottom by the cutting process.


Fig. Ik

10. The selection is next released to the lower half, the deck cut to bring it to the top.

Fig. Ik

11. A repetition of the moves plus the cut explained in the Third Method will get additional cards to the top as desired. We feel that the practice needed to acquire this D.F.C. will

Card!ally yours,


Note 1« On the Fingertip Method» using the short cor» ner card.

Sometimes when using a borrowed deck* you can manage to break, bend or soften the opposite corners with the result that it can be used as effectively as a sharply cut short card. Be sure not to mutilate these corners too obviously. It also -will be -wise to put the work into one corner only.

Note 2. On the Square Up Glimpse,

If two breaks are maintained, one by the left fourth, finger and the other one by the left third, finger,then these two fingers can enter into their respective breaks. Now the square lip is wade and the audler« view is as in figure 9. However, the performer % view is as in figure 10. except that there will be breaks at the rear, this enables the operator i* glimpse both card ftliwiltaneattgiy. Th* pockis then turned down, leitfingers taken out <xf divisions, then the deck "dribbled "onto the left hand a* in figure U. For the record awl easy remembering, call it the * Double Glimpse*. The * Double Glimpse* can be applied to any. of the standard methods mow in use such as that in which, the portions of the deck, at each break, are stepped to the lefts* the Unhand turns back upwards. The jogged indexes will W vi»« ,ible on the right side of cards as they are face up,

Note 3. A potent combination can be had by using Mario's D.F.C. and following with the Square Hp Glimpse.

This concludes Chapter 3 of the lUvoiajfcMwiary Card Technique and we hope that these methods wiil open up new horizons in card magic for the modern card« ician.

Ed Mario.


1. Miracle Car a Changes

2. Action Palm

3. Finger Tip Control

4. Side Steal

5. Tabled Palm

6. Faro Shuffle

7. Faro Notes

8,9,10. Seconds, Centers,Bottoms

11. Multiple Shift

12. Card Switches 13,14. Estimation

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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