Princess Card Trick Plus

After Hours Magic: A Book of Al Thatcher Card Magic

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This effect is based on the old Princess Card Trick. In this version, however, the effect Lb much more direct and powerful. 1 have used it for a number of years, and I have known ir shake an audience with its seeming impossibility.

We will deal first with the effect, then the method and finally, the all-important presentation.

Effect: The performer removes apack of cards from its case and gives a ft^w cards to each of ten people. These people are askedto look at their cards, and to think only of one of them. They may memorise anv one of the cards they hold. Another mernbeT of the audience now collects all the cards and shuffles them thoroughly before returning them to the performer. The performer returns the cards to the case and puts the case- back in his pocket for a moment. He goes over what has just taken place. Ten people, each with a bunch of cards, Liave tifich remembered one of tlieir cards. The performer points out that in a week or two they would have forgotten that card, yet if, in two years' time, Lhe performer were to confront them and name the card I hey were now remembering, they would instantly recall it as being the one they memorised tonight. But, the performer points out, he won't do it in two years' time - he'll do it tonight,'

Removing the pack from its case again, he starts to read out the cards. Every few moments he pauses, saying each time that he has had the impression that one of the ten people has heard his or her card named. Each time, a spectator raises hia hand.

Without any questions of any kind, the performer holds up one card, and in each case, ii is the card that, the person thought of! All of the memorised cards are discovered in this way.

Method; You require two identical packs of cards, and a special card case which will be described I ate r.

Set the cards up as follows. Remove the pack from its case and shuffle it. Now [ay the cards out in ten horizontal rows of five cards each. Discard the remaining cards. Now lay out the second pack in the same way, with the cards in exactly the same order. You now have two packs of fifty cards, laid out each in ten horizontal rows of five, the cards in exactly the same order in both cases. Pick up one of the packs .starting at the top left corner and working to the; bottom of the left vertical row, laying the second card on the face of the first, the ihird on the second, and so on. When the first vertical row of ten cards is lifted, go to the top of the next row arid proceed exactly as be -fore, laying one card on the other. When the whole pack has been liftc-rt lay it aside and pick up the second pack. This time, pick up the cards horizontally, ^t-nrtint; at the top left and working to the right, laying each successive ca rd r>n the one previous, until the whole pack hpis been gathered up. Lay tliii pack aside for the moment.

Now for the card rasi'. 1 call I hi a t he One-and-a-Half Card Case. It is simply a cardboard card case, half as long again as the normal card case, made by slicking half of a casetnthe endof a whole case, first of all removing all I he flaps. ii the catu is held with the fingers curled around the fronl, whichever end of the case is uppermost, it will look quite ordinary. The hand, of course, will conceal the extra length. Push one of the prepared packs (either one) down into the prepared case, and thi?n push the other pack down on top. This second pack will extend for half its length from the lop of the case. Now here is how the case ope rate s-

When you first withdraw the case and cards from your pocket, you remove the pack which is jutting out (Figure 1, audience view). Your hand conceals

the lower half of the case. As soon as the cards are removed, you return the case to your pocket. When the cards have been distributed,collected, shuffled and returned to you. you return the to the case, but you put it in at Lhe opposite end from which it was t;iken. See Figure Z. T'his causes the second pack to siide halfway out of the case (Figure 3), ready for easy removal when the time comes. Again, the fingers are curled around the lower end of the case, to conceal the emergence of the second pack.

That is how the case works. Now, here is how the trick works. Each of the ten people receives five cards, though this is not stressed. In each case, you thumb off five cards and ask the person to 'Have some cards. In your mind, you have numbered these people from I to 10. This is easy enough, as you will find. When each has memorised one card, a member of the audience collects the cards, shuffles the pack, and returns it

to you. You push them into the case, causing the second pack to protrude, as already described. The case is returned to your pocket, as you patter (as detailed in the presentation ), and when you withdraw the case from your pocket again, it is the second pack which is removed.

Now, as you read the cards, starting at the face of the pack, what really happens is that you read therr. in batches of ten. Youcanpencil dot every tenth card before you start, or simply count ten cards and slightly separate them from the rest of the pack before you start to read each time. After reading each ten, you pause, and say that you have the strong impression that someone has heard his card called. One person or several may raise their hands. Each person, you will remember, lias a number from 1 to 10. If No. 8 raises his hand, then his card was the eighth card you called! If No. 5 says he heard his card, then it was the fifth card, and so on. Eachperson's card is found, in its particular batch of ten, at the number directly corresponding to the person's own number. It will happen that, after calling a batch, no one has heard « his or her card named. That makes no difference. Just tell them to concentrate and then read the next batch of ten.

