TWO CARDS are magically transferred from one pile to another. Nothing is used but the cards and there is no palming.

The Method The pack is held face-up in the left hand. The Joker has been secretly reversed on the bottom and you know the card third from the bottom— say the seven of diamonds.

Slowly riffle the outer left corner of the pack with the thumb until told to stop by a spectator. Cut at that point by lifting off the cards above the break, with the right thumb at the inner end and the second finger at the outside, and turning the right hand over so that these cards are face-down.

Have the spectator look at the top card of this packet but not remove it. Turn the right hand over and replace the packet, but as you do so press against the noted card with the ball of the right second finger and twist the inner end of the card to the right. At the same time you will find it possible to tilt this inner end so that the cards remaining in the left hand go between the spectator's card and the rest of the packet so that it becomes the bottom card of the face up pack. The movement is covered by the quite natural position of the right hand.

This was sold many years ago by Joe Ovette as " The Master Move," and is described in Volume Three of the Tarbell Course as " Kelly's Bottom Placement." I have never heard of anyone else doing it with the cards face-up. This makes it appear even more fair and increases its usefulness.

Hindu Shuffle, without disturbing the four cards at the bottom, and have the spectator cut off and place to one side about two-thirds of the pack.

Turn the remaining cards face-down and count them one at a time. Deal from the bottom and turn each card face-up.

Ask the spectator to remove his card and the Joker if they show up. He will not see them.

A second spectator is asked to remember the number of cards counted.

Make the glide shortly after you start dealing. As soon as the seven of diamonds turns up. deal all the remaining cards (3) as one, with the exception of the glided card. Conclude your count with it.

You will recognize this as Stanley Collins' four card vanish move.

In this case you will have two more cards than you appear to have, one card is reversed although the back and front of every card has apparently been seen, and the faces of two cards have not been seen at all.

Pick up these cards, turn them face-down and give them a single cut.

Ask the spectator to do the same with the remaining cards so that you do not even know the position of the one formerly at the face of the cut packet and noted by the spectator.

Pretend to remove the spectator's card from the larger packet and thrust it into the smaller group. Actually you have nothing at all.

Repeat this bit of make-believe with the Joker. Notice that some of your onlookers appear rather dubious. To convince them (?), pretend to remove the Joker again and make a great show of turning it over before you put it back. Declare that it is now not only reversed but face to face with the selected card.

The spectator fans out the cards and discovers that this is so. A count reveals that he also has two more cards than before; just what he should have if you had done what was pretended.


A FREELY selected card is revealed and two others are predicted under fairer than average conditions. I will describe the effect and method at the same time.

The Method

Consider the queen of hearts and ten of spades the cards you wish to predict. Write their names on separate slips of paper and seal each in a separate envelope. The latter envelope is marked so you can quickly tell which predicts the spot card.

Unknown to the audience, you have six cards in your right trouser pocket, facing your body, and reading from the face of the packet they are in the following order: ten of spades, ace of diamonds, two of clubs, four of hearts, eight of spades, and queen of hearts.

A spectator names any number between 10 and 35. If it is over 24, he is given the marked envelope to write his number on and retain. If under 25, he gets the other one.

Mentally subtract his number from 48 and write it on the outside of the remaining envelope. Place it somewhere in full view.

As an example, he may name 28. While he writes it on the marked envelope—the one containing the ten of spades prediction—you write 20 on the remaining one.

Have him shuffle the pack (actually only 46 cards) and count off 20 cards. It is always the smallest number that is counted off at this time.

Place these 20 cards in your pocket facing the same way as the rest of the cards and on top, or farthest from the body.

The spectator removes any card from the remainder of the pack. Say it is the nine of diamonds.

Reach in your pocket, shift the ten of spades to second from top of the cards therein, and triumphantly produce the ace of diamonds. By touch alone, you have apparently located a card of the same suit as the selected card and after they were well shuffled.

You will realize that this was easy because you knew the order of the four face cards in which the four suits were represented.

The value of any card may now be indicated by the correct combination from these four cards. This was explained by Charles Jordan in Ten New Impromptu Card Tricks as " The Spirit Mathematician."

In this case you remove the eight. Added to the ace already displayed, this gives you the value of nine.

