After Hours Magic: A Book of Al Thatcher Card Magic

Encyclopedia of Card Tricks

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A careful study of the text and illustrations will convey how Ramsay gave the impression that both hands were empty at all times except for one coin, without resorting to sleeving, back palming etc.

The change described in steps 7 and 8 is adapted from an excellent coin vanish, which, if I remember correctly was taught to John by Max Sterling. Fred Kaps is the only other magician I have seen use it, and in his hands the effect is all that could be desired.

"You've been juggling with the vertical hold, haven't you?"


One of the many excellent effects for which magicians have to thank Ken Brooke is Fred Kaps fine close-up coin trick in which, after some preliminary effects with normal sized coins further coins are produced magically, each succeeding coin being larger than its predecessor, the final one being a really giant coin.

Inevitably its appearance resulted in similar routines being 'invented' and the required Chinese coins being offered for sale. The routine to be described follows the general pattern of the original, but instead of the productions following each other in rapid succession they are interspersed with other effects.

You will need a purse with snap fastener and a purse frame similar in design with the bag removed, a piece of rope about three feet six inches, a large patterned handkerchief and four Chinese coins which will be referred to by number for descriptive purposes. No.l being the smallest and No.4 the largest.

Your jacket should have an inside pocket on both sides. I might add here that Johnny Ramsay advised me to have my suits made with a pocket on both sides. Mine also has a small pocket directly below the one on the left side.

To set up for performance put No.l coin in the purse and No.2 coin behind it. Put these into the left trousers pocket.

Fold the handkerchief twice making it a quarter of its size and fold it around No.3 coin. Put this package into the left inside pocket.

The purse frame is placed into the outside breast pocket with one leg of the frame resting on the edge of the top of the pocket for easy removal.

Put the length of rope into the small pocket below the one containing coin No.3 in the folded handkerchief.

No.4 coin (the giant one) is kept hidden and placed on the lap when ready to perform. In the original version it was kept in a special holder beneath the coat, but in fairness to those who purchased the effect it is not described here. One suggestion is to keep it behind your table mat and release it onto your lap as you take your seat.

Lastly — you will require a spectator to be seated on your right and slightly forward.

Commence the trick by removing the purse with No.2 coin concealed behind it from the left trouser pocket. Call attention to the purse as you rest it on the table still holding it with the left hand. Open it with the right hand which then takes the purse holding it with the fingers on the inside and the thumb at the rear gripping No. 2 coin. Turn the purse upside down and let No.l coin fall onto the table.

Invite spectator to take a look at the coin and as he does so casually place the purse, with the No. 2 coin concealed beneath it onto the left hand, and close it. Right hand now takes the purse and drops it into the right outside coat pocket, leaving No. 2 coin finger palmed in the left hand which is resting naturally on the table. The attention of the audience is on the spectator who is examining the coin and they will hardly be aware that you have disposed of the purse which is no longer required. However, you pass some remark about the coin and LOOK DIRECTLY at the audience as you ditch the purse. The left hand does not move from its position, but remains resting naturally and relaxed concealing No.2 coin. As Johnny would say — hold and hide.

Take No.l coin from the spectator with the right hand and as you do so close the left hand very slightly (just enough to grip the coin No. 2) and turn it back towards the audience. Now perform Ramsay's coin through hand effect, saying "Not only does the coin pass through the hand it also grows." As all eyes are on No.2 coin classic palm No.l in the right hand.

When they recover from the surprise of No.2 coin say, "I have another purse" as you remove the purse frame from the outer breast pocket with the right hand. Take it with the left hand and hold it up for all to see. As all eyes are focussed on the purse frame let No.2 coin in the right hand drop from its classic palm position into the finger palm. With the right hand open the frame and take coin from it. Toss the coin onto the table beside No. 2 coin and return frame to pocket.

The right hand next removes the rope from the small pocket and throws it onto the table requesting the spectator to "Take a look at it." Keep your own eyes directed towards the rope and spectator and casually remove the handkerchief from the left inside pocket with the coin No.3 hidden behind it. The handkerchief is placed onto the table with the coin concealed beneath it.

You next take the rope with the right hand and the coin No.2 with the left and thread the rope through the hole in the coin. Transfer the coin to the right hand which holds it above the hole between its thumb and fingers while the left hand evens up the ends.