It is not necessary to run through the entire fifty cards. After three batches of ten, you will probably have found most of the spectators' cards. If one person remains, and you have still one batch left, simply take out the card that corresponds to the number you have mentally given him. .. i. e. , if he is No. 7, you rake out the 7th card. If one person remains, and there are still two batches of ten cards to be read, there is still a quick 'pay-off possible. Assuming the person is No. 7, look at the card at that position in both batches. If one is red and the other black, you can say, "Sir, yours is a black card..." If he says yes, that's fine. You know which card to produce. If he says no, it's still fine; you simply tell him to think harder of his card and you withdraw the red card. Even if both cards are the same colour, the minimum of 'fishing' should tell you which is the spectator's.

The mechanics of this trick are simple. However, careful attention must be paid to the presentation, if you wish to obtain the maximum impact.

Presentation: Remove the cards from the case {either pack, just so long as it is the one that is protruding) and go amongst the audience. Approach a spectator and say, "Take some cards. . - " As you say this, you thumb off five cards from the lop of the facedown pack and hand them to the person, mentally numbering him No. 1. Immediately go to another person (at a good distance from the first) and say. "Take some cards. ..." Again you thumb off five cards exactly This person is No. 2. Do this ten times until the cards are exhausted, and then return to the front.

Now this is important. You have said, in every case," Take some cards " You have to give the impression that the amount in each case is random.

When you return to the front, say, "1 have just distributed a pack of cards among ten or twelve people". Again, you do not indicate that there has been anything precise in the distribution, you just say ten or twelve.

Continue, "Those of you who have been given cards, would you please shuffle, mix them around. All right? And now, would you just look at one card, out of the several you hold, just think of one of those cards, arid keep it in your mind. If you want to write it down, you can; if you don't want to, you needn't. ... so long as you remember the card. "

You will find that they will not write down the card, but will be content to remember it. Now, while you are talking, and while they are looking at their cards, you look around at your ten people again, fixing each one's number in your mind. Take your time about this, there is no need to rush it. Be sure you know each person's number before going on.

Nap Hand


Have a member of the audience collect the cards, explaining to the audience that you don't want to touch them until they are shuffled. Tell the person who collected the cards to shuffle them to his entire satisfaction and to hand them back to you when he has done that. As you take the cards back, have the card case ready, and push the pack down into the end that contains the second pack, causing the second pack to extend to ward s the palm of vour hand. Drop the case into your pocket, with the second pack pointing upwards.

Address the audience. "This is a sort of mental exercise, combined with a memory test. Those of you who have re mem be red cards will, in two or three weeks, have completely forgotten your card. But if, in one or two years' time. I were to say to you, 'Ten of Spades', and that was your card, it would jump right back into your mind, it would spring from the memory bank riyht back into your conscious agam". Pause to let this soak in. "But I shan't do it in two years' time." you continue, "I'll do it now! "

Take the card cai^e from your pocket again, holding it as described earlier, and remove the second pack this time, which is still set-up and protruding from the crise. Put the case back in your pocket.

Say, "A gentleman has jus I shuffled the cards. I'm going to call out the cards, one at a time, and all 1 want you |,t> do is listen. When you hear your card, it will hit you, believe me, just tike that, ..." snap your fingers for Emphasis. "Don't pui your hand up don't smile, .fust think. Give me no sign, jus-i keep a Poker face - that's right, Sir, just like the one you have there - and merely think, "

Spread the pack, fares of the cards towards you, anil pu^h the first ten over to the right. That way, you know when you've named ten, without having to count; or, conversely, you can use the pencil dot idea. Read out the cards one at a time. When you have named the tenth card, pause and say, "I got a very strong impression there. Somebody heard their card just now. Who was it? If no hands go up, tell ihe audience to concentrate harder and you read the next ten cards. When a hand or hands go up, fix your gaze on one of the people and say. "Sir, I'll ask you no questions. Please help me and just think of your card". You know the person's number, and you stare at the ten cards you have just named, slowly slipping out the card thai corresponds to his number. Hold the card between the tips of your thumb and forefinger, back towards the audience, arm extended. "Sir, " you say. "1 am holding one card, one card oniy. What was the name of your card?"

As he names his csrd, turn it around and reveal the face. Proceed : 11 exactly this manner until all ten cards have been called. If there is one odd man out, who does not hear his card in any of the groups containing the other nine, you can use the 'get-out' des-scribed in the method. To save any fumbling during the presentation, place each group of ten cards under the pack after it has been read.