Take the remaining cards from your pocket and drop them face-down on the ace and eight. Always place these cards on top of the indicator cards. The 26 cards on the table are placed on top of all.

The spectator deals the cards one at a time until he comes to the 28th. (The number he wrote on the envelope.) This card he removes and retains.

You square the pack by dropping the uncounted cards on top of the others and have a second spectator count to the number 20 (the number on the second envelope) and remove the 20th card.

The predictions are read and the cards checked.

The highest number is always counted first when the predicted cards are removed.

If the spectator names 24, you give him the marked envelope and write 24 on yours. His card will turn up first in the counting.



THIS IS a nice follow-up for a thimble penetration through a silk. When you have performed your favourite routine with thimbles and after one of those has penetrated the silken handkerchief, you then offer to repeat the trick.

Place the thimble on the extended right first finger. Drape the silk over the thimble and with your left hand steal the thimble. Do not try to male a correct thumb palm but just take the thimble off and everything is all right.

Pull the silk towards yourself until the tip of the right first finger is under the centre of the silk. Stop a moment and then pull the silk further in the direction of your mouth while your eyes are fixed on the top of the first finger.

Just before the hem of the silk leaves the extended finger the thimble is placed into your mouth. Be careful it does not click against your teeth.

As soon as the empty finger is exposed you show both hands unmistakably empty. The thimble has gone. (Smile and say: Cheese.)

Now for the re-appearance: with the right hand you reach into the air . . . nothing. Once more . . . again nothing!

Cover the empty finger as in the beginning and pull the silk towards yourself. At the moment the finger comes free you push the thimble out of your mouth with the tongue and seize it with left thumb and first finger.

As the right first finger makes its reappearance from under the silk empty, you look slightly embarrassed and place the silk with its centre once more over the extended finger.

Now you finish with the generally known penetration in placing the thimble on the finger with the silk between the finger and thimble.


AFTER your favourite " Four Ace " routine, push the four aces back in the pack, red aces anywhere, black aces on top. False shuffle.

Turn up and show the black aces on top. Allow a spectator to take out the red aces and keep them for a moment .

Push the black aces in the pack and control them back to the top. False shuffle. Have one of the red aces returned as the shuffle is made and control this ace also to the top. Now on top, red ace, black ace, black ace.

Continue the false shuffle—run the top two cards and throw these back on top of the pack; undercut half, injog, shuffle off, undercut three-quarters holding break at injog, shuffle to break and throw on top. Order now from top is black ace, red ace, black ace.

Undercut half the pack and have the last red ace returned; injogging, shuffling off, etc., fetching this ace finally on top of the stock of three aces.

Spread the pack in the hands, break under the top four cards, double-undercut to bottom and lay the pack down on the table. Point out that the aces are now lost in the pack—the spectator's red aces and the performer's black aces.

Take the pack in the left hand and undercut half from bottom in right hand. Lay this right-hand half down for moment and take it again in the right hand, face downwards in the side-glide position. Blow on this packet and turn the hand over showing a black ace on the bottom. Lay the left-hand packet down to one side; turn the right-hand packet face down, side-glide the bottom card with the right fingers and the left hand withdraws the second card from the bottom, face down, and lays it in the centre of the table.

" One black ace!" you say. The right hand lays the pack face down on the left hand, and the left hand little finger forms a break above the bottom glided card. The right hand undercuts half this packet above the bottom card and lays it face down to the right of the tabled card. The remainder in left hand is laid to the left of the tabled card. Pick up the right-hand heap again in the right hand, in the glide position, blow on the packet, turn it up and show the second black ace. The hand turns down again, the left hand pulls out the second card from the bottom and lays it below the first single card on the table; the right hand drops its heap to the left of this card. Now on the table—two heaps of cards with two single cards to their right. The audience believes the single cards are the black ones.

Hover the right and left hands over the packets and say, " And please name the colour of your aces!"

The spectator says "Red" — straightaway change the position of hands and flick over the single cards showing a surprise change into red aces.

Finish by turning over the packets revealing the black aces.



