Expert manipulative magic

Sxpert {Manipulative zMagic

Chas. C. Eastman

FOREWORD In the following pages of this—my first printed book—I have tried to fulfill the promise I made to the readers of my various manuscript.

In answer to their numerous requests for the latest sleights, tips and "dodges" used by the up-to-date card manipulator, I'm giving them a selection of forty items to choose from.

All of them have been used by the writer, so therefore will be found practical. Every reader, be he "an expert" or a young enthusiast, should find something that will suit his style and personality well enough to be added to his repertoire.

Other items, while not new, have never appeared in print before (to the best of my memory). While others, such as the "Continuous production of fans of cards at the finger-tips, Expert fans," etc., are inserted at the many requests of correspondents and brother magicians.

The few old "Chestnuts" (without which it seems impossible to issue a book without inserting a few) have been so altered and improved that they can be relied upon to throw the spectator "who knows how all those tricks are done" off the scent.

If any of these instructions are not clear, write me and I will be glad to help you clear up any little point that is troubling you.

And so my kind reader I will leave you to a perusal of the following pages with best wishes for more and better manipulation.

CHAS. C. EASTMAN. Copyrighted 1933.

INDEX T h e C o n t i n u o u s P r o d u c t i o n of F a n s of C a r d s A t T h e Old B a c k - P a l m Again . . .

S o m e V e r y Effective M o v e s W i t h Six Cards P a s s i n g a F a n of C a r d s f r o m H a n d to H a n d N o T h u m b B a c k P a l m . . . .

Expert C a r d F a n . . . . .

Reverse F a n — A l l W h i t e . . . .

Cover for the Pass . . . . .

T h e Front-Palm Single Card Production D o u b l e C a r d Lift . . .

Sucker Card C h a n g e . . .

T h e Easy C a r d Shift . . . .

T h e Perfect Shift . . . . .

T h e Deliberate Shift . . . .

T h e N e w False Count Principle . . .

G u e s s i n g the N u m b e r of C a r d s b y W e i g h t A 26 Card M y s t e r y . . . .

A N e w Wrinkle on the Five Card Trick .

T h e Six C a r d Repeat M y s t e r y . . .

T h e Card Miracle . . . . .

T h e F o u r A c e s . . . . .

V a n i s h i n g P a c k of C a r d s . . . .

Manipulative Billiard Ball . . . .

T h e Migratory Coins . . . .

T h e Expert A c q u i t m e n t with Cards . .

T o p N o t c h Vanish . . . . .

Spectre Vanish . . . . .

T h e Startler V a n i s h . . . .

T h e W a n d er er . . . . .

Natural D r o p . . . . .

B e l i e v e It o r N o t V a n i s h . . . .

F a d e a w a y — A O n e H a n d Vanish . . .

Surprise Vanish . . . . .

T h e Super-Lift . . . . .

S p e e d e x Vanish . . . . .

T h e Laets Steal . . . . .

S m p l D r o p . . . . .

T h e Reverso M a t c h . . .

T h e Miracle M o v e . . . . .

T h e O n e H a n d Shuffle . . . .

T h e Finger Tips . . . . . . . .

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"Expert Manipulative Magic" A SERIES OF ADVANCED SLEIGHTS AND MANIPULATIONS THE CONTINUOUS PRODUCTION OF FANS OF CARDS AT THE FINGER-TIPS The writer recommends that the instructions be followed with the cards in hand, for it is absolutely necessary that the mechanics of the sleight ba thoroughly understood if it is expected to work this spectacular sleight successfully.

The first reading of the instructions for performing this little known and wonderfully effective sleight may cause the reader to think it is very difficult. But a reasonable amount of practise should enable the reader to master the mechanics of the moves. From then on it should be "plain sailing", and a short time only until the required skill is attained to perform it smoothly. The reader will then have at his command one of the inost beautiful sleights known to manipulators, and something that every performer is not using.

These instructions, which are described exactly as used by the writer, enable the manipulator to produce five fans of cards, one after another.

It is preceded by a series of productions of fans of cards from the body, behind the knee, elbow, etc. After the last production the cards are replaced on top of the deck which is squared up between the hands, during which process about twelve cards are bottom palmed in the left hand which immediately grasps the pack by the sides; thumb on the left and fingers on the left and fingers on the right sides of deck, back of hand held slanting to audience. (The writer uses the first method of bottom palming explained in "The Expert at the Card Table", by Erdnase.) A quarter-turn is now made to the right at the same time taking pack in right hand and throwing it in a hat resting on a chair on that side.

That—is what you apparently do; actually, as the right hand grasps the deck by the second, third and fourth fingers at the top end, first finger curled on top of pack; the right thumb separates about fifteen cards from the rest of deck and the right fingers slide down and clip the lower corners of the cards as in Fig. 1A and back-palms them. The deck, which is held in front of right hand, together with the turn to the right completely masking the operation. Use No. 0 thin plaid-back "Steamboat Cards" that have been "broke in" enough to take the stiffness out of them, but not old cards as they will not fan properly. As the cards are • i $

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back-palmed in the right, the hand is turned to audience, and the remainder of the deck tween finger-tips and thumb of right. Fig. conceal the cards on back of hand, and the

so as to bring palm of hand in the left hand is taken beIB. Which action helps to pack is dropped in hat.

Keeping palm of right hand squarely facing the audience for a moment—thus letting them see, without verbally calling attention to it, that it is empty—it reaches in the air and produces the back-palmed cards in a fan. It is shown from both sides then the hand is lowered a little and the cards are dropped in the hat. Then performer reaches in the air again and produces another fan. This is a beautiful move and is accomplished as follows: As you produce the first fan at the finger-tips it is held between the thumb on the face of the cards and the side of the curled-up second finger at about the first joint at the back of the fan, thus leaving the first finger free. Fig. 1C. The first finger separates about five or six cards from the rest of the fan by pressing forward on the back of the cards. After a little practise the required number of cards can be separated without any hesitation. Then as the hand is lowered to drop the cards in the hat the first finger is inserted in the break and the remaining nine or ten cards are again back-palmed under cover of the visible cards. The fan, which has become somewhat bunched up during the action absolutely masks the operation.

Then another fan is produced, and the same moves are repeated; this time about half of the remaining cards being back-palmed again under cover of dropping the others in the hat. The cards should be on the back of the hand before dropping the visible fan in the hat so that the cards can be dropped slowly and the hand held open with palm to audience in a natural manner before producing another fan.

The remaining cards are produced in a fan, which is taken, still partly fanned out, in the left hand between thumb and forefinger.

Fig. ID. The left side of the cards going in the crotch thus formed and keeping the back of left hand to audience. This is done apparently to enable the performer to show his right hand empty, which is now done, front and back, fingers wide apart, etc. The fan of cards is retaken in the right and thrown in hat. That is—this is all that the audience is supposed to see; what actually happens is that the ends of the palmed cards nearest the wrist are bent up, back of right fingers at the first joint pressing on back of palmed cards at about the center, which acts as a fulcrum. Fig. IE. The fingers are slid downwards towards thumb and the corners of the cards are grasped and quickly back-palmed and the visible fan retaken in right hand in one continuous movement. The slight turn to the right covering the momentary hesitation caused by the back-palming of the cards from left palm. When the cards are taken in the left hand as a preliminary move in transferring the cards palmed in that hand, to the back of the right, the body is slightly turned to the audience, due care being taken, of course, not to let them catch a glimpse of the inside of left hand. This is done so that the performer will have a natural reason to turn to the right as fan is retaken in right hand. The fan is thrown in the hat as before. The back-palmed cards are again produced in a fan. Separate and back-palm about half of them as you throw the others in the hat. Produce the last fan and throw in hat.

This makes a production of five fans and, though it is possible, the reader is advised not to try for any more as there is nothing to be gained by repeating the same move over and over again.

These instructions are given for right-handed performers and the fans are caught while presenting the left side of the body to the audience.

