response from the skeptics and readers of the modem magazines which make magic and magicians seem rather simple and childish, all due to our exposer "brothers". "Instanto" still is a perfectly practical principle. Modern times need modern adaptations. It is with that view in mind these words are written. Here is "Instanto " just as it always has been from Its inception, together with a few uses in modern magical warfare. Where before, the performer made a direct point of finding instantly any card called for, it is now suggested that the very same principle be used "undercover" in connection with other tricks and effects.

First we'll take up the construction of the pack*, the location moves, and then carry on with variations of procedure which we hope the reader will himself enlarge upon in turn.

Visualising the bare effect we see the performer rapidly and constantly cutting the pack that he holds. Someone names a card, only one additional cut is made, and the bottom card is shown to be the very one desired! This action with results is repeated indefinitely.

The deck is both arranged and prepared. From top to bottom, or, back to face, the pre-arrangement is the simplest possible - Ace,2,3,4,5,6, 7,8,9,10,J,Q.K, of the same suit, over and over, the suits possibly running in the order Clubs, Hearts, Spades, Diamonds, to use the easily remembered key word CHaSeD.

A number of these cards are prepared by a bit of trimming. Each Ace and deuce is unprepared. The threes, fours, and fives are cut slightly at the inner left end and bottom so they taper a bit to and around the corner.

All six and seven spots are unprepared, but the eights, nines, and tens throughout are trimmed to taper at the outer left end and top so they taper a bit to and around the corner.

The Jacks and Queens are unprepared, but the four Kings are slightly concave trimmed at the center or their ends to make them "short" cards.

The Joker, at the bottom (face) of the pack, has a small paper clip or l/16th of an inch tab attached to its near corner on the left side. Tne deck can be cut repeatedly between requests and showings, but just as a card is asKea for, the "tabbed" Joker is cut to the bottom leaving the deck "set" for the next cut which reveals the card wanted. The tab eliminates any "looking" or "searching" at this most crucial moment.

The deck is held vertically, resting in the bend of the left fingers. Along the side he can see four grooves at the outer end, and four at the inner end. With his right forefinger, the performer can easily open the deck (from the outer left corner) to reveal any seven spot. With his left thumb he can, as easily, press downward at the outer left corner and, with the right hand, pick off the cards above this break to show any ten spot.

The outline of this card is dot marked to illustrate how the various "Instanto" cards are l/16th of an inch trimmed. Some are trimmed at one end, some at the other. HO card is trimmed at both. The semi-circle dots indicate cutting for Kings. All trimmed edges stay-always at the same side of the deck.

At the inner end he likewise is able to open the deck at a deuce with his right thumb, and at a five with his left thumb. Then, by riffling the end of the pack he can show any Ace because of the "short" Kings "snapping" by. He doesn't have to pass more than one of these (he shouldn't need that) for the performer knows approximately just where the required Ace is.

When a King is named the same riffle at the end suffices. The "short" card which indicates the cut is thumbed onto the face of the upper portion of cards before raising the packet to show. For a three spot, find the deuce, but in dividing the pack slide the three from the back of the lower portion on to the face of the upper portion and exhibit. For a four spot cut a five as explained, but in dividing the pack slip the five from the face of the upper portion on to the back of the lower portion which leaves the four spot at the face of the upper packet to be shown.

A six is found by cutting at the seven and sliding one card on to the lower portion. The eight is likewise found by cutting to the seven, but this time the one card is slid on to the upper portion from the lower. To locate the nine, cut at the ten and slide one from upper to lower portions. Then, for a Jack, cut at the ten and slide one card from the top of the lower section to the bottom of the upper.

For the Queen, the performer need only riffle to the King of the required suit and slide one card from the bottom of the upper heap to the top of the lower.

The time taken to describe these moves and

"mechanics" is somewhat discouraging when the reader hasn't a pack of the cards in hand, in actual practice the continual cutting with the repeated showing of called for cards bewilders the watchers and overbalances the weakness of the pack, namely that it cannot be shuffled or given for examination.

With that point in mind, and it is one that later day audiences have been educated to detect, we consider "Instanto" in the light of subterfuge rather than as an objective feat upon which all eyes and attention are centered.


It has been a dream of magicians, periodically fulfilled by devious and extremely complicated methods, to be able to cause ANY card called for rise from the pack. Probably one of the standard catalogue items most long lived (next to the thumb tip) is the rising card windlass, a vest pocket spring tension on a thread with a waxed button at its end. Despite various "new" hiding places for the reel, always advertised as the "ultimate", we think the original (and cheapest) the best for all around general and practical usuage. Suppose we combine it with "Instanto". An apparently unbroken case is opened and the deck extracted. As the performer talks about people not liking to "take" cards, he is casually false shuffling and cutting the pack In his hands. Then he asks someone, for instance, to merely name a card aloud that he "might" have taken. The moment this is said he turns and asks someone else to call a card he "might" also have picked. It is during this short interval that the performer cuts his pack to bring the first named card to the BACK and thereupon attaches the waxed button in the approved manner.

Turning back to the first person his card is caused to rise. Detached it is placed back on the deck which is again given several cuts while the performer addresses the audience and asks them if that procedure isn't far better than inflicting them with his presence down amongst them and causing them to check their watches and wallets. This "stall" has enabled the deck to be cut to "normal" and once again to secure the second desired pasteboard. It rises. A casual, assured performer can get more out of this effect than a nervous amateur with his $75 to $200 piece of "stagey" apparatus.


This is an "Instanto" twist of Annemann's original "Magic Thrust", now well known, with the newly available (Newly? Just not thought of before. Ed.) improvement which allows of the card being named rather than picked. The performer offers to "give a lesson" in magic. He gets an assistant and asks him to seriously contemplate for a minute and then name any card of which he thinks. The magician stands beside the spectator, both facing the audience. Showing an odd card picked at random from the deck, the performer lays it on top of the face down cards, gives them all to the person behind his back, and instructs him to put that face up card anywhere into the deck.

The cards are brought to the front and the performer fans them slowly and openly. The face up card is seen and removed together with the card against (or facing) it. The spectator names again the card he thought of. The two cards in the performer's hand are turned over (continued on page 680)

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