Encyclopedia of Card Tricks

After Hours Magic: A Book of Al Thatcher Card Magic

73 of the tricks were created by Al Thatcher but put down by Gordon Boyd. He was a very renowned magician until his demise in 2005. Al Thatcher was born in 1917 and was since interested in magic. For his early moments in practicing magic he was all alone, however, as the time elapsed, he got acquainted with other people who held same passion in magic. In his middle 20s, he joined International Brotherhood of Magicians. Until his death on August 5, 2005, he held the position of Ring 7 a few times and most of his entire time as Secretary-Treasurer. His hand-written work was gathered and incorporated in a book by Gordon Boyd but latter updates were done by the Al's son and the daughter. However, more than 13 other magicians have contributed in one way or the other to the tricks incorporated in his book. The routines established in this book use subtle moves and principles rather than difficult sleight of hand to produce entertainment card effects that anyone can practice. After purchase, you will get this book and eventually get introduction to a talented card man who has travelled through the hands of some great magicians. The book will provide 13 card tricks from several well-known card magicians. The product doesn't particularly target beginners. There are some of the most difficult sleight that can only be easier for intermediate magicians. This product is a 176 pages e-Book with 73 card effects put down by the original author and an additional 13 bonus tricks from other magicians.

After Hours Magic A Book of Al Thatcher Card Magic Summary

Rating: 4.6 stars out of 11 votes

Contents: Ebook
Author: Gordon Boyd
Price: $25.00

After Hours Magic: A Book of Al Thatcher Card Magic Review

Highly Recommended

I usually find books written on this category hard to understand and full of jargon. But the writer was capable of presenting advanced techniques in an extremely easy to understand language.

I personally recommend to buy this ebook. The quality is excellent and for this low price and 100% Money back guarantee, you have nothing to lose.

Read full review...

The Principles Of Card Effects

Card tricks fill an important place in the realm of Magic. These tricks are based on sleight of hand and on mechanical arrangements. Sleight of hand is a great art. It involves very definite principles which must be practiced a great deal. I give you here the principles which form the foundation for the card effects depending on sleights. These principles are not difficult to master, but they do require careful thought, study and practice. These principles are the backbone of Magic, and once you master them you have a wonderful foundation for building your card effects. I hope you realize the importance of this lesson and the need for your absolutely mastering it before you perform any of the effects. You are not expected to be able to do these card tricks with only a little practice. Some of the effects in earlier lessons required only a short time of study and you were able to perform them well, but you must put real study and practice into these effects. There are many people who...

The American Figure 4 Leg Lock Position

Interview Sitting Position Body Language

Raged about the poor quality of management in most corporations in that industry and said he felt that this was a contributing factor to the industry's staffing problems. Throughout his speech the sales people in the audience were leaning forward showing interest, many using evaluation gestures, but the managers held their defensive positions. The salesman then changed his address to discuss what he believed the manager's role should be in relation to the sales people. Almost as if they were players in an orchestra who had been given a command by the orchestra leader, the managers shifted to the competitive argumentative position (Figure 81). It was obvious that they were mentally debating the salesman's point of view and many later confirmed that this had been the case. I noticed, however, that several managers had not taken this pose. After the meeting I asked them why, and, although most said they had also disagreed with the salesman's views, they were unable to sit in the figure 4...

Topological Card Tricks

The tricks in this chapter use cards that are torn or folded. This may seem a slender premise on which to base a chapter, but topological card tricks represent an offbeat approach that generates surprising and different card effects. Most topological card tricks requite gimmicks or manipulation that lie outside the scope of this book. The tricks in this brief chapter have been chosen because they are easy to perform and provide something of the flavor of this unique area of card magic.

Jokes About Card Tricks

Volume 1 contains false shuffles (both overhand and riffle), false cuts, card stacking, shifts and crimp work. I was particularly impressed with the false shuffle work, and there is a demonstration of an interlace shuffle (not a tabled faro) which has to be seen to be believed. There are gambling tricks, tricks with gimmicked cards, rising card tricks, color changing decks, and various other kinds of card magic covered here. About the only thing you won't find included are tricks using sleight of hand. Mr. Fulves has included some tricks that, in their original versions, required some sleights. He has reworked those tricks to eliminate any sleight of hand. While in just about every case I think this weakens the trick, I don't think it ruins them. In addition to explanations for the above mention items, he teaches his handlings for various sleights. These are the side steal, the Elmsley Count, the diagonal shift, the Mercury Card Fold, a card force, and an overhand shuffle control....

Top And Bottom Card Interchanges

While the need to transpose the top and bottom cards of the deck in an unobvious manner may not arise that often, there are occasions when a method for achieving this little task would be helpful. Here are two simple yet clever Elmsley solutions to the problem. First Solution In a relaxed moment, as you are talking and nonchalantly toying with the pack, take the cards into overhand shuffle position. Draw off the top and bottom cards together in a milking action, and drop the balance of the pack onto the pair. Again draw off the top and bottom cards, and this time drop the pack beneath them. Milk the top and bottom cards from the pack a third time, and drop the pack onto them. The original top card is now at the face of the deck, and the original bottom card is on top. The three milking actions, when done in quick succession, resemble an indifferent and purposeless shuffle. Second Solution Again the proper attitude for this sequence is one of casual toying with the cards. Hold the pack...

He Asked if I Liked Card Tricks

Each month dozens of them appear in magazines, books, videos, and online. I'm sure that 99 of these tricks are only ever performed for an audience of one - the magician who's holding the cards. That's okay, however, because card tricks are like tinker toys, we amuse ourselves by playing with them, seeking new arrangements, varying the moves, constantly seeking the perfect trick. I awoke at 2 in the morning. Eric hadn't returned, so I dressed and walked over to the lecture room. Almost everyone was still awake, gathered around tables doing card tricks. I watched for about an hour and then went back to bed. The session continued till dawn. These marathon card trick sessions happened every night of the conference. We do love our card tricks. This month's Marketplace features lots of card tricks, most of which are the familiar, friendly tricks we've come to expect. One book features material that is not so comfortable. We begin with it. Life, Death, and Other...

Card Tricks How To Do Them

This book gives the newest card tricks and sleight-of-hand yet offered to professionals and amateurs Not only does this book contain all the new tricks, but nearly every one known is fully explained and exposed by explicit directions and carefully prepared illustrations. Eighty fine illustrations.

The Reverse Or Backward Faro

Many years ago I discussed with Martin Gardner the possibilities of what I chose to call the Backward or Reverse Faro. This was the usual process of taking a packet of cards and jogging one inwards, one outwards, one inwards, one outwards etc., until the whole packet was thus run through. The result was that some cards were injogged and some were outjogged. The injogged cards are then stripped out and placed on top of the others. In my experiments, I found that using the Backward Faro, a small packet of cards from A to K, top down, could be brought back to A K order after 6 such Faros, except, the cards were then in reverse order. In other words, the cards running from A to K now would run from K to A if the top card, the Ace, was transferred from top to bottom after the sixth Backward Faro. On the other hand, it takes twelve Backward Faros to bring the packet back to its original order of A to K. Adding another 13 cards to make up a packet of 26 cards, each set in numerical order, we...

Can You Tell Me the Best Card Tricks by Eugene Burger

Much of my email is from magicians who are asking questions. Sometimes they ask so many questions I would need to write a small booklet just for them if I were to answer them intelligently. Often the questions are the same. One of the recurring questions that has been asked on more than a dozen occasions is this Can you tell me the best card tricks I am reminded of a posting on one of the Internet magic bulletin boards where a writer explained he had purchased a specific (large) book and asked whether anyone would be interested in splitting the reading of it with hi--so they could tell each other the best card tricks. Since I suspect I will be asked for my recommendation of the best card tricks many more dozens of times in the future, it seems like a good idea to answer this question once and for all here. Eventually, I think we'll put this answer up on my website and then I'll be able simply to refer new email questioners to that place for my answer. Tidy. Ready I strongly feel that...