But if the reader happens to be left-handed it will be necessary to substitute, left for right, and vice versa, in following the directions.

If the routine is to be used as an opener the performer can come on with the cards already palmed and hold a newspaper, tray, etc., in the hands to act as a cover.

Editor's Note: With a pair of loose fitting Chamois Gloves this entire routine can be performed with the removal of the glove on the right hand, and then another fan produced. See Manipulative Magic, page 12.

The Old "Back-Palm" Again A few additional subtleties that can advantageously be used when catching cards, singly at the finger-tips from the old front and back hand palm, are now offered. By their aid the manipulator is able to, WHILE HOLDING A CARD BETWEEN FOREFINGER AND THUMB, show the back and front of the hand to be otherwise empty. A number of cards, nevertheless, being concealed in the hand.

Action: Six cards having been vanished, one at a time, by the backpalm, and the hand shown empty, the last card to vanish is produced and displayed at the finger-tips, as in Fig. 2A. Still holding the card in the same position the hand is turned over, showing the back. Fig. 2B. The next figure, 2C, shows how the second finger does the work ordinarily performed by the first, of helping to transfer the cards from the back to the front of the hand. Fig. 2D, shows how the ends of the cards butt against the palm in being shifted to the back of the hand again. The card at the finger-tips is now taken in the other hand, or dropped on the floor, and another card is produced and the moves repeated.

Some Very Effective Moves with Six Cards Six cards are taken in the left hand and, holding them face to audience, count and pass them, one at a time, to the right hand. They are then squared up and held as in Fig. 3A. The left hand continues its downward movement of encircling the cards, during which action the right first finger pulls the outside card about a half inch to the right.

Fig. 3B. The right is now shown empty while the left starts to twist to the left, anti-clockwise.

The right hand now grasps the cards as in the illustration Fig. 3C, the fingers concealing the protruding ends of the five cards. The left hand now releases its hold of the cards and is held partly extended to the left. The right now advances and places the cards in the left. • [ 5

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Fig. 3D. But as soon as the cards touch the fingers of the left the first finger of this hand is slid along the face of the overlapped card until it encounters the ends of the five cards. With one continuous movement this finger, continuing its downward motion, snaps the five cards in the right hand, which quickly palms them. The left moving away with the six cards? (Actually, only one of course.) The right continues up along the left arm until it reaches the elbow, at which point it gives the sleeve a slight tug.

The first finger of the left hand now clicks the corner of the card, at the same time the right hand drops to the side and the body is turned facing the audience. While doing this the right hand swings behind the right thigh for a moment only, during which time the cards are transferred to the back of the hand. The palm of the hand is held towards the audience for a second only, just long enough for them to realize that it is empty, then it reaches behind the right knee and produces one card.

This is dropped on the floor and the hand lowered to the calf of the leg, from which another card is produced. This is also dropped on the floor and another is produced from the sole of the shoe. The foot being lifted for that purpose, of course, and the remaining card is produced from the left shoe, this last card being also dropped on the floor.

The card in the left hand is now held by one corner between the forefinger and thumb and snapped a number of times with the second finger of the right hand. This is done to call attention to the fact that (here is only one card left. This card is held in front of the body as in Fig. 3E. It is held there for a moment and then suddenly brought rlightly upv-'ards towards your mouth, which blows on the card. The hands are then separated with a downward swing of the hands, during which the card is back-palmed in the right. This sudden vanish of the card is very effective. The hands are still for a moment, palms to audience. Then the card is produced between the tips of the second finger and thumb from behind the right knee.

Passing a Fan of Cards from Hand to Hand A very effective, though difficult, flourish is that of passing a fan of cards from hand to hand, through the knees, etc. It is accomplished as follows.

About fifteen cards are taken in the right and fanned at the fingertips, held in the same position as for the Continuous Production of Cards at the Finger-Tips. This fan is now taken in the left hand, under cover of which about half of the cards are back-palmed in the right. Holding this hand a little above knee-level, palm to audience, and the left, holding the fan of cards, opposite, a slight throwing motion is now made with the left towards the right. The fan in the left hand being back-palmed at the same time, while the cards on the back of the right hand are produced in a fan at the finger tips.

The action of closing up the fan and back-palming the cards is performed by a movement that is the reverse of that used in making the fan.

The thumb moves towards the left while the fingers twist to the right •: [ 6

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while the first and fourth fingers come up along the sides of the cards and helped by the thumb they are squared up and back-palmed with one continuous movement.

The fan is passed from hand to hand two or three times and finally the visible fan in the left hand is placed in the right and squared up between the two hands, the cards on the back of the right being added to the others during the action. They are now apparently all placed in the left hand. A throwing motion is made towards the right knee, from behind which the right produces the cards in a fan.

No Thumb Back Palm Chas. C. Eastman Here is something that will put that neat touch to that old trick, the Front and Back Palm. The cards are held in the usual manner for the back palm as in Fig. 4A which shows the thumb ready to push the cards pieparatory to back palming. The next figure shows the cards pushed with the thumb. Fig. 4B. As this method eliminates the usual procedure of pulling the cards back from the back palm with the thumb the following illustration should be studied so that the correct method of bringing the cards back to the front palm will be fully understood.

Fig. 4C shows the fingers on the outside edges of the card bent down into the palm in a sort of a claw fashion. This position leaves the two midd'e fingers in a free position to reach up to the extreme edges of the cards and force them down into the palm. By using this move it eliminates the use of the thumb entirely and gives you a very clean cut performance of the old standby. At the finish with the cards in the palm the hand is shown with the thumb down as in Fig. 4D. In other words the thumb is entirely free at all times.

Expert Card Fan Chas. C. Eastman To perform an expert fan large and showy the following method will have to be followed closely with the cards in your hands. First the performer should be able to accomplish the "spring", that is, of springing the cards from one hand to the other. Now with the pack held as in Fig. 5A which shows just how the cards are held with the thumb at the bottom near the right edge while the left thumb rests against the side of the pack. The first finger is free and bent on the back of cards where it is allowed to rest very lightly. The second and third fingers rest on the top edge of the pack so that the cards are free to slip from under them at the slightest pressure by the thumb. The position of these two fingers is also very necessary for expertness. The third finger is at the very end cf the top portion of the pack with the second finger resting ae?inst it. These are the two fingers that accomplish the desired smooth rcund edge of the fan and unless these are held correctly the fan will not run out smoothly from the fingers while you are making the twist with the right hand. <( 7 ] -

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Figure 5B shows the pack placed in the left hand ready for the start of the fan. Note the position of the left thumb at the lower corner of the pack and just resting there. The right hand still being held on the pack as given above. Now give the pack a slight bend in the hands and start your motion so that the cards will slide out freely from under the two fingers at the top of pack. You are to describe a circle to your left finger of the left hand. That is you start from the left thumb and while the cards are slowly sprung from under the ends of the second and third finger-tips and continue until you reach the little finger which will leave the fan with the bottom card straight across with the card at the beginning of the fan. Fig. 5C. The last half of the fan will be found the most difficult to perform but while the right is running the cards around on the fingers the left is also twisting to the left in the opposite direction.

The left thumb that was resting on the lower corner of the cards continues to follow the entire fan until it is completed and then this thumb will be right on the center circle where it can hold the cards in the fan while the right is taken away. Note the illustration. For the most showy fan always use your cards with the backs to the palm.

Reverse Fan — All White Chas. C. Eastman This being just the reverse of the above but which will bring the cards all white and has the effect of all the spots having disappeared from the faces of the cards. A blank card is used on the pack. The cards are held by the same fingers but this time they are moved to the opposite ends of the pack, that is, where the second and third fingers were at the right they are now at the left at top of the pack and the thumb is at the lower left corner. Figure 6A gives you the full position of the start of the fan. Note that the left thumb is at the lower part of the hand ready to follow the edge of the pack back as it makes its reverse circle. The same method is followed as above only that you work in the opposite direction now. In the finish your hands should be as illustrated in Fig. 6B. This fan is made with the faces to the palms and with a blank card brought into use, it makes a beautiful display. Understand that neither of these fans can be accomplished at the first trials as the motion will only come with patience and practice, but, once you have the method it is a simple matter.