Bv the way, if you don't want to use the special card case. just have the two packs side by side in your pocket in identical cases, and switch them by simply leaving one in the pocket and removing the other when the time comes.

Sell this trick to the audience with as much polish as practice will give you. It will pay large dividends.

Nap Hand Deal

The man who made this Nap Hand Deal iamous, was Lionel King, ,-?ind he performed it as no ore else ever dont. In the version 1 am gaiftg La explain her>!, the innovation is thai no palming ia required* Nothing is added to [he pack ho fore t.> r during Lbe performance; instead, we use a special pack.

Lei's (leal with the effect first, You ask three people to comc up and play cards. The three men sit st three sides of the lable, and you, the performer . go to the opposite end of the stage, You can, if you wish, be genuinely blindfolded. After the pack has been fairly cut several limes, one of the pJayern deals out three Nap Hands. You then ask each player how many tricks he thinks he can take. One man says four, another says two and the third player, say a he has none. You tell the man with [he poor hand that he musln't worry, ¡or you wiJi play his hand for him,

"Put flown your Seven of Clubs, "you say. Remember. a IJ this time you are several feel away, and blindfolded. The man dots at. you say. To the next player you say, "K'ow you can make four, can't yon? Bui you haven't got :j Club, have you? Oh, yes you have, you have ihc* .Six of Clubs. You111 havt lo pLay Ihfit, for you mu&t folluw suit- 11

The Second pJaytr does as he is told, and ihe third player it,- told to play his Three of Spades, since he Has no Chib= a! all- Thus, the man who had no apparenl tricks in his hand has won the first I rick.

You proceed in this way, calling out the cards to play, and the man with the poor hand wins all the tricks! The effect of this on any audience is highly entertaining, for the trick combines solid magic with

Ii11hL tometiy-

Here is ihe secret, You use a specially prepared pack. Instructions for llie introduction of this pack are f;ivc-n later- The pack consists of fifteen cards, running in a set order, repeated Ihret times, lu other words, vol! have a piick'Of forty-five cards, consisting of the same run of fifteen cards,three times.

To make the pack, first of all goi three new ...u kg ill cards with idem it'a] designs. Now li>ok at the din(j ram. 'The cards at ihe top represent the hand with four I rick s, the ne ni i s t he hand wilh two I ricks and the bottom cards represent ihe hand with no t ricks . Fron i one id' your packs, lay out fifteen cards exactly as in The di.a.g rani. Now pick up the cards, starting with the Ace of Hearts, I hen on top of that (face up) place the Ate ni Diamonds, on top of that the Three of Clubs. Co tu the next row and pick up those cards in tin. same downward order. Starting with thr King of Hearts and finishing with the Four of Clubs. Continue with the remaining three rows in exactly the same way. laying e,ich card fare up on top »f the Tace up slack.

.Lay these fifteen cards aside, and from the second new pack, lay uul llie same cards in the same order, and pick them up as before, placing tht.^ fifteen on the first fifteen.

? ®



A A * »

A A"

r■ -T V-

■» y-

Do the same ^ith the third pack, adding the cards to the thirty already stacked- This is your Nap Hand pack.

Before we go on, let me emphasise that this trick ir not an opr-ntir, nor is it ei trick you would do in the middle of the show. You must finish on the Nap Hand Deal, You have been doing other card trick3, and iis the timn approaches for the Nap Hand, you switch the pack you have been using for the spocial pack. You can do this by using the switching card case described in "Princess Card Trick Plus"; or you can simply put down your ordinary pack on a table for moment, behind a piece r>f apparatus, alongside E special pack, When ynu hi^ve called for three card players, simply pick np the take pack. Another way of course, is to fust switch The packs in your pocket.

As the three peppJe approach, you take out the pack and cut it a fewtii^es and false shuffle if you cun. Cutting will not, tii ccMir-e. upset I he run ni the cards m any wa^ so long as each cut is straight. After Getting the cards, you lay the pack on the centre of the ticble. itivite the volunteers 10 sit down anil then yon walk away tu the far end oi the stride or rooni. Ask one of; players to cut the cards straight- When. he has dune thi.-a, ask the neM persoti ta da the me. You then ask the last player to do the same, but add "Wherever you cut the- pack, thaL is where you wiJl deal- 11 Tilt: player cuts the cards and deals three Nap hands. However many times the cards are cut,

I hi.- result of the deal will be that the three hands shown in the diagram will come out. .lust who has which hand ii still a mystery to ynu, c-f course. You clear up the doubi by asking each man how many tricks he can make, One will bay four, one will say two and ¿mother wiij say none, fo the man who says none, you say, "Never mind, I111 play your hand for you".

