The Start

The deck is removed from its caste and pretense made of opening a new deck. The cards are fanned to show them in very uniform order as received from the manufacturer and handed a spectator for a "thorough mixing." After this five people are approached for the selections. I suggest that it be done from left to right around the room. The revelations later will be in reverse, that is, from right to left of the performer, but these climaxes will be from the left to the right of the audience which is natural from-their viewpoint.

Nearlng the first person you riffle and cut the deck a time or two and bring the "short" card to the top. The first, and then the second spectators have free choices from the center of the pack. Upon the third person, though, is forced the top 11 short" card. Caryl Fleming ^objected 111 Print to writings which suggist that the reader use his "favorite method." I heartily agree that trick descriptions should not leave a single detail of execution unexplained even though some of those methods not be acceptable to certain readers. But, for lack of space,I mist resort to asking all to use his "favorite method". My best recommendation for the force and the "return of cards" technique is the information contained in "Light on the Hindu Shuffle" which article appeared-in JINX Bo.56 for May, 1939 - page 398. This covers rorcing and the control of cards after return by a method absolutely unsurpassed in modern cardology.

The fourth and fifth persons have a perfectly free selection of their cards. Reapproaching the five spectators, starting again with the first one, the cards are returned to the deck. If one uses the aforementioned "Hindu" method the first person's card is brought to the top on the shuffle and the lower (or near) left corner ie bent upwards and broken by the right thumb.

The second and third cards are returned during the next shuffle through. Then the fourth and fifth cards are returned during the third shuffle through. This leaves the cards, from the top of deck down, 5,4,3,2,1, as replaced, and card No. 1 has the broken comer. Should the operator use his own methods it is necessary that he get the returned cards to the top of the deck. The revelations will take place from the top downward, the broken corner card being for the last effect. The forced card upon return is in the middle of the five, or third from the top. Naturally, the performer oust know to whom each card belongs, and that is why we have emphasized, possibly to boredom, the business of working from one side to the other in a regular sort of order.

Back to the front of the room the performer holds the deck with selected and returned cards as described, end is ready for the successive denouements.

Effect No. 1 - The Rising Card.

The audience may be close while the card is rising from the glass, for although a thread is used it is impossible for anyone to see it. Simplicity is paramount, especially moreso where tut one card is required to rise. A piece of black thread about six inches long is used, and two or three hard knots are tied at each end. One end is coated with a small piece of wax.

Stick the waxed end of the thread to the top right hand button of the evening coat, or to the most easily reached button of a single or double breasted suit. Let the other end hang down.

Uttft mtrnd pn batto» KU wtnftO.

Uttft mtrnd pn batto» KU wtnftO.

The goblet is handed someone to examine (in the night club the spectator blows into the glass. A strong breath helps the subsequent occurance.) and. the performer secures the waxed end of the thread from the button, pressing it down at the center of one end of the top card on the deck. He then drops the cards, with the waxed end of the thread downwards, into the flaas. The other end of the thread lies outside he glass and is therefore hidden by the cards. To make the card rise the performer picks up the glass, and first passes over it the hoop. He holds the glass between two of his fingers, with the palm of the hand upwards, and pulls down on the knotted end of the thread with his thumb. This movement draws the card upwards. When nearly out of the pack, the card is taken by the free hand, the thumb digs off the waxed thread connection and the card is tossed out. The thread drops to the floor and everything else is unprepared.

Effect Wo. 2 - The Penetrating Card.

The next top card belongs to the second spectator. When the cards are removed from the glass it is slipped to the bottom or face of the deck. The case is introduced and shorn. It is of the flap variety as pictured. The deck is inserted with its back to the flap. Upon replacing the flap, it oust be inserted BETWEEN the bottom card and the outside of the case. In this condition the case is thrown on table, of course with the notched side undermost, as the pocket handkerchief is removed and shown.

With latter held in left hand, the pack is picked up with right so that the thumb hides the tell-tale portion of the bottom card. So soon as the handkerchief is thrown over pack, the thumb, which should be slightly moistened, draws the selected card three-quarters of its length out of the case, the left hand at same time lifting the handkerchief from bottom end of case to show latter is still there. The left hand then takes the case and withdrawing it from under the handkerchief, places it above palm which now has the selected card.

Page 459

The trick is now done. The part of handkerchief away from performer is drawn over case, and the whole lifted by left hand. If now the hanging portion of handkerchief is slightly screwed up and held in the right hand, the selected card will be behind, gripped by the folds. A slight shake imparted to the handkerchief will cause the card to apparently force its way through both case and handkerchief. By having the card at bottom when placed into the case, it makes its appearance with its face towards the audience*

Effect go. 3 - The Pocketbook Card.