The left hand now takes hold of the bottom edge of the coin gripping both the coin and the rope between its thumb and fingers. With both hands still holding the coin raise the hands and look at the ends of the rope making some comment about them being even. Under this misdirection the right hand twists the coin anti-clockwise bringing the side of the coin facing the audience towards yourself and the hands lowered to their original position. The action of twisting the coin will cause the halves of the ropes to cross over immediately below the bottom edge of the coin (Fig.l). The left thumb and fingers grip the rope firmly at the point where the halves cross while the right hand takes the end of the right hand side rope and pushes it through the hole in the coin. The right hand now lets go of the rope and is passed through the loop just formed and grasping the end of the rope pulls it back through the loop. Continue to pull until the loop is tightened up against the bottom of the coin (Fig.2).

The action of threading the rope twice through the coin takes only a few seconds and if performed without fuss no-one will suspect the subterfuge used. All the movements used are natural, and necessary to achieve what you are supposed to be doing — simply threading the rope through the hole in the coin twice.

Take the coin with the right hand keeping the looped part hidden and place it under the corner of the folded handkerchief nearest the spectator taking care not to 'clink' it against No.3 coin. Give the ends of the rope to the assisting spectator to hold.

Next you pick up No.l coin and say "I am going to link this coin into the one under the handkerchief." Both hands go under the handkerchief and put it on top of No.3 coin which you then push nearer to No.2. It does not matter if they 'talk' — you are supposed to be linking them.

What you really do is to open the loop on No. 2 coin and release it from the rope. Leave this coin under the handkerchief, but palm No.l again and bring the hands from under the handkerchief.

After a pause ask the spectator to slowly pull on the rope. Everyone will be expecting to see two coins linked arid on the middle of the rope. As the rope is being pylled your left hand picks up coin No.4 and holds it just hidden behind the table top with your forearm resting naturally on the table. You also lean forward as if with interest as the middle of the rope comes into view, but really to give more cover to No.4 coin.

When the middle of the rope comes into view the spectators attention will be on the handkerchief wondering if the two coins beneath it are now linked. Reach over with the right hand and taking the far corner of the handkerchief pull it back to reveal No.2 and No.3 coins.

The appearance of the larger coin is a surprise and provides more than adequate misdirection to enable No.4 coin to be lifted above the table edge and taken with the right hand behind the handkerchief.

Two things now happen simultaneously. The left hand picks up No.3 coin — looks at it in disbelief — and drops it back onto the table as the right hand lays the handkerchief on the table with No.4 coin hidden beneath it. The timing of these actions are important — the handkerchief should be laid on the table (as casually as possible) when you are looking at No.3 coin.

Continue by remarking that whenever the big coin appears (No.3) the small one (No.l) disappears, but I can always find it. Remove purse frame from outer pocket and produce No.l coin from it. Remember you had it palmed in the right hand.

You are now ready for the climax. Call attention to No.l which you are holding by saying "This is a big coin." Pick up No.2 coin saying "This is bigger still" and as you pick up No.3 say "This is the biggest of all — except for this one." Remove the handkerchief to reveal No.4 coin.

This being a 'Remembering Ramsay' issue here is a Ring off Rope Johnny frequently showed. The ring he used was a glass one which he fixed onto the centre of the rope in a similar way to that explained above with the coin. Holding the ends of the rope — one in each hand — he would swing the ring over his head ->

so that it hung behind his back. He would then put both ends of the rope into his mouth which would leave his hands free to go behind his back and take the ring off the rope. This is one Ramsay trick that anyone can do.

".. .AND THE CARD CAME BACK" Peter Duffie

This is an effect I've used for some years. The plot is that of the recurring card, but with a surprising climax.

Remove from the pack the following cards. Joker, Ace of Hearts, Ace, King, Queen, Jack and Ten of Spades and put them face downwards onto the table in that order with the Joker at the face on the bottom of the packet. Place the remainder of the pack face down at an angle of 45 degrees and slightly to your right.

As all presentations are individualistic I'll leave that aspect to you and proceed with the working.

Pick up the packet and hold it face downwards in the right hand in the Biddle position — fingers at the outer end and thumb at the inner end. You now show the packet as containing four Jokers and the Ace of Hearts using the Hammand Flustration Count as follows.