In and Out Faro Shuffles

Before continuing, I must mention that the technical terms In and Out, as applied to a Faro Shuffle, were introduced by Alex Elmsley. Briefly, they mean just this An In Shuffle is one in which the original top and bottom cards change position to second from the top and second from the bottom. The twenty-sixth and twenty-seventh cards, the top and bottom cards of the two packets just cut, become the new top and bottom cards of the deck. In this way each In Shuffle keeps changing the top and bottom cards. An Out Shuffle, as applied to the Faro or Weave, is one which retains the top and bottom cards. Eight Out Faro Shuffles return a deck to its original order. For the present the above information will suffice but the student is referred to Chapter Seven, Faro Notes, for more detailed information. Here, then, is the First Technique 13. With the Faro completed, push or telescope the packets into each other for about a half inch or more as in Figure 10 which is a front view. 22. Upon...

Handling A Short Card

The Short Card This type of short card is ideal when it is required to lift off two cards as one from the top of the pack. With the short card on top of the pack, the right thumb goes to the centre of one end (or side) and the second finger to the opposite end (or side). The two cards are automatically picked off together in the normal action of taking one card only. Locating a Short Card With either the usual short card or the one described, hold the pack in the left hand, the tips of the second, third and little fingers at one side and the thumb at the opposite side. Pull down with the tip of the forefinger at the centre of the outer end of the pack. The pack will cut at the short card, and when the cut is completed the short card will be on the bottom of the pack. Figure 2 shows the holding position of the pack, for the tip of the left forefinger to pull down to locate the short card. When a card has been made into a short card by taking off a little at two diagonally opposite...

Throw Off Faro Bottom

By using the right thumb at the back end of the deck, you may pick up an extra card from below the break to add it to the top section. Then Double Cutting the cards will be the same as an In Shuffle of the bottom cards. Uses for these Faro Throw-Offs will be found in Chapter Seven Faro Notes. Above Crimp Faro 3. Finish the shuffle using the Spring Shuffle Flourish. For further details on the above idea see Chapter Seven Faro Notes. Off Center Faro 3. This Off Center Faro will place the 26th and 27th cards at the same relative position from the top and bottom, In other words, if the 26th card is now 10th from the bottom therefore, the 27 th card will be 10th from the top. 4. By doing an Off Center Faro with the upper cards of the right hand portion weaved into the lower part of the left hand portion as in Figure 68, the same result will apply to cards previously at the top and bottom. In other words, the top card may become the ISthfrom the bottom while the bottom card will have become...

From 21 New Card Tricks 1936

The right hand with the palmed card leaves the pack showing the selected card face up on top. As you show it, remark, This trick can only be done with the Nine of Hearts - or whatever card it happens to be. As you say this flip the face up card face down while leaving the palmed card secretly on top.

The Card Miracle Certain

Print in the Art of Magic in 1909, as set forth therein the secret lies in locating the selected card by observing where the spectator breaks the pack. That is to say, when a spectator cuts the pack you estimate how many cards are in the lower packet. If you have beforehand sighted the bottom card it-follows that, no matter how many complete cuts have been made, if you again cut it to bring the sighted card to the bottom, you can divide the pack within a card or two of the spectator's original cut. How close you come to it will depend on the accuracy of your estimate. A few trials will show that the principle is not really difficult, particularly since all that is necessary is to come within a few cards of the right spot. Any pack of cards shuffled by spectator, the bottom card sighted and the pack placed on the table. A spectator cuts freely and notes the bottom card of the packet cut, then replaces the cards, squares the pack and makes as many complete cuts as he pleases. Take the...

Added Note For Faro Fooler

In doing the 13 Card Faro Check do not pick up the extra card for the second packet. Instead, the two outside packets will both contain 13 cards while the center section will have twenty six. Follow the exact proceedure of selection as per Faro Fooler 9, Steps 7 through 9. 4. At this point, you have two alternatives open with the remaining 26 cards. One, you can do a 13 card Faro Check. Or Two, note the bottom card, overhand run shuffle 13 cards from top to bottom, then throw the rest of the cards onto them. Cut at the noted card to give you two packets of 13 cards each. 8. Have two other spectators pick up the other two packets. Each shuffles his packet, then notes the bottom card after which their packets are dropped onto the first two assembled. 10. Pick up the deck and give it two perfect In Faro Shuffles. This brings all three cards to the bottom of the deck. 11. Thumb count or Buckle Count the bottom three cards and get a break above them. Double Cut the three bottom cards to...

Faro Fooler

Have the pack shuffled and on its return, glimpse the bottom card. Place the deck face down onto the table. 6. Hand the deck out to be shuffled again. During the shuffle, mentally break down the number fifteen to its various keys to denote In and Out Faro Shuffles. In this case, the numbers would come out 2-4-8-15 or three In Shuffles and one Out Shuffle which youremember. outlined here or by other methods as long as the two selections become the top and bottom cards of the deck. 8. With both selections on top and bottom go into the calculated perfect Faro Shuffles, as figured in Step 6, in this case 3 In Shuffles and one Out Shuffle. 10. Cut at 26, Faro Check if you wish, then place the top half onto the table. The remaining half you shuffle to reverse the order of these 26 cards and then place the packet face down along side the other.


In effect, the four Aces are buried at four different positions in the pack. After two shuffles you spell the name of the leader T-H-E A-C-E O-F C-L-U-B-S forming four piles. The top card of each pile proves to be an Ace. Two perfect Faros do all the work. You might like to note and remember the top card of the deck for a Faro check later. 4. Give the deck two perfect Out Faros (top & bottom cards remain in place). To check that you have 26 cards each time the Ace of Diamonds is the top card of the lower half prior to the first shuffle, and the card you remembered at the start is the top card of the lower half prior to the second shuffle.

The Elmsley Count

Elmsley Count

Before explaining the trick itself, the Elmsley count must be taught. I will describe the exact technique Mr. Elmsley detailed in his 1959 manuscript. Though many readers may be familiar with the actions of the Elmsley count, it is urged that the following description be studied, as it contains several fine points of handling that are not widely known. Curl the right forefinger comfortably around the outer right corner of the packet and press this comer lightly into the llcsh of the finger's middle phalanx. Simultaneously, with the right thumb, pull the Lop card Lo Lhe righL. One of the difficulties commonly experienced with the Elmsley count is ensuring that only one card moves off the packet when the first card is taken. If the right forefinger is positioned as explained, it aeLs as a brace Lo block Lhe lower cards, keeping Lhem squared, while the right thumb pulls just the top card Lo the right and over the forefinger. When Mr. Elmsley published his count, he cited Edward Victor's...

Marlo Short Card

With the narrow end, of the stripper key, at inner end or towards performer the card can be located (A) by riffling upwards with right thumb at left lower side while holding deck as if to split for a Faro shuffle in the hands. (B) Card can also be located by riffling down, with left 4th finger, at right side near inner right corner. to carry the key on top of right hand portion. This way the wide end is on right side and no trouble is experienced in making this card the last card of the shuffle. These left and right actions become important when dealing with multiple Stripper Short cards. Note that the accordion condition of the deck is retained thus the cards are in a separated condition. If you now shake the deck slightly, the Stripped Short card will fall out at bottom end. This in itself is a good effect however, to use it as a control this card is let fall onto tops of left fingers. At this stage the student may feel that I have gone far afield from the subject in mind which is...

Th Card Faro Check

The use of the Faro Check is my idea to insure that the 26th card is actually being used thus insuring definite success with the 26th card principle. 1. The 26th Card Faro Check consists merely in cutting the pack at 26, then starting a Faro Shuffle as in Figure 29. 1. The 26th Card Faro Check consists merely in cutting the pack at 26, then starting a Faro Shuffle as in Figure 29. 2. Remember, you only start the Faro Shuffle. If the cut and weave has been perfect, every card will be weaved with no cards left over, thus you will be sure that the cards have been cut at 26. 3. Spot the bottom card of the right hand packet and remember it. 6. Use of the 26th Card Faro Check will be evident in such effects as Faro Foolers in Chapter Seven, Faro Notes. 7. Psychologically, the 26th Card Faro Check is quite sound as it has all the elements of an attempted Faro Shuffle that did not quite come off. Your whole manner, upon completion of the 26th Card Faro Check, should be one of, Oh, well, let's...