"Cover for the Pass" G. Dodson Within the past year or so, much has been written and said about the pass. As a result, a number of useful substitutes for the pass have come forward, adding worthwhile information to card work. These substitutes are interesting, and some of them should be mastered by the up-to-date card worker—but without a thought of entirely discarding the pass in their favor.

All the standard books on card magic stress the importance of the pass, and we have, therefore, come to regard the pass as one of the fun-••[ 9

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damentals. Few of us ever acquire sufficient dexterity to completely mask the movements of the two halves of the deck. This is no doubt due to the unwillingness of the magician to practise. Fritz Kreisler certainly did not acquire his technique on the violin in a few weeks. Neither did Jimmie "Kater" Thompson inherit his skill in making the pass. It actually took years of patient work. But once this proficiency was gained, all thoughts of past efforts faded away with the enthusiasm of accomplishment. The reader will readily understand that I am an ardent "psss fan".

For the benefit of those (and this includes myself) who are unable to make other than a fair pass, I have devised, not a substitute for the pass, but, let us call it, a "cover for the pass".

This sleight will at first appear somewhat awkward, but very little practice will convince you that here is something away from the beaten path.

Let us say that a card has been selected and that the performer has lifted off the top portion of the pack for the card to be returned to the top of the lower half, preparatory to making the pass. When the right hand lifts off the top portion and comes clear of the remainder or lower half, the index finger of the right hand slides or moves the top card of the portion held in the right hand about an inch to the left, over the side of the cards. Put this upper portion back on the lower, making the break as usual with the little finger of the left hand. The card previously pushed to the side will now be against the left thumb; the remainder of the upper portion will extend slightly over the right edge of the lower portion. By keeping this top card pushed over against the thumb of the left hand, it will be found comparatively easy to make the pass under this card. Performer may now lift the top card and show that the selected card is not on top.

To go a step further, the bottom card may be similarly held in place, even though the pass is made. By showing both the top and bottom cards before and after the pass, the "wise guy" will be stopped. Simply lift off or pull aside the bottom card with the left thumb, near the second joint. This is not so useful as retaining the top card in place and is merely mentioned for those who might care to use it.

Practise on this and study the angles. By slightly tilting the hands downwardâ&#x20AC;&#x201D;that is, the upper portion of the pack, it will be practically impossible for the spectator to detect any movement of the two halves.

When mastered, you will find that you have a very effective "cover for the pass".

The Front-Palm Single Card Production Tommy Tucker This sleight was developed to eliminate the cramped condition of the hand and the bending of the cards which was ever present in other methods of accomplishing this effect. This sleight, although by no me-ms easy of correct accomplishment, has a beautiful appearance in operation 10 -

as the card is exhibited at its entire length. The cards to be produced are held in the right hand, or left, as the performer prefers, with the second and third fingers resting on the ends of the cards which are backs uppermost against the hand and the thumb grips the left lower corner of the packet in the crotch. The cards are now palmed in the hand, but, the positions as given here should be followed to the letter.

To produce a card, the index finger which is extended perfectly straight presses down at the middle joint on the backs of the cards and the two middle fingers holding the ends of the cards, lift and bend the edges backwards as the thumb is brought close to the side of the bend.

Fig. 7A. This bends the cards outwards away from the hands so that they touch only at the thumb and the two middle fingers. Next the thumb is brought against the face of the lower card so that the thumb ball touches the bottom card and it then straightens and at the same time pushes against the card so that the lower card is freed from the packet at the end towards the wrist. Fig. 7B. Next the position of the fingers at this time should be given careful attention. The second, third, and fourth fingers are curled over the end of the cards and the index finger rests on the corner of the cards. Fig. 7C. The index finger is next placed against the corner of the packet so that the finger nail or rather the edge of it, rests against the backs of the cards.

The little finger now is lifted and the tip of the finger presses against the card so that it is swung slightly on a pivot formed by the first and second fingers which clip the pack at the corner between them. Fig. 7D. As soon as the card is started, the second finger which rests against the face of the card at the corner presses against it and carries it up and it is then clipped between the first and second fingers which are immediately straightened and the fourth finger resting against the face of the cards at their corner, bends the cards enough to keep them from observation.

The third finger joins the first and second so that the card that was produced is held clipped between all three of the fingers. This steadies the card and keeps it faced directly toward the audience. Fig. 7E. The card is placed in the left hand and the same procedure is repeated until all of the cards are exhausted. If the pack of cards are held in the left hand face down in the natural position for dealing and the cards are palmed from the pack and then produced as above, they may be replaced on the pack face up as they appear and when the last card is placed onto the pack, a new bunch is palmed from the bottom using the old color change method that is of grasping several cards that are pushed into the thumb crotch of the right hand by the first finger of the left. Should the performer wish to carry this effect a little further a very showy method is that of palming the load as above and then showing the left hand empty. As each card is produced it is brought up behind the palm of the left which is now being held with the back to the audience. After each card is produced in this manner the left is turned over and shown empty. The effect on the spectators is that the performer continues to produce cards from the empty left hand with the fingers. When this production of cards from the palm is executed correctly, the card should be produced in almost a single motion. At first it will be very necessary to watch the angles of the cards and hand closely when performing this production.

Double Card Lift Tommy Tucker This is a method devised to make the useful double card lift in a natural manlier. The pack is held in the left hand in position for dealing. The left thumb spreads the cards as though to take a card off, and as the, cards are spread the second and third fingers let two cards slip by instead of one as the thumb pushes them out. There will be only about a quarter of an inch or less difference between the cards at the outside edges and the right hand is placed against the side of the top card and pushes it back to the second finger from the top so that they are squared one on the other. The right thumb then presses down and the two cards are taken into the hand as one. This is a very deceptive sleight and has many uses in counting etc. Fig. 8A. Remember that the cards are not taken off by the fingers, but by the hand as the cards rest against the palm and are held squared in the right hand after removal with the fleshy part of the thumb on one side and the second, third and fourth fingers at the other and the index finger at the further end.

Sucker Card,Change Tommy Tucker A good stunt that is possible by means of this double card lift given above is the following card change. If you are performing for magicians, offer it as the real method of the Mexican Turnover.

Two cards are apparently removed froin the pack faces up. Actually three cards are taken. These are placed into the left hand still face up.

One of the cards is thrown onto the table. The other card is taken by the corner and the first card is turned face down as in the Mexican turnover. As this is done the card in the hand is shown to be the card that should be face down on the table, but, when this is turned over it proves to be an entirely different card, either a blank or the joker.

The secret is that as the card is turned over, the two cards held as one in the hand are slipped under the card on the table and all three quickly picked up with the right fingers and then the cards are turned ovet and the top card is dropped face down and the other two are placed into the left hand which is back up. These are squared and the hand turns over and then the right hand again takes the card between the fingers and flips over the card that is face down and of course the card has now changed. Then the cards are replaced onto the pack together.

The cards are turned over and the top card dropped and the cards placed in almost a single smooth move. When this is executed smoothly, it forms a very illusive change. Naturally it is preferable to perform this where there is a cloth on the table so that the cards will be unable to slip. i

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The Easy Card Shift Tommy Tucker This method brings the card to the bottom of the pack and is meant for close-up work when another shift might be noticeable. When this is done close looking down onto the pack it is almost impossible to detect it.

The cards ate separated as usual and the card is replaced on the lower packet. The fleshy part of the thumb is at one side of this packet and the fingers are curled up over the other side. The upper half is brought over the lower and the curled fingers of the left hand still remain in place. The right hand second and third fingers at one end and the thumb of the same hand at the other grip the whole pack. The fingers of the left hand which are in the break on the side press down and the pack is pivoted slightly upwards with the left side always just touching the fleshy part of the left thumb. This brings the card to the bottom.