Turn the right hand over to show the Joker and then turn it down again. With the left thumb pull off the top face down card of the packet into the left hand. Repeat this twice more. You have now shown three Jokers one at a time and taken them into the left hand. Show the Joker again and turn the packet face down as before. This time you actually take the Joker into the left hand by pulling it off the face of the packet with the left fingers taking a break with the little finger below it as you do so. The three remaining cards in the right hand are kept square as one card and the face card shown — the Ace of Hearts. This/these are then dropped face down on top of those already in the left hand. Reading from the top of the face down packet the order of the cards is King of Shades, Ace of Spades, Ace of Hearts, Joker above the little finger break, and Queen, Jack, Ten of Spades below it.

Deal off the top card face down onto the table saying, "The red Ace — that leaves four Jokers" as you count the remaining six cards as four into the right hand. This is done by taking the top three cards above the break as one and the remaining three on top, one at a time.

You now show that the Ace has returned to the packet in the same way as you showed the packet to contain four Jokers and the Ace at the beginning, but this time only three Jokers are shown with the Ace. Display Joker at the face and pull off top card with the left thumb. Repeat. Show Joker again and pull off with left fingers taking a break below it. Show the Ace with two cards hidden behind it and drop as one on top of the packet. Deal the top card onto the table. Count the remaining five cards as three by taking the three cards as one above the break and the other two singly, saying, "That leaves me with three Jokers."

Again show that the Ace has returned as before using the same procedure. This time you show the Joker at the face and pull one card off the top only, and then pull the Joker out with the left fingers. The Ace with the two cards hidden behind it are then dropped onto the packet. No break is needed this time. Deal the top card onto the table and count the remaining four cards as two by buckling the bottom card and taking the top three as one and then taking the single card on top.

Show that the Ace has returned once more by showing the Joker at the face and pulling it off with the left fingers. Show the other card to be the Ace (actually three held as one) which you place on top. Obtain a break above the Ace i.e. below the two top cards. Take the cards with the right hand holding them in the Biddle position, its thumb taking the break.

Pull off the top card with the left thumb and drop it onto the table cards immediately slapping the left hand on top of all four cards. Simultaneously with this action the right hand has moved over the angled pack and released the two cards below the break allowing them to fall onto the pack.

Finally drop the card remaining in the right hand onto the back of the left hand which is covering the four tabled cards with its fingers spread out. Ask the spectator to guess the name of this card. Whatever his reply, turn it over to reveal the Ace of Spades. Remove the left hand and invite the spectator to turn over the four cards which complete a Royal Flush.

Over the past few weeks I've been once again (you've guessed it) in the United States. My reason for being there this time was to attend the S.A.M. Passadena convention. Let's throw in a few things that come to mind.

I was booked to appear on one of the shows which I did fairly successfully and to do some close up which I also did ditto. Appearing on the close up made it difficult to see the other acts, but I did manage to catch John Cornelius who is very, very good. Most of his stuff is his own, more or less, but the thing that caught my eye, and everyone else's, was I have just realised how difficult it is to describe but let's try. Do you remember the thing David Roth did with a tuning fork and a glass where he transferred the sound from his hand to the glass? Well John Cornelius does it with light... yes you read correctly . . LIGHT. He actually makes a light appear under a glass ... a flash of light that is, and the glass is empty, before, during and after the effect, and before you start asking questions of each other he does it either on the table or the palm of his hand.

Dai Vernon is still as active as ever. He was at the convention talking, talking and talking, and everyone was listening, listening and listening. Albert Goshnan deserves three cheers so I'll say it. . . Hip Hip Albert. . .He has at last had his operation and has had a new plastic hip joint inserted g23

you know where so that he no longer looks as if he is a misshapen sponge ball. It took a lot of courage but he did it. At the moment he has to use a walking stick but his doctor tells him that as long as he takes things easy he should be able to make it vanish soon.

I managed to catch two close up workers at the Magic Castle. Peter de Paula and Johnny Piatt. The first is a young good looking guy who does coin and card tricks well. He has been influenced by Slydini but fortunately does not copy his style which so many others have tried to do unsuccessfully .Johnny Piatt I have seen many times. He is into his seventies and the Magic Castle still employ him. Can you imagine that? There has to be a reason and there is. He's good, very good. He is probably doing the same stuff he has been doing for yonks and he really knows how to do it, plus the fact of having a good rapport with his audience. The vanishing cane in newspaper was his opener (I think) and he closed with the Cups and Balls. Inbetween he did a thumb tie and a card trick and a coin trick... .now there's variety for you. I almost forgot, he started with Squash and and after the C and B the glass of wine appeared under one of the cups and if I am not mistaken it was the self same glass . ..