THIS was originated in 1944 and first published in 1946. Among its staunchest supporters and users I can mention His Honour Ernest Wethered and Will Dexter. Each in using the effect has departed from the original idea of using adhesive tape to cover the predictions and instead use pieces of card held in place by bulldog clips. This is a much more satisfactory arrange ment. In the description, however, I will keep to the original idea of tape.

The Effect

Taking a school slate and a piece of chalk, the mentalist by drawing two parallel lines divides the surface into three parts. In the top section he writes in green chalk a prophecy for spectator 'A';

then picking up a wide piece of adhesive tape and covering the message. 'A' is then asked to think of a colour and name it aloud. Supposing that it is " Yellow "; the mentalist picks up another slate and writes on it " A . . . Yellow."

A prophecy is now written for a second spectator ' B,' but this time in red chalk. This too is covered and ' B' then names a number which comes to his mind. This also is recorded on the other slate.

Finally a prophecy is written for a third spectator ' C' in yellow chalk which also is covered. Mentioning the fact that in the first two cases the predictions were made only a short while before the spectators took part, the third prophecy will take a different form. Spectator ' C' is handed a pack of cards with a request that he shuffles it and asks his neighbour to take any card. A sealed packet is then introduced with the remark, " I sealed this packet two hours before I entered this hall." The packet is placed in a prominent position. When the card has been chosen and its value giv^n to the audience and mentalist he adds to the writing on the untaped slate, " C . . . (say) ace of diamonds."

Lifting up the taped slate and removing the first tape it is seen that the prediction of A's colour was correct. And the same with B's number when the second tape is removed. Taking away the third tape, written in yellow chalk is seen the message " C reversed at (say) 6 p.m." The sealed packet is now undone and from it is removed a Jumbo pack of cards. When it is fanned both back and front one card is seen reversed ... it is the ace of diamonds!

The Preparation

A special slate is necessary for the effect. If the reader can obtain two silicate slates, i.e., slates where the writing surface is thin hard board, half his job is done. If not with a slate frame available, he will do better to make the whole job from scratch. With the former assumption and with a request that the illustrations be studied, the slates are dissected and the grooves that hold the slate bed widened allowing for the accommodation of three thicknesses of the writing surface. One of the pieces of silicate is cut across one third of its length and this piece is glued to the uncut piece of silicate (Figure 1). When the glue has dried, the

two-thirds length is laid on top of the recessed piece (Figure 3), and the frame is re-assembled round the two sets of silicate. Be careful in using glue during assembly to see that none of it gets on to the silicate.

When the frame is dry, the two-thirds piece of silicate can be moved from its initial position to the bottom of the frame, an easy movement of the thumb bringing it back to the position shown in Figure 3. In this position and this is the position it finally takes up in the trick the whole surface is flush. Figure 4 gives a side view of the slate. Chalk lines are now drawn, a reference to Figure 5 showing their position. That is the slate,

a job which to the average handyman is one of simplicity and contains no pitfalls. Reverting back to His Honour Ernest Wethered and Will Dexter, both the slates used by them were larger than the usual school slate.

The next piece of preparation has to do with the playing cards used. The pack handed to the spectator consists of four banks of the same twelve cards in the style of Audley Walsh's " Magician Dream " pack.

From the Jumbo pack duplicates of these twelve cards are taken and treated with roughing fluid on both sides. Twenty-four more Jumbos are taken, twelve being roughened on their backs and the other twelve on the face. These treated thirty-six cards are assembled now in this manner: one with a roughened back is placed face down on the table and on top is placed one of the original twelve roughened on both sides face up. On top of this is placed face down one of the cards with a roughened face. This process is continued until the whole thirty-six cards are assembled. Of the remaining cards in the Jumbo pack, eight are placed above and below the stack of thirty-six cards. For easy indentification when the pack is fanned faces to the audience a small pencil mark of identification is placed on the rear card of each set of three, telling the mentalist which card is sandwiched face up.

A little more preparation, with the consolation that when all these matters have been attended to you are set for a long while to come. Get hold of some sticks of white, green, red and yellow chalk. Have a small box to contain them. Sticks of green red and yellow chalk are taken and broken into halves. One of these pieces of green chalk is now joined to a similar length of red chalk by means of a length of adhesive tape (see Figure 6). Two pieces of red and yellow chalk are similarly treated. Place the faked pieces inside the

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