Card Miracle

THE results obtained by the use of a forcing pack do not always justify the risks which are incurred by its employment. One has only to refer to the innumerable card effects described in the vast collection of books, pamphlets, and magazines on the subject, to find that the explanation of many of them begin with the words, A forcing pack is used, but no advice is given as to the introduction of such a pack, or the care required for its safe concealment throughout the experiment. To use a forcing pack for concert or drawing-room work in one card effect only, or even the first of several, is simply courting disaster. It must be cunningly substituted for an ordinary pack previously used in one or two effects and handled, if possible, by one or more members of the audience, and it must be as discreetly withdrawn afterwards. An audience is always suspicious of the performer's own pack, innocent though it may be. Unwilling to admit that there is anything they cannot understand, they murmur...

The Short Card

As with strippers, to handle the short card intelligently requires some practice and the card should be lightly cut that the difference in length would only be revealed by minute inspection. The use of a card cut so short that the pack divides at it, when riffled, with a loud click, simply ruins an artifice that is invaluable when intelligently used. To anyone having a working knowledge of the few indispensable sleights the short card is a very valuable accessory. The danger is that it renders some operations so easy that the beginner especially comes to depend on it entirely. The drawback to the short card is that it has to be prepared and therefore can only be used with your own pack. On occasion this can be overcome by carrying a small pair of scissors and working an effect that entails your leaving the room. By carrying off one of the cards in use you can cut off a shaving and secretly return the card to the pack. There is, however, a plan for getting the same effect easily and...

Faroptic Vision

The first version is impromptu with any cards that may be borrowed. The performer states that what he is about to do must not be confused with card tricks or sleight-of-hand. It will be left entirely to the audience as to what senses are employed by the performer in gaining his subsequent knowledge. The working of the effect is so clean and obviously free of trickery that thla point stressed at the start will emphasize it and be remembered after.


Preparation You must put together a set of six cards that meet specific requirements. The following is my set The prediction card is a jack of diamonds with a red back. The second card matches the face of this card but has a different color back it is a blue Display the envelope, and slide the lower five cards out leaving the face up red-backed jack of diamonds inside (your prediction card). I believe that when fate and free will collide, a coincidence occurs. Revelation Script (IF THE FACE UP JACK OF SPADES is selected) You could have easily selected any of the other cards, but you selected a face up card, not a face down card. My prediction is, in fact, a face up card Pick up the envelope and allow the prediction card to slide out of it face up onto the table. This will be met with a suitably apathetic response and or a deserved round of groans. Or you could have easily chosen a face down blue-backed card, but my prediction is a red-backed card. Turn your prediction card face down...

Tricky Part Be Careful

Tell the volunteer to pick a card from the lower half of the deck and look at it. They should then put it back on top of the bottom half. While they are looking at their card, look at the bottom card on the top half of the 3. Join the two halves of the pack together, and then shuffle by taking some bottom cards and putting them on the top(make sure not to seperate the four of dimonds from there chosen card). cards. Take the pack back and turn it on its side. Glance at the bottom card. 3. Bring the pack back in front of you and name the bottom card you saw. Show the audience the card on the original bottom, making sure they can't see the other side (which is the opposite way around). While you are naming the card, remember the card on the other side of the pack.

The Top Card Return

Turn the top card face down in the same manner that it was turned face up. It will be noted that the right hand automatically comes over the top of the deck during the turning of the top card. It is when the card is turned face down that the palmed card is released onto the deck as in Figure 34. 5. The right thumb immediately swings to the inner end of the deck. The right hand grasps the pack from above and the forefinger curls on top. Turn deck face up and remark that the bottom card is also not the selection.

The Delayed Replacement

The right hand, which has the palmed cards, takes the pack from the left hand and starts to place it on the table. Apparently seeing something on the table he replaces the pack into the left hand. At this point both hands will again be in the Basic Replacement position. 3. The left fingers pull the palmed cards onto the pack and at the same time the left hand turns palm downward. The right hand immediately, with the turning of the left hand, moves to the imaginary speck and brushes it away.

Diachylon Book Test Forcing A Number

When the time comes to force the number introduce the pack, take off the three bottom cards and stand them, faces outwards against a book, a glass or any other object, remarking that they will be used as indicators. Hand the remainder of the pack to be thoroughly shuffled.

The right hand continues by pressing its right thumb against the lower

The right hand now swings its cards to the left thus bringing the bottom free portion of the deck in line with the angle-jogged Aces as in Figure 56. Here you will note that the bottom cards are in line with the jogged Aces but as yet the right thumb has not released its cards to fall flush onto the bottom portion. Once the bottom cards are in line with the Aces, the rest of the deck is released or lowered by the right thumb.

An Impressive Sequence

With the card now on the table the left fingertips push it still further forward. Now the left hand moves in towards the right and the Rear Angle Palmed card, from the right hand, is transferred to the left hand into a Rear Flat Palm as per Figures 20-21-22 of the Card Switch Transfer. for the deck and while this is done the left 1st finger curls in to go above the palmed card. The left hand would then appear as in Figure 31 if seen from below 11. The right hand has meantime picked up the deck and now brings it to the left hand which turns palm up to meet it. The left hand 2nd, 3rd and 4th fingers are extended, but the left 1st finger remains curled under the card. The deck is placed directly onto the palmed card as in Figure 32 where you will note the left fingers are extended and the left thumb is along the side of the deck. This position is held only for a fraction of a second as immediately the right hand moves the deck forward and the left fingers assume a side squaring position...

The Card Through The Handkerchief

A handkerchief is borrowed and immediately spread over the right hand, thereby concealing the palmed card. The pack is now placed face upwards, on the center of the handkerchief, by which means it is brought immediately over the concealed card.

The Card Magic of Nick Trost

Number of card effects, many of which became hugely popular. L&L Publishing has released a retrospective of Mr. Trost's work, containing not only his original creations, but variations of these effects by his friends and colleagues. Of the 122 items in the book, 100 have been previously published. These routines have been revised and rewritten for this volume. Twenty-two routines are previously unpublished. The book is divided into 17 chapters, each chapter containing effects which are thematically related. Included are Coincidences, Four Ace routines, Gambling Tricks, Poker Deals, Predictions, Spelling Tricks, Reversed Card Effects, Packet Tricks, SpecialDeck Gambling Effects, and effects using ESP cards. At the end of the book is a useful Appendix which explains 20 basic moves (Biddle Move, Braue Addition, Braue Reversal, Elmsley Count, Flushtration Count, etc.) which are used in the routines. If you are new to card magic, this Appendix is a very handy addition. For newcomers to...

Delayed One Hand Palm

The right hand, with its palmed card, returns to the table and rubs away some imaginary speck with the fingertips, Returning to the deck, the right hand can now take it, at the extreme ends, in the Top Pam position. The pack is lightly slapped on the table as the right hand moves away with its palmed card.

Marc Paul Lecture Video

Marc begins by explaining a card routine which he regularly uses as his opening routine. While there is nothing new as far as techniques are concerned, Marc explains his (very valid) reasons for using this routine. Other card effects include the New Encore Card Stab, which uses a familiar stratagem in a clever way The Miracle Pack, which allows you to locate a mentally selected card Universal Consciousness vs. the

May 2001 Seven Year Itch

If you only wanted to purchase one tape to get a feel for Pat Page's style, I would suggest the 25 Super Tricks video. The tape leads off with a wonderful utility item, The Auto Force Deck. If you are performing a routine that demands a sure-fire, completely convincing force, this one fits the bill. In addition to card tricks, this video features magic with coins, handkerchiefs, thimbles, and ropes. Be sure to check out The Everlasting Cut & Restored Rope Trick. It is a serious fooler. The London Stage Lecture video covers magic with billiard balls, thimbles, coins, and the Topit. The opening trick is the barehanded production of feather flowers. To be honest, I don't think that I would ever be in a situation where I'd want to produce a feather bouquet, but if for some reason (like losing a bet) I had to do this, I'd use Pat's method. It takes what is normally a lame trick and makes it very magical. Another highlight of this tape is Pat's Miser's Dream routine. (I should mention that...

Hello I Must be Going

I enjoyed reading this book very much. Like Volume One, there are (in addition to the well-described sleights) some great card tricks taught here as well. The routines for The Homing Card and The Ambitious Card are both top-notch. My favorite part of the book, however, is a section in the theory chapter on Outs for Disturbances and Disasters. There is a method presented for dealing with an obnoxious, challenging spectator, which is simply hilarious.