In Los Angeles I had a chat with Channing Pollock. For everyone, particularly in Britain, who keeps wondering what has happened to him, he now operates in an executive capacity for an oil and gas exploration company and spends most of his spare time indulging himself on his hobby which is stringed instruments with particular emphasis on the violin. Yes, he actually plays the violin so watch out Norm Neilson. . .

In Kansas City for the Midwest Annual Magifest (I think that's what they call it) I saw Bob Olsen do close up. He didn't fool me, but he made me laugh. His close up act has to be the zaniest of all time.

As well as all this I did a lecture in Chicago and went to the Abbott Convention in Colon Michigan, but that is another story

But it is a funny thing; of all the close up magic I have seen in the last few years, both here and in the U.S. and in many other countries very little of it comes even close to some of the magic I once saw performed by a little man from Ayr, Scotland.

Goodbye, Patrick Page

Every year as my Américain trip approaches I am flooded with requests to pick up 'such and such' special item for friends while I am over there. In addition I like to take the opportunity to look around and pick up 'one-offs' and specials; items that take my fancy and which I feel will be of interest to our customers. Because there is only ever one or two of each item customers.realise that they will have a new and exclusive effect none of the other boys will have or have seen. Consequently the crowds each year have got bigger. Last year it was like a Harrods January sale! When we arrived to open up the day after we got back there was already a queue! We threw open the two suitcases of specials and the rummage sale began! Before very long all of the choice items had gone, and within a week or so the suitcases were empty. It seems that imported exclusives are as popular now as Walter Raleigh's tobacco was centuries ago!

By the way the suitcases are opened this year at 11 a.m. Saturday September 6th — See you there?

46 (k^enstownRd.LyKhnSW8 England


Pabular is puDiisheu du3i the second week in every month and is printed in England. Subscriptions may be obtained trom tne puonsners Pabular, P.O.Box 180, London SE12 8JJ England, or through many magic dealers. Subscription rates, including surface mail worldwide: UK: £8.00 (12 issues), £4.00 (6 issues), 70 pence (single issue). Abroad: £9.00 (12 issues), £4.50 (6 issues), 80 pence (single issue). USA S20.00 (12 issues), 810 (6 issues), 81.70 (single issue). Air Mail Extra: USA 80 Cents per copy or 39.60 per year: Other rates on request. Editorial or Content Copy should be sent tcr Fred Robinson, Editor, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts; England. Advertising rates sent on request.


This is not a cigarette production. I was showing tricks in a pub to a man who later volunteered to show me one which he had learnt from a fellow soldier during the war who won many cigarettes doing it. At the cessation of hostilities, the soldier revealed the secret to my acquaintance.

When the man took the cards from me I noticed he had a badly mis-formed little finger. It protruded outwards at a right angle at the middle joint. I cannot remember whether it was on the right hand or left, but as it has nothing to do with the trick — forget it.

The trick itself, like most good tricks is simple. It is the discovery of a thought-of card in a surprising manner. It has a number of strong points, plus an interesting approach to secretly changing a card. Any pack may be used and there is no prior preparation.

Commence by spreading the pack face up so that only the first seven or eight cards at the face are exposed, and ask a spectator to think of any one. As soon as he indicates that he has one in-mind proceed to spread the rest of the cards. Correctly done, this will create the impression that he could have thought of any card in the pack.

Put the pack face up behind your back and tell the spectator that you will bring +hem out in batches, and when he sees the card he is thinking of to tell you, but not to name the card.

Proceed by bringing out the first batch of seven or eight cards, one from the face of the pack and the rest from the bottom. Continue with this procedure until the spectator informs vou that he sees his card. The card he thought of will be at the face of the batch.

Bring the rest of the pack from behind your back turning it face downwards as you do so and place the batch containing the selection face down on top holding a break below the selection. Collect the rest of the cards and put them face down on top of the pack.

Put the pack behind your back and request the spectator to concentrate on the card and you will attempt to find it by sense of touch. Cut the pack at the break bringing the selection to the bottom, and pull it out for about half its length to facilitate the change which will take place later.