The handkerchief has been unwrapped from about the case and the cards removed from their container. However, ONE CABD HAS BEEN LEFT BEHIND. It is the top card of the pack - the third person's selected pasteboard. The case is tossed to the table.

In his right coat pocket the performer has a three-fold wallet, the center section of which is a glassine window pocket for identification cards. Into this pocket, face out, has been placed a duplicate of the card to be forced later (the short card). The flaps have been closed and a heavy rubber band put around the wallet in each direction.

The third person stands, as have the others, and after voicing that he remembers his card well is given the pack and asked to find it. Naturally, it isn't there. But while he's looking, the performer reaches into his pocket and brings out the wallet which he keeps in full view and turns it over and over at his finger tips. '.Vhen told it isn't'in the deck, the performer asks the name of the card and then says it just had to be that way because he's had the card in his possession all of the time.


The bands are stripped off showily, the wallet opened towards the audience and the card seen under its protective transparent covering. The spectator who selected it (?) removes his (?) card himself.

Effect No. 4 - The Inhaled Card.

The deck was handed the third spectator to fan through and look for his card. The oper- -/

ation didn't disarrange any cards and when the performer takes it back, the fourth person's card is still on top. This spectator is asked to stand and is handed the dagger which the performer takes from his inside coat pocket with his left hand. However, upon reaching inside his coat, the left thumb has crossed an open "daub" pot attached to the edge of the pocket. The spectator gets the dagger and the top card of the deck gets the "daub" in goodly proportions at the center of each side edge.

The performer takes back the dagger and gives the deck to the spectator for a thorough shuffle. Holding the cards above his head to prevent any possible manipulation, the performer carries the deck to the front and soreads it on the table. The daubed card, turned either way, will show up immediately among the others. The cards are not spread evenly from left to right, but pushed in all directions to make a truly mixed up mess. After the first spread, when the daubed card is spotted, it is kept in view and left somewhere around the center of the carnage. With handkerchief ostentatiously wrapped over the eyes, the performer makes grand gestures and stabs the smudged pasteboard. He takes off blindfold with left hand, asks for the name of the card, and then raises the dagger to show the pierced card which is either tossed away or (distance permitting) taken off by its selector.

The cards are pushed together to form once more a deck. They are handed directly to the fifth, and standing, person for a thorough mixing. It will be remembered that this spectator's card was the first returned and that which received the bent corner. Therefore a thorough 1 tf haS little effect uP°n the subsequent

The performer takes the deck and faces everybody. Cutting the deck a time or two he states that he has Ult one and needs two. This inter val allows of cutting the broken corner card to the top. Then the deck is torn in two.

The reader had better take an old deck in hand while reading these words. Square it as perfectly as possible and grip it by one end with the right hand. The fingers (4) are all on the outside and within an inch from the end. The heel of the hand is on the opposite side of the deck's end. Now the left hand fingers are placed on the inside surface of the deck (side nearest bocfr) and next to the heel of the right hand which is on the same side.

This position is attained toy twisting the left hand over towards the body and NOT under towards the body. The heel of the left hand is therefore on the outside of the deck together with the right hand fingers.

The exertion for tearing the deck is begun from the inside, the side nearest the body, and the pressure is on the heels of both hands which make the tearing effort against each other. KEEP THE D2CK SQUARED BY NOT RELEASING PRESSURE OF THE FINGERS. DON'T LET IT SLIP. A firm and increasing tear-will start the separation. It may be necessary to regrip for better leverage after half way throu^i tut this only serves to make it easier from there on.

Contrary to belief, the tearing of a deck does NOT require strength at all. Merely a bit of leverage properly used does the trick for the weakest of people.

Torn in half, one part of the deck is laid aside for the moment. The other half is held face outwards along the curved fingers and given an overhand shuffle. The curved fingers, around and against the back of the cards, holds the back, or top, card in place while others are shuffled fairly onto the face of the packet. The half pack is turned face down and held in the left hand for dealing. The left hand draws down the top card and the right deals them off into the air and onto the floor until told to stop. Then the left hand, which has been holding the cards nearly vertical for dealing, drops down to show the fairness (?) when the stopped at card is removed, and placed, back outwards, in the performer's coat breat pocket. What is left undealt of this half deck is tossed into the air to fall in a shower.

The other half of the deck is taken up and the very same action repeated. Result? Another half card. The remainder are tossed aside to flutter down, the half card removed from the pocket and the two pieces contacted still with backs out, and the last spectator asked to name his chosen card. Then the two pieces are turned around. Climax. And this is the end of a twelve minute super super routine with a deck of cards.

0 0

Post a comment