My Friends Are Slowly Turning Into Books

Here's some the topics discussed in Volume Four Force Techniques, Card Switches, Packet Switches, Deck Switches, Estimation, Culling (other than Hofzinser-type spread culls), Stacking (both overhand and riffle), False Deals, Sandwich Techniques, Advanced Pass Techniques, Tilt, Reverses, and Flourishes. Each chapter contains some card tricks that utilize the sleight under discussion. These effects are good, and they're worth learning. The two new releases from L&L are The Exciting World of Magic and The Complete Introduction to Coin Magic. Both feature Michael Ammar. The Exciting World of Magic is geared toward someone who is just starting out in magic. The material covered is similar to that which would be found in any beginner's book of magic. There are some stunts with a dinner roll, a few simple coin tricks, the venerable Cut and Restored Twine trick, the coin through dental dam trick, a Linking Headbands trick (based on Dan Harlan's Linking Rubberbands ), a coin in matchbook...

January 2001 Melt Down

So, you're telling me that you've gone through every card trick in The James File, the two bound editions of Apocalypse, all three volumes of Semi-Automatic Card Tricks, and the electronic book Virtual Miracles and you still want more card tricks. Well, why don't you make up some yourself You can do just that if you study the information in Card Concepts by Arthur F. MacTier. Subtitled An Anthology of Numerical & Sequential Principles within Card Magic, this big book examines the underlying principles of mathematically oriented card tricks. If you've ever wondered why Elmsley's Penelope's Principle works (and if you haven't, shame on you) you'll find a discussion of it here. Generally speaking, mathematically based card tricks get a bad rap. To a certain extent this is justified, because many mathematical card tricks look like they are based on mathematics. You know the drill Think of a number from 5 to 15. Count off that many cards from the top of the deck. Put those cards in your...

Youre a Green One Mr Minch

Next on my list are Gary Plants' two new card tricks, The Impossible Close-up Rising Card, and The Magnetized Cards (Marketplace November 2000). I've been having a ball with these two tricks, performing them in the Houdini Lounge in the Monte Carlo Resort. The audience reaction leaves nothing to be desired. In fact, when I visited the Magic Castle one evening in late October, I discovered that stories about my performance of these two tricks had preceded me. I had several requests to perform these at the Castle. These are the best two card tricks of 2000. Nothing else even comes close. So, you're telling me that you've gone through every card trick in The James File, the two bound editions of Apocalypse, all three volumes of Semi-Automatic Card Tricks, and the electronic book Virtual Miracles and you still want more card tricks. Well, why don't you make up some yourself You can do just that if you study the information in Card Concepts by Arthur F. MacTier. Subtitled An Anthology of...

Growing in the Art of Magic The Book Thought Sender Shotglass Surprise

Thought Sender is one of Eugene's prized card effects, and it has fooled magicians and laymen alike. The magician introduces a deck of cards and then proceeds to send the thought of one card to the assisting spectator. The spectator makes all the decisions, and eventually arrives at the name of one card. That card is removed from the deck, and its back is a different color than the rest of the deck. The deck is then handed to the spectator

The Greater Artful Dodges of Eddie Fields

From the description of the above two effects, you might feel that this is material geared to fool others magicians, but that is not the case. Dropsy Diddle is a wonderful layman effect, and one which I used all the time. Cool Spell is another idea which I use to this day. One and Only and Field's Zodiac Card Miracle are evocative routines which

September 2001 In the Beginning

In a marketplace that is dominated by books devoted to card tricks and close-up magic, it is a refreshing change to receive a large, hardcover book devoted to mentalism. Scott Wells' company Magic Inspirations has released Peek Performances by Richard Busch, a hypnotherapist and psychic entertainer. Experienced mentalists will certainly find much to stimulate their imaginations. Mulholland's Book of Magic 6 x 9, 352 pages, 9.95, ISBN 0-486-41772-7 by John Mulholland is an excellent book for the amateur magician, and I remember it fondly from my youth. There are simple stunts, impromptu magic tricks, card tricks, mental effects, and some terrific effects that require special props. Most of these prop tricks are completely unknown to contemporary magicians and would certainly be worth the effort to construct. At 10 this book is a steal. It has been said that if you know 100 ways to control a playing card but only one way to reveal it, then to your spectators it appears as if you know...

Arcade Dreams Marlo Without Cards

You probably associate the name Ed Marlo with card magic, and indeed, Ed was a prolific creator of card effects and sleights. But Ed was interested in all facets of magic, and published a large amount of non-card material. Jon Racherbaumer has assembled, rewritten, and annotated this material, and the resulting collection contains a wealth of routines for standard props that you probably already own.

Not For Sale to Minors

Being a huge Paul Harris fan to begin with, I was very intrigued by the ads that have recently appeared for this item. I was excited to see how this trick looked and to get a chance to try it out. The try-out took place on my wife, Jennifer. Her response was, and I quote, Oh My God Pretty astonishing coming from a woman who has seen a boatload of card tricks. She has seen Dan Harlen's CardToon and actually preferred Cardian Angel.

December 1998 Tales from the Road II

I have been impressed with the products released by The Magic Smith. I'm also a fan of Eric Maurin, who's 1992 booklet Secrets contained some fine material. Bar Code is Mr. Maurin's elaboration of Fumio Inagaki's bar code gag. You're probably familiar with this gag, it's in the repertoire of many magicians. The magician holds up an envelope which contains a prediction concerning the results of a spectator's imaginary visit to a supermarket. The spectator states aloud the name of her favorite supermarket and decides on an item in that store. The prediction is removed and it contains a large picture of a Universal Price Code Bar. Mr. Maurin has turned this into a close-up trick, and has expanded on this in the following ways The bar code is actually a readable bar code (a Doug Wicks idea). When the prediction card is tilted the bars become legible writing, and through a play on words it appears as if bars do contain the spectator's item and price. As The routines on the two videos are...

The Card Magic of Paul Gordon

I was going to let this manuscript of card tricks fall through the cracks until I received a letter from Mr. Gordon which included what appeared to be an ad for the book. This ad contained some glowing endorsements from some well-known magicians, and, fearing that there would be some of you who would see the ad and be influenced by it, I felt that I must offer a dissenting view.

Martin Gardner to Rubber Chickens

Solutions is a booklet containing eight tricks. These are mostly close-up, but a couple of them would be suitable for stand-up situations. There are coin tricks, card tricks, tricks with credit cards and paper money, plus the instructions for the above-mentioned Diary of a Nobody trick. As I said, if you want the diary thing, I suggest you buy the Solutions booklet and put together the trick yourself. Not only will you save 28 bucks, but you'll get seven other tricks to play around with.

The Cards Up The Sleeve

Place the packet of nine cards into left hand again and draw right hand with palmed cards away toward trousers' pocket. Figure 22. The effect is that you have transferred packet of cards to right hand and turned it over so that audience could see face of bottom card. Audience is absorbed in watching spectator who is reaching into your pocket and may not even see this move at all. Bring right hand out of pocket with palmed card and place hand behind left knee. Be careful always to have back of hand to audience when you are palming cards. As you say this, reach up behind left elbow and bring out palmed card with finger tips and thumb of right hand. Place card on table.

Perceived Imagination

The mage asks his participant to fan an imaginary red-backed deck before her and memorizes any card. She is then directed to mime removing the imaginary card and placing it face-down on the table. The mage picks up the imaginary card and notes its identity. He writes his perception of what the participant is imagining on the back of a business card. The business card is left writing-side down in view on the table. The red backed deck is then put away and the mage produces an imaginary blue-backed deck. The mage is pleasantly surprised to find that the participant and audience claim to be able to see the blue deck. The process of fanning and selecting is repeated with the participant placing the real blue-backed version of the previously imagined card face down on the table. The mage reminds the audience of what he had recorded on the back of the business card. That recorded perception is found to match the face down card. After she has acted out memorizing and placing the imaginary...

Marked Mental Miscall

Before the audience has fully recovered from the effect, the mage turns to John. I will not attempt to perceive a thought from your mind as I did with Susan. Instead, we will continue to invoke the pure creative power of your IMAGINATION. You will now visualize an event and that exact event will come to pass. Close your eyes please. Visualize me saying the name of your imaginary card. Imagine the words coming out of my mouth. We have this slip of paper to confirm what is about to happen. Can you picture it happening Good, look at me The instant John opens his eyes, the mage pronounces, Jack of Spades. John smiles, the mage opens the tabled slip for final confirmation.