11 you have stacked the cards exactly according lo instf icLons, the man to the left of the player wi,Lh no tricks, will always have four, and the next ims two. 2t<ro, four, two; that is the order. Knowing this there is no need for you to even look at the players, as ynu can address the man with the bad hand at the start, and the other two are dealt with indirect rotation throughout. Anyway, it is an easy matter to memorise the three hands, and it is added help to knowthatthey always fall in a known rotation. The following table shows the order in which you should instruct each player to lay down his cards-

First A lays D "

C 11

Second Trick, m A lays down 4C

Fourth Trick. A lays down 7S B 11 " KH C " " KD

Filth Trick. A lavs down ZS B " " AH G " 11 AD

'A' denotes the bad hand. 'B' is the hand with 4 tricks and 'C the two trick hand

When you present this effect, liven 11 by remarking or. each man's hand as you come to it; do nor merely say "Lay down the Ace of Hearts 11

Ratheri you should say, "Oh, dear, you thought that was a sure one fur a trick, didn't you? You'll have to play the Ace of Hearts. I'm afraid! " Each time the man with the hopeless hand picks up a (rick, congratulate him warmly and tell hirr he played that one beautifully. This by-play adds sparkle and polish to the basically stunning magic of the effect. As in the 'Encore Card Stab', this trick can be ruined if the players do not cut the cards properly, so make youseif clear, ... "Cut the cards straight. Sir. LifL some off, lay them aside and put the rest on top, M It is not worth taking the chance that Lhey know what, to do, and this is far too strong an effect to be spoiled by the omission of ,, simple instruction.

Mote for Poker Players; If you play Poker , or if your audience does, this effect is capable of application as a Poker Deal. The theme of play would have to be changed, but the mechanics would be the same-

Let us assume you have laid out five Poker hands, all of them good, but one oi them better than the others, say a Royal Flush. Lay these hands out as you would do for the Nap Hand Deal. and gather them up in the same way. This gives you a 25 card stack. Make an identical stack from another deck, and combine the two stacks to make you a Poker pack.

To perform the trick, have the cards cut as usual, then dealt. Tell the dealer that he must deal the first card to each person face up, then the others face down. While he deals the first card, you look on, casually, until you see one card which will give you the clue you require as to the run of the cards, ll is not, as you will realise, really necessary to watch all five face up cards being dealt. One card should give you the vital clue as to who has which hand.

When the cards are dealt, stand well away and patter to the effect that this could be a very exciting game, and you will show them why. Tell the men to pick their hands up and look at them- Now, you know who has the best hand, so you start with the man on his immediate left, and start to describe that man's hand. For example, il might be a Flush. Talk about the Flush and the strong possibility of winning with such a hand. After the patter on each hand, reveal the names of the cards, and have the man lay his hand fare up, so it can be seen that you are right. Continue in this fashion until you reach the man with the Royal Flush. Do not reveal that it is a Royal Flush to begin with, but say it is a good hand, and add that there is a good chance, as before, of a Flush winning a game. Then name all of his cards, from your position several feet away, adding, just before you name the Ace, that this hand is bound to win this game.

The effect is very striking, and capable of earning you quite a reputation either as a mind-reader or a brilliant card cheat!

Double Thought.

Double Thought

This is a very powerful close-up effect, which is ideal for one of those occasions when, after a performance or in the company of people who know you to be a magician, you are asked to show them something.

Effect: We will suppose you are sit ting opposite a person at a table. You give the person a pack of cards and tell him to shuffle them- When they are shuffled, ask the mantogive youhalf the pack and keep half himself.

You now tell him to take a card from anywhere in his packet and lay it face down on the table, while you do tine same with your own packet. Now tell the person to yet a look at his card, without letting anyone else see it, and you do the same. Now tell the man to take his card, put it back in the pack he holds, and pjve the packet a good shuffle, while you do the same with your card.

You hand him a small piece of paper and say, "Would y°u write the name of your card on the paper, and I'll write down my card on this piece of ptiper-H' While he writes (he name of his card, you write on a pic-ce of pdper the sarno his. The papers a re folded and laid a lew inches from each other in thr centre of the table.

The spectator is now asked to try and find your e;,rd in your shuffled half of the pack- He is told just to remove any card which he thinks might be the one you picked, and to lay it face down on the table. You give him your half of the pack as you take his, and you «ay that you will try to find his card. You go through his half pack and remove one card, laying it face down opposite his slip of paper. He withdraws one card from the packet he holds and places it opposite your slip of paper.