Bring out the top card and show it, claiming it to be the one mentally selected and immediately, before the spectator has time to deny it return it behind the back and replace it back on top of the pack changing it for the selection which is conveniently protruding from the end of the pack. This card is then brought forward and dropped face downwards onto the table as you are asking the spectator if he is quite certain that you are wrong. You will find that the spectator will be unaware that the card went behind your back — he will be occupied answering your question and be off his guard, thinking you have been unsuccessful.

The finish to the trick is optional. The soldier used to put three or four cards aside and then bet that one of them was the right one. This way he got more cigarettes. Personally I usually give the spectator the pack and ask him to find the card and form a clear picture of it in his mind. He will fail to find it so you remark that if it is not in the pack it must be the one on the table. Push it towards the spectator with the index finger and for the first time ask him to name the card he thought of when he does so, ask him to look at the tabled card.

SIGN THERE Kevin Davie

There is a trick in which a card is chosen, signed and lost in the pack, and is eventually found in another pack having a different coloured back.

In the following effect the card disappears and is found reversed in a pack with a different coloured pack which has been in its case in an inside pocket. Now for the difference — the back of the signed card matches the pack which has been in the pocket at all times — say a blue backed one, whereas it was chosen from a red backed pack.

A minimum amount of preparation is necessary. Take any card, say the three of diamonds, from a blue backed pack and add it to the face of a red backed pack. Remove the red backed three of diamonds from the pack.

Put the blue backed pack in its case with the face card next to the side of the case to which the flap is hinged. Push the flap in between the top card and the rest of the pack, and then pull out the top card so that it protrudes for about half its length. Put the pack so arranged into the inside coat or shirt pocket on the left side with the cards facing outwards.

You will also need a pen which will write easily on the surface of a playing card. A felt or nylon tipped one is fine.

Begin by forcing the blue backed three of diamonds which is at the face of the red backed pack using a method that will not expose that it is an odd backer. Personally I use a method described in Lorayne's 'Close-up Magic'. However, if you are not acquainted with this method, the Hindu shuffle method would suffice for the moment.

Whatever method is used the three of diamonds must be at the face of the pack at the conclusion.

Hold the pack in the left hand in the 'glide' position with the three of diamonds facing the audience and give the pen to a spectator and have him sign the face of the card. Turn the left hand so that the face of the signed card cannot be seen and apparently pull it off the pack and lose it by pushing it into the centre of the pack. Actually it is 'glided' back and it is the one above that the audience see pushed into the pack. If the Lorayne method of forcing was used the spectators have now twice seen that the chosen card has a red back — or so they believe.

Sometimes I spread the pack face down and remark that the card is now lost in the pack. This further reinforces the idea, without actually saying so, that the selected card was red backed.

The next move is to secretly palm the three of diamonds from the bottom of the pack into the right hand without its back being seen and then introduce it into the blue backed pack in the pocket. I use the 'Palm Steal' described elsewhere in this issue, and hand the pack out to be shuffled. The right hand, with its palmed card goes to the pocket for the blue backed pack into which it loads the chosen card. Both the chosen card, and the one originally left protruding to act as a guide for the loading operation are pushed down into the case and the pack brought from the pocket.

You now explain that earlier you reversed one card in this pack. Remove the cards from the case and cut them bringing the reversed three of diamonds near the centre. Spread them face down in a tight fan sufficiently for the index of the face up three of diamonds to be seen without exposing the signature on its face. At this stage the effect will appear as one of coincidence.

Pause a moment for this to sink in, and then slowly pull the card from the spread revealing the spectator's signature. Pause again, as they are wondering how the signed card the spectator has in the pack he is holding managed to escape. Show that the signed red backed card has a blue back. This revelation will cause them to think that maybe the red backed three of diamonds is still in the pack — after all it never left the spectator's hands. Inevitably the spectator with the pack will search for a three of diamonds, but he will be too late — you removed it before the trick started.

1 hat '.v Bug.v, he \ in showhiz. "


With a complete lack of modesty the performer promises to give a highlv skilled demonstration of pasteboard prestidigitation. He begins by putting the four Aces in different places at random in the pack. He now subjects the pack to a series of fancy cuts and flourishes in an extravagant manner. Each series of cuts is supposed to produce an Ace, but instead of the Aces appearing it is an indifferent card e.g. the Jack of Spades, which is produced each time — not so highly skilled. However, the performer redeems himself — the Jack of Spades immediately turns into an Ace.