Fig. 8B.

The Perfect Shift Tommy Tucker This is so named because no shift is made and so to all appearances it is perfect. This is a good stunt to follow up the previous effect. The card is on the bottom of the pack and the cards are now turned faces up.

The double lift is performed and then the pack is turned over in the left hand so that the backs are uppermost. Then the left hand is turned over and approaches the right which is holding the card face up. The card is gripped at the sides by the left thumb and middle fingers.

Fig. 8C. Now the left hand is swung back to the left and turned over again so that the cards are backs up again. The right hand then takes the end of the card or cards that are being held between the fingers and as these are drawn off of the pack or rather back from the top of the pack toward the wrist of the left hand, the card underneath is left on top of the pack and the right hand then inserts what is apparently the chosen card into the pack at the end nearest the left wrist. This card is pushed in square with the pack and with the usual riffle the card is shown to have made its way to the top again.

The Deliberate Shift Tommy Tucker This is really more of a false shuffle than a shift, but, the effect is the same. The selected card is taken in the right hand and the left holds the pack at the sides with the faces toward the left palm with the back of the pack toward the spectators.

The card is inserted in the upper end of the pack and shoved down about half way. Then the pack is turned toward the audience for a minute and the card is shown. The right hand fingers then taps the card into the deck. As this is done with a little force the card is driven down through the pack and protrudes from the lower end of the deck, but, -â&#x20AC;˘' 13 ft*

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this is hidden behind the left hand. The cards are then taken in the right hand with the right thumb holding the break where the card protrudes. Cards are then shuffled off until the selected card is on top of the left hand packet, next card is in jogged and the remainder of the pack shuffled off. Under cut at injog and shuffle off to break and throw on top. This gives you the selected card. You may of course make the pass and obtain the card that way but the shuffle apparently looks genuine.

The important part is to be sure that the card protrudes. The card should not be hit too hard as it will then be apparent that you are trying to drive it through the pack.

The New False Count Principle Tommy Tucker Here is a method of performing a false count at close range that is extremely deceptive.

Hold the packet of cards to be counted in the left hand, face down.

The left thumb on one side and the second and third fingers on the other side. The index finger is not used, but, is extended out over the left corner of the packet. The little finger of the left hand is curled under the left side of the packet. Fig. 9A. The performer stands with right side exposed to the audience and with the left hand tipped so that the backs of cards are exposed to view of the spectators.

Suppose you hold ten cards in the left hand which you wish to false count as five. The little finger of hand holding packet draws back the bottom, card so that it extends up a half inch under left palm. This cannot be seen as the back of the left hand effectually conceals the ends of the cards. The right thumb is placed on top of the cards which are drawn off one at a time as the performer counts one, etc. Fig. 9B. Continuing to count he draws off a card each time from the packet in left hand until he has counted three. When he counts four he draws off all the cards except the last or bottom card by pinching them at the base of his thumb and first finger of right hand. The left hand is turned over and the card is held between first and second fingers and snapped with the thumb as the performer counts five.

My first method of performing this was to count the cards one at a time and place them in a glass facing the audience and steal the whole remaining group minus the last jogged card on the count of four. Then the last card was shown with both hands, snapped, and placed in the glass with the others. The method of stealing cards with the thumb and index finger was originated by that extremely versatile and clever performer, Harry Valcarte, whose coin sleights and other effects will be found in another portion of this book.

Both methods have their good points under different conditions but, the former method is the best for speed.

In some of the following effects in this book, I shall give some effects using this principle so that you may judge for yourself the practicability of this raise count. I have found it very convincing in my own work.

Guessing the Number of Cards by Weight Tommy Tucker A spectator cuts a number of cards and hands them to the performer who upon placing them on his hand and weighing them, states the correct number of cards cut.

To perform this effect, merely make sure that you name less cards than are actually cut. You will have to judge this by experience. Be careful not to leave yourself too close a margin. Suppose the spectator cuts twenty cards. You take the packet and state that there are fifteen or eighteen cards in it. Then glide the bottom card in the left hand as in the false count principle. False count the twenty as fifteen or eighteen cards. If you wish to cut the same number of cards from the pack that the spectator has cut, merely be sure to cut a few more than he does.

After having spectator count his cards you false count yours to make the same number. You might work up a routine out of these two effects that would be a wonderful impromptu effect.

A 26 Card Mystery Tommy Tucker This effect illustrates the wide scope of the false count and how itmay be used in this old classic.

Effect: Performer hands a pack of cards to spectator with the request that he count off 26 cards onto the table or performer's hand. When this is done the performer holds pack in left hand and lifts three cards with the right thumb and holding the break with the little finger of the left hand, he states that he will count off 13 cards. Lifting the three cards as one the performer counts to 13. Placing the remaining half as he says in a glass, he has spectator hold the handkerchief spread out and announces that before he places the 13 cards in the handkerchief he will recount them. Counting them once more as 13 using a false count principle and has the spectator hold them inside hanky. Now the 27th card down in the pack was a two spot placed there before the trick started and as this is now on top of the remainder of the cards it is forced on another spectator. The performer then asks, "If you have selected a ten, we will count it as a ten, if a Queen it will equal 12. What card have you selected?" Upon being told that it is a two, the performer offers to cause two cards to pass from the glass to the cards in the handkerchief and does so with much good showmanship, we hope.

If you can successfully accomplish a false count of the 11 cards in the glass before the final part of the trick, do so, but, unless the count is done perfectly there is no need to deliberately call attention to this pack as they know that there were 26 cards in all and so there is no suspicion directed to those cards.

Or if you use another method of doing this effect the false count can still be used to good advantage in your routine. In regard to the force, I have successfully used the following idea. Have all the cards below â&#x20AC;˘.[ 16 }>

the 26 that are counted off duplicates which are spread out and a perfectly free choice given. As the other 26 that were counted off were all different they never suspect this ruse.

A nice method of adding to the presentation of this effect is to use a visible vanish of the cards as described by Arthur Buckley in "Improved and Original Card Routines" and then drop the eleven cards one at a time to the stage floor and have assistant count his by dropping them in conclusion. This gives everybody a chance to see the cards counted.

A New Wrinkle on the Five Card Trick Tommy Tucker Everyone is no doubt familiar with the routine using five cards and back palming them one at a time and then reproducing them down to the last card which is apparently lost then finally reproducing it from nowhere. Properly performed this is a fine effect that is always received well by audiences even though they may be familiar with the back hand palm. In this effect after the "lost" card is reproduced the performer surprises his audience by plucking from a half dozen or so more cards out of the air.

To perform: Pick up pack in the left hand and separate a half dozen or so cards from the top and hold the break with the little finger.

Holding the pack in front of you, face to the audience, remove the group of cards as one and count one, take another card from the top counting two and so on until you have five cards. Holding these cards in the left hand and false count as five using the false count given in this series.

Then taking the cards, place them face down in the left hand in position for dealing and right hand then grasps the ends of the pack and as you say a word about what you are to do, thumb count four cards with the right hand by riffling them by the thumb and take the remaining cards in the right hand above the break, hold them as one. The left hand fans out the remainder of the cards and shows them to be merely four cards.

The right then back palms the cards and quickly does the same with the remainder of the cards in the left hand.

After these are tossed into space the right hand executes a continuous back and front palm to show both sides of the hand empty. If you find trouble executing this move with so many cards, omit it, but with the use of No. 0 Steamboat cards this should be a simple matter. The left hand is casually shown empty to prove that the cards have really gone. Then the right commences to reproduce the cards one at a time.