The Video Encyclopedia of Card Sleights Volumes 4 5 and

Volume Four begins with some advice from Daryl on how to handle a spectator who forgets (or intentionally lies about) his card. This leads into a discussion of Locator Cards, and many different types are discussed. You will find information on short cards, long cards, narrow cards, pencil-dotted cards, Will de Sieve cards, punched cards, slick cards, corner short cards, and broken corner cards. Having given you this overview of the material covered on these three tapes, let me give you some opinions concerning all three. As you can tell, there is a ton of material discussed here. I believe that the intent of these videos is to expose the viewer to as many different card techniques as possible, and they certainly accomplish this. However, the sleights explained on these three videos begin to fall into the intermediately difficult (and sometimes very difficult) category. Consequently, while there is much information given, there is also much which is left unsaid. If you use these tapes...

January 2000 Did We Make It

The world of magic has been blessed with some extremely talented and creative hobbyists Ed Marlo, Harry Riser, Alex Elmsley, Martin Gardner, Howard Lyons, and Dai Vernon immediately come to mind. One name that may not be as familiar (especially to younger readers of this magazine) is Milt Kort. Mr. Kort has had a lifelong interest in magic, especially close-up magic, though he made his living as a pharmacist. But he was a skillful performer and a diabolical creator, and his drugstore in Detroit became a haven for people like Dr. Jacob Daley, Charlie Miller, Ed Marlo, Dai Vernon, Richard Cardini, Paul Rosini, and Harry Blackstone. He contributed greatly to Bobo's New Modern Coin Magic, had material published in many magic journals, and released a few small booklets, including Kort is Now in Session, and Off-color Card Tricks. Kort assembles the best of his material, published and unpublished, and will be a delight for anyone interested in sleight-of-hand magic with small objects. Cons...

Frenchs Extraordinary Aces

Cipher Wheel Decoder Printable

The Encyclopedia of Card Tricks METHOD. First cheek the pack to see there are fifty-two cards, if there is a Joker, discard it. Hand pack out to be shuffled and in taking it back note the bottom card. Suppose it is the 8S. Write that on a slip of paper and hand it to a spectator to put in his pocket. Invite him to call any number between thirty and forty. Suppose he says thirty-three. Mentally subtract thirty-three from fifty-two, i.e. nineteen. Acting as though you had not heard you illustrate what he is to do. You say, 'Suppose you choose nineteen, you would deal off cards like this ' Count off nineteen into your right hand and keep your hands separated as you ask the spectator if he understands what he is to do. Then put the two packets together, but place the right packet under the left. Done casually and smoothly this will never be noticed. Hand the pack to the spectator, holding it with the right thumb underneath, fingers on top. Tilt the pack a little and note the bottom card ,...

Why Dad Thinks Im Adopted

The bad news is that on January 1, 2000 all the computers in the world will crash, bringing an end to civilization as we know it. The good is that until then, there are some great new magic books to read. This month I want to draw your attention to Jim Swain's 21st Century Card Magic, a book that will delight anyone who enjoys well-crafted card tricks. The recent glut of mediocre card material is overwhelming, and, to be honest, at this point in my life I could really care less about learning a new card trick. However, when I see Jim Swain's name attached to a trick I sit up and take notice. 21st Century Card Magic is a stimulating book containing excellent routines. If you love card tricks, this book (and Jim's other two books - Don't Blink and Card Miracles) should be in your library. Highly recommended. Ellis Stanyon's Best Card Tricks Edited by Karl Fulves In Ellis Stanyon's Best Card Tricks, Dover Publications has reprinted the card section of...

How to be a Fake Kreskin

Kreskin reveals methods for doing pseudo-hypnosis stunts, spirit manifestations, blindfolded divinations, simple mental oriented card tricks, and predictions. Most of this stuff is old news - simple tricks which have been exposed many times before in many other books. Some information, however, I have not seen in a general public book, for example, Bruce Elliott's Finger Finger. Kreskin also mentions that when others attempt to duplicate his well-known effect of linking borrowed finger rings, these magicians use arthritic rings that can be snapped open to allow them to pass on and off the deformed fingers of the severely arthritic. Gosh, I'm sure glad Kreskin cleared that up for everyone. (By the way, and I'm not making this up, Kreskin mentions that the first time he tried this effect, at a private party back in 1962, it took him fourteen minutes and he linked together eighteen rings. Now I'm only guessing here, but I'd bet that the party was at Richard Himber's house.)

November 1998 Tales From The Road

The tricks are organized into five categories very simple tricks with low skill levels and high humor content, simple impromptu tricks using a variety of easy to borrow props, tricks for restaurant settings, card tricks, and parlor magic. There are some really good tricks here including The Missing Spray Paint Marble, The Ninja Key Catch, The Shuffling Lesson, (all devised by Chad Long), Bob Farmer's Creepy Little Baby Hand, Mike Bent's Post-It-ive Identification, Michael Ammar's Photocopied Card, Jay Marshall's handling of the Bouncing Dinner Roll, George Schindler's Phantom Photo, and Gregory Wilson's A Sugar Substitute and The Evaporating Sugar. As always, I wish that a few of these were not in a book geared for the general public, but I'm just being cranky. Even if you are an experienced magician, you'll probably find a couple of tricks here that you'll want to add to your repertoire. Mr. Gordon's approach to card magic seems to have been greatly influenced by Harry Lorayne, and...

Improvements On Ultimo

Remove ail the single cards from Deck I, and arrange the double-backers, short card lowermost, glued ends one way, to read from bottom upward KC, 4C, 9C, 5C, JC 4D, 9D, KD, 5D, JD, 7S, QS, 3S, 8S, 2S these referring to the short cards of the glued oairs. Remove an AS from Deck 2 and place it face up on the pack of double-backers, nlacing tnis pack in its case so the AS faces back of case, and placing case in your left coat pocket. Pick up the heap of 10 black cards with left hand, turning them face up, and do likewise with red heap with right hand. Say you'll mix the colors a little. Each thumb now deals from its face-up heap (in dealing more than one card from same hand be sure and do so a card at a time) a few cards in turn, face up into a single heap. Right hand deals a red card first, then left a black one, right a red, left 2 blacks (one at a time), right 3 reds, left 3 blacks (always one at a time), right a red, left a black, right a red, left a black, right 2 reds, left 2...

The Mike and Mac Show

If I were to slap a label on the material in the first volume, it would be Basic Card Technique. With the exception of the Top Change and a Ken Krenzel's One-Card Middle Pass, the sleights explained rely more on neat card handling than great finger dexterity. In other words, the cards (and the actions of the cards) are responsible for the concealing of the sleights. Since Mr. Giobbi, like Erdnase, is a proponent of uniformity of action he spends much time teaching the proper finger positions and grips for legitimate actions. The first chapter, Fundamental Techniques, discusses such things as Dealing Position, Squaring the Deck, Spreading Cards in the Hands, Dribbling Cards, Dealing Cards, and the Little Finger Break. He continues with chapters on the Overhand Shuffle, False Cut Techniques, Card Controls, Force Techniques, Transfer Cuts, Riffle Shuffle Techniques, and the Glide. Within each of these chapters, Mr. Giobbi explains simple but effective stratagems (for example, how to hold...

Effortless Card Magic

He seems to have the knack of creating outstanding card routines which require little or no technical ability, and which avoid the cumbersome mathematical methods which plague so many self-working card tricks. In his new book Effortless Card Magic, Peter offers us 70 routines which provide maximum impact for minimum effort.

Streamlined Dunbury Delusion

This was developed in 1940 as an off shoot of a two handed get-ready from Expert Card Technique however, it was obvious that other fingers instead of the second finger could be used in the One Hand Count. When the One Hand Side Count appeared in 1945 several card men, independent of each other, changed the count technique to that of the left 4th finger. Among these were Russell Barnhardt, Olindo Galluccio, Charles Aste Jr. and several others. This method of dealing the bottom card is primarily a stud poker type. That is, for most effectiveness the cards are dealt face up onto the table as they are apparently taken off the top of the pack. From the above title one can assume that the pack is resting on the table during the actual deal. Actually, the mechanics of the bottom deal are as follows 5. In order to deal the bottom card, the deck is held as already detailed. When it is desired to deal from beneath the deck, the right thumb tip goes in under the deck at its lower left corner and...