As many flourishes and false cuts as possible should be introduced into the routine. I have not described the ones I use as all cardmen will have a number in their repertoire. To create the best effect the false cuts should be as different and 'showy' as possible.

Begin by controlling the Aces to the top of the pack through the use of your favourite multiple shift, and immediately obtain a left little finger break above the bottom card, say the Jack of Spades, which will be the recurring card. Cut the pack several times ending up with the Jack of Spades at the top of the pack and the four Aces immediately below it.

Announce that one of the Aces is now on top of the pack. Remove the top card (the Jack of Spades) with the right hand and stroke it witi the left thumb with the same action as used for the Hofzinser change, but DO NOT make the change. Show the face of the Jack and appear surprised, saying that normally when you do this (repeat the action, this time make the Hofzinser change) you get an Ace. Show the Ace and placc it onto the table.

Cut the cards several times taking care not to disturb the top stock. Push the top two cards over the right side of the pack and get a break with the little finger below the second card. Take the top card (the Jack) in the right hand between the thumb on the back and the first finger on the face and flip it over on the pack face up. Appear concerned that the wrong card has again been produced and flip it over face down and then lift off the top two as one and show the change by flipping them over. Tip them back face down and deal the top card (an Ace) onto the table.

More cuts and flourishes still retaining the top stock. The next change is a slight variation of a sleight which appeared in 'The Magic of Faucett Ross'. Under-cut about half the pack and spread this bottom half fanwise in the right hand. The left thumb pushes the top card of the half it holds (again the Jack) over the right side and using the fan tip it over face up.

Next push both the Jack and the Ace below it over the side and tip them over together using the fan showing the change. There is no need to keep the two cards in perfect alignment. This makes an effective and varied change of card and adds much to the routine. Put the Ace on the table with the other two.

Some further cuts etc and you are ready to produce the final Ace, using a method described in 'Expert Card Technique'. It is called 'There it is' and can be found on page 167 of that book. Lift off the top card between the first finger at the outer end near the right corner and the thumb at the inner end also near the right corner. Turn the card face up — it is once again the Jack of Clubs. When making this turn the right hand is kept close to the pack so that when the face of the card is visible to the spectators the backs of the third and fourth fingers are close to the right outer corner of the pack. The left thumb pushes the top card of the pack (the last Ace) slightly over the side enabling its right outer be gripped between the third and fourth fingers of the right hand. The Jack of Clubs is now replaced face down on top of the pack and this action brings the Ace into view sticking out from the back of the right hand. End of routine.


This is a rising card trick that isn't. Spectators remember it as a rising card, even though the chosen card remains stationary.

The original idea belongs to that very clever card man — Al Leech. I have decided to include it here for two reasons. It is too good to lie forgotten, and it formed part of my programme, together with the other effects described, during my summer season engagement in the Isle of Wight.

The effect is achieved without the aid of gimmicks, can be done impromptu, and best of all, the most important part of the effect takes place in the hands of a spectator.

Begin by controlling the selected card to the top. If you already use your favourite method in too many tricks, you may like to use this one. Have someone name any card and spread the pack face up to show that it is somewhere in the middle. Close the spread taking a left little finger break below the nominated card. Move the pack to the overhand shuffle position transferring the break to the right thumb. Shuffle off all cards above the break and throw the remainder on top.

Hold the pack face downwards in the left hand in the normal dealing position. With the right hand take a thumb break at inner end and cut off about one third of the pack as you announce that you will attempt to find their selection. With the left thumb riffle off about half the cards it holds and place the cards held in the right hand in the centre of those in the left at the point where you stopped the riffle leaving them protruding. During this action the left thumb releases a single card which is allowed to go into the break between the chosen card and the rest of the block. (The -

position at this point is shown in the sketch).

In this condition the cards are placed into the case, with the original right hand packet with the selected card left protruding. If pressure is retained on the front and back of the case the protruding block will remain in position.

Give the pack to a spectator instructing him to grip it firmly between his thumb and forefinger. It will be necessary for you to keep your own grip on the case until the spectator understands what is required of him and has a firm grip.

You now instruct the spectator to slowly release the tension of his grip. The block of protruding cards will then fall down into the case, with the exception of the selected one which remains in view. All can, and no doubt will be, examined.

One final point. With some packs it may be necessary to remove three or four cards to ensure that the protruding block falls down freely.

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