These are placed in the left hand forming a fan again and the fourth card is reproduced with all of the others behind it. These are all placed as one in the left hand and the right hand goes up as though to catch the last card. The fingers are slowly separated and the card is seen to have really vanished. The right then tosses the cards in the left hand into (he air one at a time counting 1, 2, 3, 4. However as the first card is grasped, all of the cards behind it are again back palmed and the card is thrown into the air. After the cards are thrown onto the stage in this manner, the hand reaches up into the air and produces the whole bunch â&#x20AC;˘-' 17 !>

held as one card and counts five. Reach way up into the air for this last one as if it went almost out of reach. This card is then tossed away and the cards in back of it again back palmed and produced either in a fan or one at a time from the knee, air, etc. This last production comes as a distinct surprise to the audience who until then have been laboring under the impression that they knew quite a bit about it.

The Six Card Repeat Mystery Tommy Tucker This is an excellent comedy effect not only mystifying but very entertaining as it carries a distinct patter line which makes it an excellent effect for the parlor or stage. It is based on the false count principle and the old repeat patter story. The effect of the problem is that six cards are counted from the pack into the hand. The pack is tossed into a hat and then three of the cards are tossed into the hat also. But the performer again counts six cards in his hands. This is repeated four times in accordance with the patter story and at the finish he still has six cards.

To perform: Count off thirteen cards from the pack and then place them on top of the pack, but jog them as you do so. This will enable you to pick up the pack from the table and get your little finger into the deck to hold a break at the thirteen cards without the aid of the right hand. When you are ready for the effect, pick up the cards in the manner just described and holding the break, count off six cards as in the previous effect. Count the thirteen cards as one and continue to six.

Now you actually have 19 cards in the right hand. Drop pack into hat with left hand and place the 19 cards in the left hand in the false count position. False count them as six cards and then say, "While going past a magic shop the other day, I saw a sign in the window that advertised a trick in which the magician could take six cards in his hand and by throwing 1, 2, 3 (count cards from left hand using the same position as in false counting) cards away and merely snapping his fingers show 1, 2, 3, 4, 5, 6 cards still in his hand. Naturally I didn't believe this so I went in and asked the shopkeeper, 'Have you an effect in which etc' (here you repeat the trick and patter) and the shop owner said to me, 'Oh you mean that effect in which the magician takes three cards,' (repeat the trick and patter once more). I said, 'Yes, that is the .one.' He said to me, 'Yes, we have that effect. Would you like to have me do it for you?' And of course I said yes. So the shopkeeper then took 1, 2, 3, 4, 5, 6 cards and tossing 1, 2, 3 of them into a hat, he pronounced a few magical words and still when he counted the cards in his hand there were six, so I said to him, 'May I count those cards?' The shop owner said, 'Certainly.' So I counted the cards (hold them in your regular position and count them out one at a time letting them fall on the table or chair) and sure enough there were still six cards. Being very much interested I asked the shop owner what the price of that trick was and he said, 'That is only $500.' Well, I didn't care to spend five hundred dollars the other day but, some day when I have $500, I intend to buy that trick and when I do, I'll perform it for you." â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘', 1 8

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The Card Miracle Tommy Tucker Effect: Spectator shuffles cards and they are placed on a table. Then spectator cuts pack anywhere and looks at a card and replaces the portion back on the pack and squares all up even. He is then invited to cut the cards several times and again square the pack. Perforiner now takes the cards for the first time and looks through them and picks out a card which he lays on the table. "Before I turn the card over will you please name your card?" Upon the performer requesting the name of the card, let us suppose that the spectator replies: "The Ace of Spades."

"Oh, no," replies the performer, "that has been here in my pocket all evening." And the perforiner produces the card from his pocket. The points worth while in this trick are that the cards are not disturbed at all.

Spectator merely cuts the pack and looks at a card.

To perform: After the preliminary shuffle, it is necessary for performer to glance at the bottom card which you do while placing cards on the table. The cards are so placed that the performer can them from the side or if performing on the stage have them placed a small handkerchief pedestal to raise the cards or you may have spectator hold them in both cases.

the the see on the

As the spectator cuts the cards the performer keeps a mental note of the exact spot. This may seem impossible at first, but, it is not nearly as hard as it sounds. The performer judges the amount of cards in the lower half of the pack and then spectator replaces the cards and cuts several times. On the performer taking the pack he runs through them face up and cuts the pack at the key card which was on the bottom of the pack when starting. Then if he has judged that there were 20 cards in the bottom half of the pack, he counts upwards beginning with the "key card" until he has counted 17 cards. These are placed on top of the pack. The performer then takes the bottom card and lays it face downwards on the table, then asks the spectator to name his card. As he goes through the above of laying the cards on the table he then palms the bottom six cards in the left hand. (Use any of the well-known methods.) As all eyes are on the card on the table, this is easily accomplished. Now the bottom six cards are the 18, 19, 20, 21, 22 and 23 of the pack, counting upwards from the bottom. As the spectator cuts the pack in about this portion the performer has plenty of leeway to work on.

When the card is named the performer reaches into the inside coat pocket with the left hand and as the right holds the coat open, the left hand fans the cards and the card named is selected and brought forth with the left hand as the remaining five are dropped into the inside coat pocket. The audience does not doubt that the performer knew the card all the while and are considerably surprised.

I admit that this sounds rather fantastical when read, but, if the reader will go through the moves with the cards in his hands, it will prove entirely practical. All that is needed is nerve and the ability to bottom palm smoothly. This effect was performed for Mr. Eastman who claimed it very bewildering.

The Four Aces Tommy Tucker The effect of this is the same as the Larsen and Wright Four Swimmers although a different method is employed.

The four aces are removed from the pack and the rest of the pack shuffled and shown devoid of any aces. Then four cards are dealt in a row and four more on top of these so that each pile contains two cards.

Now the four aces are placed, one on each pile and then two more cards are placed on top of each ace on each pile. Then the piles are picked up and placed one on the other in any order and all together replaced on the top of the pack. The pack is shuffled and the cards are tossed out into four piles a few at a time until they are exhausted. V(7hen the top cards of each of the four piles are turned over there are seen to be the four aces.

All that is used is the cull shuffle to bring the aces to the bottom of the pack. The formula for this particular shuffle is: Run two, injog running six, outjog running four and throw on top. Undercut at injog forming break at outjog; injog top card, run one, throw to break and shuffle off. Undercut at injog, run four and throw on top. Undercvit about half of pack, injogging top card and throw on top. Undercut at injog and shuffle off.

Vanishing Pack of Cards Tommy Tucker This is a sleight of hand vanish for the entire pack of cards. The apparatus used is a pocket handkerchief, elastic band and pack of cards.

The elastic is in the right trousers pocket and the handkerchief is in the breast coat pocket. The cards are fanned and shown and placed in the left hand. The right hand palms off half of the pack and places these into the pocket as the right hand removes the elastic band. This is placed around the pack which is kept facing the audience so that the difference in the thickness is not too noticeable. The handkerchief is removed from the pocket and placed over the left arm at the elbow. Then the cards are taken in the right and then apparently placed back into the left. The handkerchief is thrown over the pack and then shaken out and shown empty.

The secret of the vanish is that the cards are really kept in the right hand and as this hand reaches for the handkerchief to place over the left hand and cards, the half pack is dropped into the left coat pocket, by the right hand which immediately grips the handkerchief. You may use whatever vanish you wish. Sometimes I use the pivot vanish and then again I dispense with the elastic band and use this as a getaway for tl-e Down's pack vanish. (See Art of Magic.) <{ 20 |>

Manipulative Billiard Ball Tommy Tucker As the effect of ball manipulation is too well known to need description, I will only state that these sleights are within the reach of any performer regardless of his ability with ball manipulations. At the finish the ball is made to disappear in a good clean-cut manner.

To prepare: Take one of your billiard balls and bore a hole in one side of it slanting toward the center. This gives you a finger recess to aid in the manipulations. Also make a pull with a wooden cork to fit in ball.

Effect No. 1. Ball placed in left hand and vanished. shown empty and right hand produces ball from the air.

Both hands

No. 2. Ball placed deliberately in left hand and shown. The left hand is turned over and right hand rubs the back of left, both hands are again shown empty and the ball is produced from behind the right knee.