June 1995 Double Dealings

Easy to Master Money Miracles comes from L & L Publishing, and is a follow up to their very successful Easy to Master Card Miracles series. Once again, Michael Ammar serves as the host performer instructor and, with the help of consultants David Roth, Gary Plants, and Brad Henderson, he has assembled an outstanding collection of money magic. (Note that these are not just coin tricks. Also included are tricks with paper money and a couple of routines in which the money plays a peripheral role.) As far as I can tell, there is no pedagogical order to the tapes, so they can be enjoyed in whatever order you choose to purchase them. Each tape contains at least nine items, so for the sake of space I will touch on the highlights.

Mario Miracle Stop Stab

Square the deck as you say, Your card is somewhere in the pack but it is not near the bottom and not near the top. But you may have an idea as to its position so 111 give it a shuffle to make sure you do not know where it is. During this patter line you have shown a few of the bottom cards and also 7 of the top cards but you remember the 7th card as your key card. Again square up the deck and do a perfect Faro Out-Shuffle. This puts your key card 13th from the top and directly above the selection which is now 14th from the top. 6. The right hand moves to the table and the right fingers push out the bottom card of the packet which is presumed to be the card touched but is really the 7C. The 7C is face down on the table. The rest of the red deck is placed aside.

Cutting The Pack With A Knife

Already been seen, rest on the back of the force card. If, however, you want to have the card appear as the bottom card of the upper portion, thrust the point of the knife in a downward direction which will bring it below the short card. If you wish to bring the knife above the short card without ruffling the pack, thrust the knife point into the pack in an upward direction. In both cases show the card preceding the force card and the one following it.

The Bottom Deal Count

At ten, the three fingers of the left hand move out the bottom card as already explained. The cards in the right hand will cover any movement and stealing of the bottom card. 6. The bottom card is more or less whipped out from under the left hand packet, beneath the bottom of the right hand packet. This action is accomplished solely by the movement of the right second finger. The left three fingers merely move the card to an easily accessible position as in Figure 9 which also shows the two hands about to come together and the left second finger ready to whip out the bottom card. 8. After the bottom card is taken at the count of ten, the next four cards are taken fairly off the top until the number fifteen is reached whereupon the Bottom Deal Count is again executed. 3. Actually the right thumb falls on the top card but the right second finger-tip goes into the slight opening, between the left first and second fingers, to contact the bottom card at the upper right...

Adjustment Misdirection

Remember that in most cases the Angle Palmed card can be swung into the Flat Palm position from which it can be sleeved or merely held, almost as if finger-palming a coin. It should be obvious that a reversal of this procedure on the Angle Palm will act as a replacement. For example, with a card Angle Palmed both hands square up the deck as in Figure 13. During this it is the easiest thing in the world to release the palmed card to the top.

Rise RiseRise Second Method

The right hand now drops to the side with the Flat Palmed card while the left fingers pick off the face up Ace and carry it upwards. In the meantime, the right hand has sleeved its card and can now come up to snap the Ace. 7. In the event you are seated while doing this second method, it will be found an easy matter, after the initial Flat Palm Steal, to move the right hand back so that right fingertips touch the edge of the table. The palmed card is easily released to fall into the lap. Notice also that the Angle Palmed card in most cases is in a position similar to the Mario Palm Position used in connection with a Side Steal and explained fully in Chapter 4.

Magic Castle Moves All Around Square Up

Until one is experienced with this method of palming the undercutting can be omitted, as during the action there is some danger of flashing the palmed card. You can simply palm the card as described and push the pack over to be cut, then replace the palmed card on top after the cut is completed. This is an exposed view of the left hand holding position - at the commencement of the move the hand would be turned back up so that the cards are face down as in Photograph 3. Notice in the first photograph how the left little finger holds a break above the bottom card - this is the only get ready The forefinger and thumb should be as close as possible to the upper corners, without permitting the hand position to look unnatural from the back. To perform this glide, turn the hand palm up as in Photograph 1 and show the bottom card. The right second finger is now brought to the right outer corner of the packet and removes the card which is second from bottom. The little finger evens the...

Count Cop For The Left Hand

So far the left thumb has been peeling off the cards from the right hand into the left. Now the procedure changes. The left thumb moves over to the outer left corner of its cards. The right hand now comes in to the left and slides its single card onto the packet as in Figure 13 which shows the rear view. Note that the bottom card is separated, at the back, by the left fourth finger holding a break. 8. Once the hands are in the above position, the left hand turns palm downward at the wrist and falls away with the palmed card, and right hand retains the remainder of the cards and either holds, them still from above, or tosses them face down on the table.

Count Cop and Transfer

This is a good example of the use of the Count Cop without going to the pocket with the card, instead adding it to another packet. At first this may sound bold since the palmed card projects from out of the hand. If, however, these directions are followed carefully, the practitioner will soon realize the practicality of the combination. To describe it, we will use a transposition effect. 7. This final card is slid onto those in right hand while the right fingers buckle the bottom card. (See Figure 10 of this chapter.) 9. As the left hand removes the packet, the right hand, with its palmed card, turns over at the wrist as in Figure 12, and goes immediately towards the packet on the right where it adds the card to the top. The action shown in Figure 12 is exposed. Actually the motion of the right hand towards the packet on the right is made rather quickly, but smoothly and without hesitation. The palmed card joins the other cards before any eyes have a chance to even see the projecting...

Multiple Rear Palm Steal

Cards can thus be stolen from different parts of the deck, such as two peeked cards. A block of cards, such as the four Aces, can be inserted into the front end of the deck, the packet angled as needed, then going thru the mechanics of the Sixth Method the operator will have the four Aces in the Mario Palm Position. The Fifth Method can be used easily to Side Steal the bottom card into the Mario Palm Position however, on occasion it may be necessary to steal more than one card off the bottom into the Palm Position and the following technique will accomplish just that. 8. With the cards held as in Figure 69 the pack can be dropped cleanly on the table. The right hand, with its palmed cards, can then move to pick up another packet or scoop up a packet off the table while adding the palmed cards. 2. Instead of getting the card to the bottom, the right hand moves the card on top. At the same time the left thumb moves across deck so that the upper right corner of the palmed card goes under...

The Advantages of the Stripper Pack

It has been my experience gained through a long period of intimate connection with magic and magicians, professional, amateur and would-be, that without a certain degree of mastery of the fundamental sleights no one can present even the simplest of the so-called self-working feats with any degree of satisfaction to himself or his audience. Tricks do not work themselves and there is practically not a trick in the whole range of magic that does not depend upon the performer to be really effective. This is especially the case with card tricks. There are, of course, numerous tricks which are really only puzzles, such as those depending on numerical calculations. The interminable counting and dealing in such tricks make them utterly useless for these days. Any performer attempting the presentation of such feats would find his audience bored to tears before he was through with the first one and if he attempted to continue with others would find himself playing to empty benches. I do not...

Night Writer Wayne Kyzer

Some lecturers probably do these things in an orderly, organized fashion. Wayne and I prefer the aerobic school of lecturing. That is, work hard, drive hard, and play hard. During the day, we drive or take in the tourist traps. At night, the lecture and the card tricks account for the bulk of the time. This combination works out fairly well but I'm still trying to find a way to work some sleep into the deal. (Other than when driving, that is.) A good friend of mine once performed a trick for me which had no less than 29 sleights, including three different variations of both the Elmsley Count and the OLRAM Subtlety. I proceeded to show him an identical routine which utilized four sleights. One wonders how the 29 sleight version made it into print in the last five years when the 4 sleight version had been around for almost three decades. But, since it was in print by a reputable author, my friend assumed it was a good trick. The reputation of the author was his criterion for selecting a...