When this is done, you pick up his piece of paper and say, "You wrote down here the (sayj Three of Hearts, Is that the card you picked?" He agrees that it is. You then turn ove r the card you laid opposite his paper and say, "Look, I found your card! " which is true, for you have turned over the Three of Hearts,

Now you pick up your own slip and open it out, saying, "I wrote down here the Ten of Clubs, " and as you say this, you turn over the card the spectator placed opposite your slip. Sure enough, it is the Ten of Clubs!

All your require, in addition to two slips of paper and a pencil, is a marked pack of cards. My remarks concerning marked cards at the end of the 'Card Prediction' effect should be read in this con-ne ction.

When the spectator selects his card and lays it down, you know what it is by reading its back. The card which ynu select from your half does not matter, and ii is better not to pay any attent i on to its face at all. You pretend to write its name down, while the spectator is doing the same, bul you merely write any card, or your name, it doesn't matter.

When the spectator hands you his half, you know what his card is, for example, the Three of Hearts , so you look for that card and lay it down. Whatever card he lays down, you read its back and remember it. Open his paper, revealing his card as you do, and then, when you appear to read the name of your card from your slip, just name the card that the spectator put down in front uf your slip. Crumple your slip as you reveal that his selection was correct, and drop it in your pocket when you get a chance. It is entirely practical and worthy of good pr csenial i ûri.



Card Prediction

This prediction is direct and completely baffling. The performer hands a pack of cards to a spectator and tells him to shuffle them. When this has been done, the performer writes something on a piece of card and lays it aside, face down.

"I have jT-ist written a prediction, " says the performer. "Now 1 want any member of the audience to call out a number. " When a number has been called, the assistant is asked to count down through the cards in the pack and push out the card at that number. The card is laid aside from the re et of the pack, face down.

The performer now Baysf "You've shuffled the cards, a number has been called, and you have removed the card at that number. In other words, a card has been selected in a perfectly random manner-Do you agree?" The spectator must agree, of course,

"1 told you that i had written a prediction. Here is what 1 wrote. " The performer picks up the prediction and reads aloud, "I predict that the chosen card will be the Seven of Hearts. "

The performer pause s for a moment before going on, "Sir, for the first time, will you turn over the card you freely selected, and tell us all what it is. 11

The spectator turns the card over, and it is the Seven of Hearts! The prediction can be left as a souvenir.

Method; You retire ci blank bu sine he card, a thumb nail writer and a marked^pack of cards- Before i £o any further, let t asHUcfe anyone who lia^ nui tr'ie^i that there is no difficulty attached to the use of a rail writer- All you require is a couple of hours practice, and you will posses a powerful weapon, one that will heighten many effei ts. and one with which yen cr-in improvise with more freedom than is usual in magic. With regard tu the marked cards, I always buy an ordinary pack with a blue geometrical back design, and mark the backs myself. J thereby have a marked pack thiil only I can reatl, and, ,iust <iti import, am , the design is quiLe ordinary and attracts no undue attention to itself- It is easy U> mark ci pack for your own use; make sure thdt. whichiivi-r method you adopt, you can read the liacks easily at a couple of feet, without souinting.

fvow the working, This trick is perfect for iniLuiaif p.rn 5 entail on, J.^i'd suppose you perform, ii while sealed at a table. Get your volunteer, and have him shuffle the cards, When he has cloiie that, tell him ho lay them on the table. Take the business card and write on it, MI predict ibat the .rhosen card will he thi:!H and foave it at that- ll Is up lo you whether you wear the nail-writer from the si art. or whether yon gel it into position when you reach in your pk>cii[?l; far the pencil. Whichever way you prefer, you should now have the writer on your thumb nail.

Lay the prediction aside, face down. Ask fur some other me mber of t he audience to call out & number. Tell the spectator assisting von to count down to the card at t.h^t ¡lumber, and to lay the card face down on the table. When lie does tins, you have ample- time In riiad the value of the card from its back, while you talk about the freedom of selection etc. , as detailed in the Effect. You have written nothing with the nail writer yet.

As you say, IJSir, will you turn over the card you freely selected, and tell us what it is, you are holding the prediction in position to write on it with the nail writer. As he turns over the card, that is when you write the name of the card. The prediction may he handed to the spectator, or left lying for someone to grab later. if you wishi there is no need Ll1 write anything on the prediction at all. .Just read it out and pocket the card while everyone is watching the chosen card beiny turned over.

Careful presentation ts the key to success. This trick can literally shock an audience. You are doing something quite extraordinary, and you must act as Jf you are. Dan1! let the simplicity of the method influence your presentation; miracles must be treated as miracles.


Fire Force.

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