No. 3. Ball is again placed deliberately into the left hand and hand shown empty, both hands are shown this way and that and the ball is produced from the right trouser pocket.

No. 4. The ball is placed on top of the right hand and the left curves around it and apparently lifts it, then the hands are shown empty, first one and then the other. Now as the audience "bites", both hands are spread wide apart and are seen to be unmistakably empty.

To perform: Have your pull fastened under the coat so that the wooden cork hands just over the right hip pocket. Have ball handy so that you may pick it up and commence the routine or produce from the air or spectator's ear.

No. 1. Hold ball between thumb and finger of right hand and bring left hand over and apparently take the ball as in the French Drop.

As this is done the right palms the ball and the left moves away as if containing it. The first finger of right hand rubs the back of the left which is turned over and then shown empty. As this is done the right hand drops a little and the ball is revolved in the right hand until the second finger is inserted in the opening. Fig. 10A. Then the right hand is brought up to the left as it is held with the palm facing audience and fingers spread apart. The index finger of right hand rests on left and the right hand is twisted so that the ball is brought up behind the left hand. When handling the ball on the second finger, the third finger presses against the side of the ball and prevents the ball from slipping off the finger. The hands are shown empty now by hiding the ball behind the left hand with the palms of both facing the audience. Then by reversing the moves the ball is brought into right hand again and produced from air.

No. 2. The ball is next placed openly in the left hand with the hole resting against the palm. The ball is held for a second and then the left hand turns over and as this is done the thumb is inserted in the opening and the ball is held OUTSIDE of the fingers on the thumb. Fig. 1013.

The right hand strikes the back of the left and the thumb is straightened, bringing the ball into the right palm where it is gripped and removed as left hand is again shown empty. Fig. IOC. The ball is produced this time from behind the right knee.

No. 3. The ball is placed openly into the left hand, but, this time the hand holds the ball with the opening between thumb and first finger with the back of hand toward the audience. The left hand is held in front of the performer with the knuckles toward the floor. The performer then says, "The idea in this effect is to squeeze the ball into as small a space as possible. So I will just poke it and pack it down into the left hand so that you see it has become so small that you cannot see it." In accompaniment to this bit of nonsense, the performer inserts his right forefinger into the left hand and as he apparently pokes the ball down, bends his fingers back and palms the ball in the right hand. This is done just as in the thimble move. Fig. 10D. The left hand is then shown empty and the hands are then shown empty as in No. 1 effect, by hiding the ball behind the hand and then producing from right pocket.

Or the performer may accomplish a couple of acquitments by combining Nos. 1 and 2 in this manner. After you have shown hands empty by the method in No. 1, and while they are still in that position, do this: reverse the ball into the right hand and then as left is turned over and then shown empty again for misdirection, get ball onto right thumb.

Fig. 10E. The fingers of the right hand are extended and the index finger points to the back and then to the front of the left hand which is turned over first one way and the back to the other. As it is turned each time the right index finger strokes the hand quickly toward the wrist and the left hand is turned over for the last time while the index finger of the right hand strokes the back, the thumb of right hand leaves the ball in the left hand between the crotch of the thumb and first finger. Fig. 10F. The right hand may then be shown empty and the ball retrieved by the steal in effect No. 2 after which right hand produces ball from the pocket.

There is really no need for these acquitments, but, I give them for the sake of completeness to show what can be done with this ball.

Now as the right hand produces the ball from the pocket the wooden cork on the end of the elastic, which was hanginp- by hip pocket is seized and brought up in the right hand, finger palmed.

No. 4. Now with the ball and pull in the right hand the ball is transferred to the left and the performer blows slightly on it. This is done to show that there are no connections without speaking openly of the matter. The ball is then placed on top of the right hand which is curled up. As this is done, the ball is held with the left fingers on top and the left thumb underneath. The left thumb inserts the wooden cork into the hole in the ball by squeezing it upwards and the plug is guided by the fingers of the right hand. The ball is then apparently placed in the left hand and actually palmed as the hand drops to the side, the ball is released and flies out of sight under coat. Performer then makes believe swapping the ball clumsily back and forth and shows one hand and then the other, then finally both empty.

As you have no doubt noticed while going through these moves that they are merely adaptations of thimble moves and no doubt you can apply , LL

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other moves of a similar nature to this work. I have used this ball for three years and no one ever suspected that I was not doing real honest ball moves.

"The Migratory Coins" T. J. Crawford The item classified under this name is by no means new, and almost every performer who has used it has developed in the presentation some individual angle. It was described by T. Nelson Downs in "The Art of Magic", but a difficult move, no doubt, prevented it from becoming one of the many popular impromptu experiments given in that well-known book. In "Illustrated Magic", Mr. Ottokar Fischer gave an improved and simplified method which has done much to put the old item in the category of classics.

A natural inclination to features with coins was the impelling force which gave me the idea that by using a shell coin, the difficult move could be eliminated. While proceeding along this line with every evidence of success, I discovered in the August, 1932, issue of The Sphinx a contribution from O. Meyer which showed that he, too, had been experimenting along the same line. So it is clear enough that I am not offering this as an original idea, but rather, a group of ideas which have developed into a beautiful and mystifying coin effect.

A multiplying half dollar is a piece of stock apparatus which most of us possess, and that, with three perfectly good half dollars, is the extent of the apparatus needed. However, I would suggest that an 18inch square of rather heavy black cloth appears to be far more effective for the working surface than a napkin or a handkerchief. Always see that the table you use is covered, so that "talking" will be eliminated. If a table cover is not available, get down on the floor and use the rug.

Spread the black cloth and lay the four half dollars carefully on its four corners, well away from the edges, as shown in the drawing. I recommend four inches as the correct distance. The quality and size of the two are not particularly important; post cards will serve the purpose, but cards 4 x 5 inches are perfect.

Run through your favorite routine of covering and uncovering the coins, "pattering" as you like, finally leaving the cards over the coins at A and D. The left hand now picks up the card at A and the right takes the coin at A (the "gimmick") and lays it in plain view on the card held in the left hand, holding the coin in place with the tip of the index finger. The "patter" continues concerning the problem of causing the coin to pass either through the card or the cloth, the left hand turning so that the coin is on the under side of the card, and as the "patter" reaches the conclusion that it is probably best to place the coin again on the cloth and cover it with the card, the solid part of the "gimmick" coin is allowed to drop visibly from under the card into the right hand, and is placed in its original position on the A corner of the cloth, the left index finger still retaining the shell against the under side of the card. Immediately following the replacement of the coin, the left hand covers it with the card, at the same time leaving the shell by the side of the solid coin.

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The layout at this stage is: the coin and shell under the card at A, a coin at B, a coin at C, and a coin under the card at D. Now take the coin at C in the left hand, while the right raises corner C of the cloth so that the left hand may carry the coin along under the cloth to a point directly under the card at A. A clink is heard and the right hand picks up the card to show that the coin has actually arrived, to all appearances coming through the cloth. The two coins shown are the shell and solid which form the "gimmick" coin, and the left hand still holds the coin which it carried under the cloth. The move at this point is very important, yet very natural: When the right hand takes up the card to show the two coins, the card is immediately transferred to the left to cover the coin in that hand as it emerges from under the edge of the cloth. Thus the coin is added to the two just shown, for the left hand places the card again over the two coins, at the same time leaving them the coin it has been holding.