Everywhere And Nowhere

Reprinted from Card Manipulations by Jean Hugard (p. 112-15). The five sections of this book are now published by Max Holden, N. Y. C. as one volume, and comprise the very latest tricks and all the sleights known to modem card conjuring Four versions of 'Everywhere and Nowhere' are given. Other presentations of this trick will be found in T. Nelson Downs' The Art of Magic and in Modern Card Effects and How to Perform Them. Hofzinser's original version will be found in his book Card Conjuring by Ottokar Fischer and edited by S. H. Sharpe. This is one of the most effective card tricks ever devised. The reason that it is so seldom seen is probably because the explanation given in the textbooks are unnecessarily complicated and give the trick the appearance of being difficult. The moves in the routine that follows have been arranged to simplify the procedure as much as possible. It is necessary now to place the 10's so that one shall be next to the bottom card, one on top of the pack and...

Mechanical Estimation

The Comparison Method The Automatic Gauge Method Variation of Automatic Gauge The Nail Gauge Nail Gauge Variation Mario's Favorite The Faro Check Mechanical Estimation Effects The Magic Card Think I'll Stop Here Chosen Card Count Down The Tipoff Reversed Card Out It is Expert Card Technique which first mentions estimating the possible number occupied by the card that is cut, plus an advance in the fact that now the estimated card's position is followed in the course of regulation Riffle Shuffles thus adding more deception but also adding the risk. It is in Chapter Six of the present volume that this risk was lessened to some degree by the use of the Faro Shuffle, which gave more accurate results, as well as the introduction of Forced Estimation, plus its use in some effects other than just merely finding the card. The following two Chapters, of Revolutionary Card Technique not only deal with Estimation but with effects as well. Mechanical Estimation is for those who may have never had...

The Magic Of Larry Jennings

Dai Vernon has personally selected tricks from Larry Jennings' repertoire for inclusion in this book, and his choice has been influenced by the fact that he has been able to assess the reaction of the audiences at the Magic Castle. He considers the effects to be first class magical enter-la lament, and sufficiently different from the usual run of card tricks to be quite new to audiences. Peeked Card Reverse

Concluding Observations

The action here is similar to that of the All Around Square Up except it is used to glimpse the bottom card. The deck is held at the fingertips of both hands in the familiar Square Up position with the left forefinger curled under the deck and the right forefinger curled on top. The right hand starts to turn the deck clockwise and at the same time the left hand, releasing its hold on the sides of the deck but keeping its left forefinger pressed in against the bottom card, turns counter clockwise in order to regrasp the sides of the deck as the right hand completes its turn. will be noted that the bottom card will come momentarily in performers line of vision just long enough for him to to use immediately after the replacement of a palmed card or cards. It is especially effective after a Side Steal replacement of the card to the top of deck. The Turnaround and replacement are almost simultaneous. This consists in doing the Side Square Up as in Figure 120 while having a card palmed in...

Alexis Magic Slide Nethercleft

If there are an even number of cards, you must pick (so have the spectator hold their hands over two piles). If there are an odd number, the spectator must choose. With the one key card left, face down on the table, you pull out the deck not used for the trick and quickly pull out the card identical to the one left by taking the top card if he originally chose the top portion, or pulling out the bottom card if they originally chose the bottom portion. Remembering the bottom card, count thirteen cards up from the bottom (inclusive) and cut these cards to the top of the pack. 2. Inform the audience that you are searching for your prediction card. Look through the pack until you find the mate (the card with the same colour and number) of the original bottom card which is now 13th from the top. Place this card on the table out of the way. 7. Begin bringing out the cards from the top of the pile and place them face down on the table. When the volunteer stops...

Marlo One Hand Second

Of course, in showing the top and bottom cards you must not expose the card that is face up under the top one. 2. Call attention to the face card of the deck. Right hand comes over onto the face of the deck as if to take this card into the right palm. Actually, the right hand leaves its palmed card on the face of the deck, then moves away as if it contained the original face card.

The Side Push Off Second

Touch the face of the bottom card at its upper right corner. The right 3rd and 4th fingers are only slightly curled into the palm and they also travel below the extended left fingers. Figure 62 shows the position of both hands at a stage when either the top or bottom card maybe taken. 4. When it is required to deal the bottom card a slight and imperceptible change of the left hand takes place. The left forefinger presses inward on the upper right corner of the deck thus forcing the deck's left side into the left thumb crotch. The pack is thus momentarily held under control, between the tip of the left forefinger and crotch of the thumb, just long enough for the right second finger to pull out the bottom card. As the right second finger pulls out the bottom card the left 2nd, 3rd and 4th fingers straighten out a bit to allow passage of the bottom card. As these left fingers are almost straight out during the regular deal, the further straightening of them is only for a moment and...

Three Cards Through The Handkerchief

With right hand containing palmed cards, grasp corner of handkerchief and pull it from left arm. Figure 27. Take the deck and place it on the handkerchief, directly over the palmed cards which are in right hand under handkerchief. Square deck and palmed cards even. Figure 30.

From Annemanns 202 Methods of Forcing

Performer who takes it in right hand, at the same time casually pulling up left sleeve followed by the left hand pulling up right sleeve. When right hand with pack pulled up left sleeve, the bottom card of pack was easily spotted. Asking spectator if he is satisfied, a pass is made and card brought to about two-thirds down in pack. A slight break is held at this spot. The thumb of left hand now runs the cards of the upper portion, fanwise over into the right hand, the person being, at the same time, invited to take one. When about half of the upper portion has been passes, a card, NOT THE ONE TO BE FORCED, is pushed temptingly forward. The person may be inclined to take it-whether he is so inclined or not, the performer draws it back, with the remark. 'Oh not necessarily that one.' This gives him confidence, and the performer continues to pass the cards over to the right hand, spreading them nicely fanwise, until he reaches the one to be forced, which he exposes a little more than...

Another Rear Palm Switch

The right hand comes back to take the cards from the left hand. The right thumb goes on top of the visible packet at the inner right corner while the right forefinger goes between the two packets. The remaining right fingers go below the palmed packet with the result that while the right thumb and forefinger are grasping the upper packet the right second and 1st fingers will be clipping the Rear Palmed cards as in Figure 114. 6. As the right hand comes back towards the deck the right fingers buckle the bottom card of its packet so that a space is created between it and the rest of cards above it. 8. The left hand continues spreading the cards but these are now all going into the buckled space with the result that the bottom card stays under the spread but still remains against the right palm.

One Hand Palm As Action Palm

The right hand now comes above deck and grasps it by the ends from above, as in Figure 21. The right forefinger is curled on top to give misdirective cover for the palmed card. 7. After the shuffle the cards will be face up in left hand. The right hand, with a palmed card, takes the deck by the lower right corner as in Figure 22.

Four and Four Transposition

The right hand places the cards into the left hand on top of the palmed cards but in a forward, jogged position as shown in Figure 102, the performers view. 9. The Rear Palmed cards can later be added to the deck. 3. The right hand comes over to square the cards, adds the palmed cards but holds a left 4th finger break between the two packets. 5. The right hand continues towards the left hand and seems to place the cards into the left hand but actually the palmed cards are released as shown in Figure 108. 6. Once the right hand has released the palmed cards it continues on towards the left arm in order to seemingly pull up its sleeve. Actually the purpose is to push the other packet into the palm because at this point the packet will still be held by the tip of the right thumb therefore, the action of pulling up the sleeve is necessary. Any other action which pushes the cards into the palm proper, will, of course, do as well. 4. The two packets are transposed by a deliberate cut so...

The Sympathetic PairNo

Cut the duplicates a little shorter and stick the two regular cards together with a little diachylon on the back of one. Put this pair anywhere in the pack, the two short cards on top. Force the two shorts and have them replaced and the pack shuffled overhand by the spectator. When you take it back and riffle the ends you stop at the double card automatically, separate the two cards and show that they have come together. The duplicate short cards will not appear during the riffle.

Three In One Card Trick

Show the pack by spreading the faces without exposing the top 7D and riffle shuffle leaving top and bottom cards in place. Divide the pack into two packets of twenty-six cards, by counting off twenty-six from the top without reversing the order of the cards then count the remainder reversing them in the count. You have thus two packets of twenty-six with a 7D on the top of each. Ask a spectator to call a number between one and twenty-six. Count to that number reversing the cards, bringing a 7D to that position. Put the packet down, take out the visiting cards. Let the top side be seen to be blank, turn over the two and on the blank side of the lower one write the number just called. Put this card on top of the packet, 7D side downwards. Take the other packet and have someone else call a number, count down to it again reversing the cards. Write the number on the second visiting card letting both sides be seen. Force the choice of the first packet, hand it to the spectator to deal to...

Encyclopedia of Card Sleights Volumes 7 and

As I have mentioned in my reviews of the previous tapes of the series, these are excellent videos, and will be very instructive, especially when combined with the information available in the standard card texts. There is no longer any excuse for sloppy card technique. I recommend all the tapes in this series.

The Art of CloseUp Magic Volumes 1 and

What makes these books special is the caliber of the contributors and fact that there are no card tricks included. There are routines from Dai Vernon, Ross Bertram, Fred Kaps, Roger Klause, Ken Brooke, Horace Bennett, and Chuck Smith. There is a wide variety of props used, and the skill level varies enough that you should find usable material, regardless of your ability.

To apparently count the cards in riffling

The cards are spread fan-wise in offering a choice. When a card is removed the performer retains the break with the little finger of the left hand in closing up the pack, and immediately after makes a secret cut ('The Pass' or 'The Shift') or if not proficient in sleight of hand, boldly lifts the cards above the break and puts them at the bottom. He then tilts the pack with the left thumb, and sights the bottom card. The chosen card is the card next in order in the sequence. Thus, in the first instance the bottom card is the 8D (twenty-one) and the chosen card is the 2C (twenty-two) and in the second instance the indicating card is the 3S (forty-five) and the chosen card is the 8C (forty-six). Procedure. When the card is removed the performer retains the break as before, but he does not cut the cards. When offering the pack for the card to be returned, he divides it at the break, so that the card is replaced in the same position. He also lifts the upper half of the pack in...

Turn Down Palm With Packets

You now turn over the top card to show the Ace. In turning it down you execute the Turn Down Palm. The right hand takes the remaining cards and drops them in their original position on the table. The right hand, with its palmed card can add the Ace to any packet desired by the mere action of scooping that packet up off the table.

S H Wimbrough Another presentation

'I'll turn my back and you count down to any number you think of' look at and remember the card you find there but don't let anyone else see it. I can only control one person at a time. (Turn away, take card from waistcoat pocket and palm it in your right hand. Don't move your elbows in doing this.) Are you ready (Turn around, take pack and add palmed card to the top.) Now remember you are under control and are not accountable for what you see or do, and the more you try not to be influenced the easier you make it for me. What number does your card rest at Twelve (Deal to that number and throw the twelfth card out face up and palm the top card in the right hand.) What That's not That card is not in the pack. (Spread the cards face up.) You gave it to me yourself just now. Here it is in my pocket. (Put the palmed card in and at once bring it out, tips of the fingers on the top end.) I must admit that you have been an excellent subject.'

Thumbs Down Wayne Kyzer

This is a funny routine. Wayne did it for me and I thought I really hurt him. (For a moment, I actually enjoyed one of Wayne's card tricks.) I didn't have time mentally to decipher all that was happening and to realize that he was faking it. He was yelling, the cards were all over the floor, and I had soiled his couch. By the time I realized he was pulling my leg, all of This is a quick and entertaining opener for a series of card tricks. It allows you to complete a fairly impressive trick within sixty seconds of removing the cards from the case. It also has the added advantage of appearing (at least to the dim-witted) off the cuff. Regurgitations. These are the kinds of bits I am always looking for. With several of these interspersed with the regular card tricks and presented properly, you can't help but to be entertaining.

Monks Mystery Jack V05burgh

A volunteer assistant now is given the book and deck of cards. You turn your back. He is told to cut the deck once or twice and then cut it into two piles. Next he is asked to take the top and bottom cards of each pile. You remark that the picking is made as mixed up as possible. It will be seen- that with the arranged deck and the adding together of the top and bottom cards of two cut piles, the total can be only 28,29, or 30. And, the tenth, eleventh, and third words, respectively, are all that can be noted by the spectator.

The Original Stop Trick

Plots possible for the presentation of card tricks and that all that is left for the successors is to improve the method by which the old effects were done. This fact is one of the reasons why the public generally complains that magic is always the same. While to a magician a modem method of doing an old trick will convert it into a new trick to the lay man it remains simply the same old effect. Not knowing, nor caring to know, the vastly improved methods used to bring the effect about, he simply asks, 'Why do magicians always do the same things ' You now reach for the table (bearing servants with hand holding the regular pack ready for the switch, bring the table forward, and with forcing pack now in your hand, casually expose the bottom card AS . . . 'I shall now remove the cards' (you glance at AS . . . 'I hope no one took this bottom one' (remove AS and lay face down on the table). . . 'I shall take them one at a time' (remove top card--4D--and give the audience a flash of it) and...

The Dribble Replacement

In other words, with a card palmed in the right hand, either the standard or rear palm, the card can be easily replaced to the top as the right hand dribbles the cards onto the left hand, In other words, the palmed card is actually released as apparently part of or the last card of the dribbling action, This means both hands can now resquare the pack very cleanly. 1. The break is obtained on the peeked card. 3. At the same time the left hand executes the action of getting the peeked card into the proper position for the steal to come. 4. Once the peeked card is positioned, the right hand grasps the deck as the left hand moves into a Square Up Position from below. The sides of the deck are apparently squared up. 10. If the card is to be stolen out completely it is advisable to do the Two Hand Square Up just before moving away with the palmed card. In other words, the palmed card should be cleared of the deck first, then the Two Hand Square Up is made with the deck eventually taken by...

Variations Of The First Switch

The Turndown will be found to be a lot easier if the Rear Angle Palmed card is brought on top of the tabled card as they are lined up. In this case the right hand fingers will have to dig in under the tabled card in order to pick it up against the card in the palm. Once this is accomplished the Turndown will become a lot simpler as you shall see. You will note that practically only the right 1st finger, which presses on the top card at the upper left corner, need move forward and the card automatically starts to lever upwards as in Figure 50. Here the right thumb is already under the card to further aid in levering the card up. At this point, in order for right thumb to conclude its levering action, the tip of right 2nd finger is placed against the upper left corner of the Rear Angle Palmed card. side of the Rear Angle Palmed card. The fingers are then extended and the tabled card is pushed slightly forward as in Figure 51 except this card will be face down. From this point on it is a...

Double Backed Card Force

To make the force, take the blue pack and riffle shuffle it, being careful not to disturb the three bottom cards. Turn the pack face up and riffle till a spectator calls 'Stop'. Take the double-backed card from the top of the red pack, being careful not to expose its face, and insert it at this point, square the pack and cut it several times. Fan the pack face downwards. The only red back to show will be the card you previously put in the pack reversed. Show all the other cards are blue-backed and

The Penetrating Cards

With the left hand take the case from under its covering, the selected card is thus drawn completely out of the case and, lies face up on the right hand. Put the case on the handkerchief just above the palmed card, throw the front part of the fabric back over the case, twist the sides so that they retain the card outside at the rear, gather up the four corners and hold them in the right hand. The chosen card is then named and ordered to penetrate the case and the fabric. A gentle shake of the hand will gradually bring the card into view.

The Curled Forefinger

From here proceed as explained by jogging the peeked card with the left fourth finger. Then raise the deck into the Two Hand Square Up Position and square the sides of the deck. 1. Follow all the Steps, from 1 to 8 of the Technical Side Steal. This will bring the hands into the position of Figure 5 with the peeked card only slightly angled and the right hand holding onto the corners of the card. 4. The strip-out of the peeked card is covered by saying, Your card could not be the top card. The right hand places the card on top of deck, at the same time taking the deck and turning it face up. Continuing, And, of course, it couldn't be the bottom card. Follow all the Steps necessary to get the peeked card into the Strip-Out Position. 3, Right hand strips out the peeked card and immediately comes down to the tabled Aces, scooping them up in the process. The left hand, simultaneous with the stripout, moves to the left turning palm downwards at the same time. The action is shown in Figure...

Frank Squires Speller

The Q and 8 of Hearts and the 7 of Clubs, in any order, are placed in the middle of the pack. One of them is forced, a very simple matter. The selected card has then to be returned to the pack so that it will be the twenty-first card down. A short card may be used to ensure this or a count made as the cards are spread for selection and a break held below the twentieth card. False shuffling before and after will add to the effect.

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