The layout now is: three coins at A, one at B, and one under the card at D. Take the card at D and cover the coin at B, for no purpose other than to uncover the coin at D, which you take in the left hand, while the right again lifts the C corner of the cloth, the left again carrying the coin along under the cloth to a point under the card at A. The clink is heard, and three coins are shown by the same movement as already described; and under cover of placing the card back over the three coins, the fourth coin is added to the assembly. Now there are four coins (three coins and shell) under the card at A, and one coin at B. Certainly the coin at B is not to go under the card at A, for the four coins (as seen by the spectators) are already there, but apparently the same movements are followed out with the remaining coin, the only variation being that before the left hand carries it under the cloth, the card which covets it is placed on top of the card at A, thus covering the four coins at A with both cards. When the final clink is heard, the right hand lifts both cards to expose the four coins, passes both cards into the left hand, covering the coin retained in that hand. The cards are not replaced over the four coins, as that part of the experiment is finished, but the next move concerns disposing of the extri coin. With both cards held in the left hand, covering the extra coin, they form a rigid receptacle for the coins on the cloth. With the right hand the four assembled coins are picked up singly and placed on the cards, counting "one, two, three, four."

An important point in picking up the coins is that the second coin taken up should be the solid part of the "gimmick" coin and the third should be the shell. This locates the shell on top of the solid, and these being between two genuine half dollars is assurance that the solid will be nested into the shell. The status now is: three coins on the two cards and one coin under them. Before the three coins are exhibited in detail, the right hand lifts the cards from the left, thus bringing all the coins together in the left hand, drops the cards on the table, and then counts the four coins back onto the black cloth. Just four coins, and nothing to conceal. This might have been named "The Two-Dollar Trick". See illustration.

The Expert Acquitment with Cards Dozens of acquitments have been described to show the hands empty while manipulating billiard balls, coins, thimbles, etc. But for some reason, most writers have failed to include a real practical series of acquitments for the card manipulator.

The writer has devised the following moves and offers them to the reader with the hope that they will be put to practical use. Properly performed, both hands can be shown empty, back and front, the hands, nevertheless, containing a number of cards.

Action: The writer uses six cards while performing the sleights, but of course any number that can be comfortably handled, may be used.

When ready to present the performer faces the audience and counts the six cards, one at a time. They are then squared up and held in the right hand by the ends, the thumb at the bottom, second finger at the top.

Turning so as to present the right side of body to audience, the cards are placed in the left hand as in Fig. 12A. The left first finger and thumb exerts a pressure on the edges of the cards, causing them to assume a concave form. The upper corners are clipped by the right fingers as in the regulation front and back palm position. The cards are apparently pushed down in the left hand. They, however, actually remain in the right, clipped by the fingers as described above.

The back of left hand, supposedly containing the cards, is turned to the audience. The right finger-tips rub the cards away, and with a slight throwing motion, the left is turned over, opened, and shown empty. The right now approaches the left, the back of which is turned to the audience, and the finger-tips of the right hand stroke the hand from fingertips to wrist. Left is now turned palm to audience and the right strokes the palm of hand from wrist to finger-tips, continuing the motion the cards are transferred to the back of that hand as in Fig. 12B. Continuing the motion, the right is brought to position depicted in Fig. 12C. Showing the palms of both hands. The palm of right hand is now brought in ftont of left fingers and the cards are retaken in the right as in Fig. 12D. Without any hesitation the movement is continued by turning the back of left hand to audience and the right strokes the back of the left hand from wrist to finger-tips. The left is now turned palm to audience and the stroking movement is repeated over the palm of the left hand.

As the right hand nears the finger-tips of left the fingers of this hand grasp the cards as in Fig. 12D, but reversing the movements. Keeping the hands slightly in motion the cards are back-palmed in the left and palms of both hands are again shown as in Fig. 12C. The left reaches upwards and produces the cards in a fan from the air.

As the following chapter consists entirely of the expert manipulation with palming coins, I will not go into detail as to the effect of each, other than to say that all are mostly alike, that is, the coin is first vanished by the different methods and then produced from another source. The method by which all are accomplished is given with illustrations that â&#x20AC;˘â&#x20AC;˘ â&#x20AC;˘: 2 5

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clearly explain all the fine points. As the illustrations were taken direct from the author's hands, Mr. Harry Valcarte, I am sure that there will be no difficulty in following the sleights in their entirety.

"Top Notch Vanish" A half dollar or palming coin is held by the thumb and first finger of the right hand, palm outward Fig. 1A. Held thus, it is placed ostensibly in the left palm (back of left hand outward toward audience), in reality the left first and second finger close over it and the third and fourth under it and by so doing clipping it between the second and third fingers, Fig. IB. The right hand is shown absolutely empty, then the second, third and little finger of this hand close, but not completely, the reason will be noted in a moment. The first finger is extended, in this condition the right hand hits the left three times, with the extended first finger to the accompaniment of the spoken words "one, two, three."

Fig. 1C. At the count of "one" the right hand (just as the first finger hits the closed left) second and third fingers clip coin Fig. ID and take it away at the same time the right hand moves across the body to the left describing a quarter circle, this effectively concealing the coin. The left hand moves in the same direction just ahead of the right. The right hits the left twice more and at the word "GO" the left hand is shown empty.

There is no difficulty in the above sleight when one becomes familiarized with the angles. There MUST not be any hesitancy when striking and lifting the right hand the first time. Do this slowly to get the Rhythm of the beats one, two, three, then speed it up a bit and notice how startling it becomes.

"Spectre Vanish" Hold the coin in the left hand at the second and third finger-tips, the hand outstretched and the back of hand toward the floor, palm upward. See Fig. 2A. A remark is made "I will leave the half dollar in the palm of the hand" suiting the action to the word. The left hand is closed, the coin is seen to REMAIN in the left. In closing the right hand however, a peculiar procedure is followed in order to leave the coin in the position as shown in Fig. 2B. This is easily brought about if the following is closely followed. The coin in the first place is so placed that approximately one-third projects beyond the second and third fingers. Now, instead of closing the hand palm upward thus bringing the coin to the palm or center of the hand, the hand TURNS over but the fingers stay flat and the coin remains at the tips of the fingers by gravity. For the sake of clarity we will presume the coin is heads up placed as aboveâ&#x20AC;&#x201D;â&#x20AC;˘ hand flatâ&#x20AC;&#x201D;thumb toward audience. The hand held thus in front of body about "belt" high (follow closely) the fingers turn toward the body but never turn over, this operation however necessitates the back of the hand turning over therefore covering coin which stays head up at the same time the wrist turns so that the back of the hand is now toward the spec<*27 :>

tators. If done correctly the coin is now held as in Fig. 2B. It should protrude considerably as will be noticed later, if not enough, the fingers work it out enough so that the following may take place.

The right hand approaches the left with the words "By rubbing the back of the hand with the forefinger" which the right hand actually does.

Fig. 2C. The second, third and little fingers PASS IN BACK of the left hand at the first rubbing movement and the third and little fingers of the right hand clip the coin Fig. 2D instantly concealing it, the rubbing is continued for just a moment, then at the word "GO" the left hand is shown empty. The coin is produced as desired.

"The Startler Vanish" The coin is held in the left hand as in Fig. 2A of the Spectre Vanish except that the fingers are close together, in fact the first and little fingers are in close, just a position to the coin in readiness to back-palm it. Fig. 3A. The hand is flat, the little finger closest to the body—the hand swings inward to the body. The coin is now back palmed at the same time the hand closes leaving the coin as shown in Fig. 3B. The coin is toward body and therefore invisible. It is not too difficult as it does not have to be done fast. To the audience it looks as though the hand merely closed over the coin.

The closed fingers of the right hand now lightly slaps the back of the left and the Magician remarks "Nothing on the back," then the back of the closed fingers of the right taps the left underneath (like a back hand slap) and stays there. NOW the crucial point—both hands while pressed together Fig. 3C in this manner turn over. As they do turn over the coin is released by the left and pressed into a back-palm position between the first and little fingers of the right—the second and third fingers hiding the coin of course. When the hands turn over the remark is made "Nothing on the front." The hands now separate Fig. 3D. It will be found easiest in separating the hands to move both toward performer's left side bringing the left hand into a position where the thumb points upwards although still closed and the right hand fingers also point skyward. In this way it is easier to keep the right hand palm outward. As soon as possible the coin is reversed—it is presumed that you are familiar with the back-palm, and its reverse whereby though a coin is held by the fingers at all times it is never seen. It is not one-tenth as difficult as some think. Most any standard book explains it.

Now, this vanish is easiest in its apparently most difficult parts and vice versa. That is to say the first back palm by the left hand can be done slowly but the reversal at the finish by the right hand should be done neatly.

The left is now shown empty and the coin produced as suits the performer. The author found this sleight to be very good for a supposed quick transposition from one hand to the other—performed quickly —as follows in "quotes". "Nothing on the back—nothing on the front"— a couple of Magic words (reversal of coin—the maneuvering looks like so-called mystic passes). Use your favorite cabalistic phrase "and it passes from one hand to the other."

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"The Wand er er" In this move the wand is placed previous to the execution of the sleight beneath the left armpit four-fifths of it protruding to facilitate its being grasped easily by the left hand. Fig. 4A. The coin in this instance is placed in the left hand as in the TOP N O T C H VANISH Fig. 2A and B. At this point the wand is taken from under the left armpit by the left hand between the thumb and curved first finger. Fig. 4A. Understand the audience saw the coin left in the left hand but does not know that it is clipped between the second and third fingers.

After the wand is taken by the left hand the right approaches ostensibly to take the wand, the right hand is half closed but the fingers are slightly open. Fig. 4B. This is the view as the audience sees it. Now as it passes behind the left hand the coin is clipped by the second and third fingers and the right hand immediately swings at the wrists so that the back of the hand is toward the spectators. The right now continues beyond the left within about three inches of the free end of the wand.

Fig. 4C. The right hand is behind the left arm and the closed condition of the right hand cannot be seen. The wand is now reversed, the first and little fingers of the right hand extended as tending to be less suspicious and the left hand releases the wand and swings at the wrist showing the front of the hand though still closed. Fig. 4D. The left hand is tapped with the wand and after a rubbing movement with the fingers the left is shown empty.

This move is really very easy when thoroughly understood as it looks as though the wand merely changed hands. The awkward part of taking the wand from the left armpit with the left hand when from an artistic point of view it ought to be taken by the right. This is covered by the fact that the performer chooses that moment to show you the right hand empty. You know you've got to be fair (?) to the audienceâ&#x20AC;&#x201D;they might think it was still in the right hand.

Drop' The coin is held in the right hand first finger and thumb, and is placed in the left palm Fig. 5A. The fingers of the left close over it and the right hand is shown unmistakably empty. The right hand waves over the closed left which strange to say is the actual cause of the vanish.

The right moves in an imaginary circle FROM THE WRIST and both hands are close together. Fig. 5B. The right swings down Fig. 5C and the coin which has been very lightly held by the left hand is released when the right hand comes to a stop beneath the left. The right catches the coin with the second and third fingers and is held by them. Fig. 5D. The right hand now swings upward again and continues waving twice more each time moving slightly away from the left hand. The left is now shown empty. The position of the right hand at the crucial moment is slightly under the left and just covers the lower part of the left hand so that the coin cannot be seen as it drops. There must not be any hesitancyâ&#x20AC;&#x201D;as the swinging or waving of the right hand represents a "mystic pass'' and the coin must be held very lightly by the left hand so that the slight opening of the hand to "let go" is unnoticeable. â&#x20AC;˘: 2 9 : -

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"Believe It or Not Vanish" The half dollar is held in the right hand by the thumb and first finger and laid against the open palm of the left hand. The right side of the body toward the audience. Fig. 6A. The left hand now turns over completely covering the coin in the right. Fig. 6B. The second and third fingers of the right hand, under this cover, clip the coin at the side and carry it away Fig. 6C from the thumb and forefinger which hold the same position however of apparently gripping the coin. Immediately that this is done the left hand closes over the thumb and forefinger Fig. 6D and slowly turns over still closed around the right thumb and first finger being careful not to expose the absence of the coin where it ought (?) to be. When it is completely turned over the position of the hands should be as in Fig. 6E back view and Fig. 6F front view. The thumb and first fingers of the right hand are now slowly pulled out to all intents and purposes leaving the coin in the left hand. The finger and thumb alone move, not the whole hand as the coin is concealed back of the left.

Once the thumb and first finger are free the right hand turns over at the same time the second and third fingers of the same hand fold or close bringing the coin to the hand where it is palmed. This is done in a downward and upward half circle—moving away from the left hand—which is now shown empty.

"Fadeaway — A One Hand Vanish" This is a master sleight as it is much easier than similar vanishes.

There is no juggling, the fingers have a sure grip on the coin at all times.

Hold the coin in the right hand between the thumb and first finger at the top of the coin which is hanging downward Fig. 7A, contrary to the usual methods. The right hand swings downward; as it does the second finger passes down under and up in front of the coin which is still held by the thumb and first finger which now contract bringing the coin so that it rests on the third finger at the middle joint Fig. 7B. The second finger presses with its middle joint and part of the knuckle against the coin and the thumb and first finger release it—the result is its being clipped in back Fig. 7C. Just at the moment that the coin is clipped the hand moves quickly up, in a tossing movement and the coin has vanished.

The beauty of this move is the quickness and sureness with which the hand may be moved—a five minute trial will convince the reader how simple and easy it is to perform. There is a certain spot that the coin should strike on the third finger before clipping by the latter and the second finger to insure invisibility and that the edge of the coin will not show between the fingers after its vanishment. And the best part of it is the quickness with which it may be ascertained and the certainty and quickness acquired. Now hete is r>n acquitment that follows immediately after the vanish. The right hand is held outward on the right side of the body and the left approaches and sweeps the right palm with the back of the hand Fig. 7D outward. The left hand now turns over and sweeps the right hand palm to palm and the left thumb under and in back of the right hand, and as the thumb touches the coin it pushes it through

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the second and third fingers enough so that it touches the second and third fingers of the left hand at the middle joint Fig. 7E and in this condition is carried away and free of the right hand, as soon as it is clear, it is finger palmed by the two middle fingers (i.e., thumb moving toward the wrist forcing it between middle and first joints).

The right hand now turns over and the left sweeps back and produces it from the elbow.

The above vanish and acquitment is the favorite of the writer and takes about 2 to 3 seconds to perform and the patter which follows will give you an idea just how speedy it is "one, two, three, Go" (vanish) "Front" (first sweep both hands palm outward) "Back" (back of left as it steals coin) "Back" (right turns over). "Back" (this last is emphasized as the coin is produced at the same time and the last "Back" refers to the appearance of the coin).

'Surprise Vanish' The coin is held in the right hand by the thumb and forefinger at the latter's middle joint. Fig. 8A. The left hand now approaches the right as is also shown in the same illustration.

When the left is completely covering the coin (as though to take it) (he HBEL of the left strikes the coin Fig. 8B and rolls it in the furrow or trough formed by the first finger and thumb as far down as possible where it is held by the flesh of the thumb at the same time the right hand turns palm outward underneath the left and the left hand closes as though holding the coin Fig. 8C the right strikes the left a couple of light blows, immediately the left is shown empty (no time is given the audience to think). Both are held in a similar position as the right in Fig. 8C that is to say that the hands are in a position often assumed as a show of protest or horror.

Again without wait or lapse of any appreciable time the left moves in back of the right so that the two left middle fingers press on the coin held by the muscle of the right thumb. Fig. 8D. The left hand now pushes coin over onto the back of the right at the same time both hands turn over showing the back. The movement does not stop here however but the continuance of the turnover is made at the same time the coin is slid over from the back of the hand down the fingers until it comes to a back-palm position on the back of the right fingers between the first and little fingers. Fig. 8E. The hands start the sleight at about breast high during the turnover.

Come down to about the level of the belt then swing to the left side of body to get the position as last pictured. After the position as shown in Fig. 8F the right actually back-palms the coin (and this does not have to be done swiftly) and pulls away from the left handâ&#x20AC;&#x201D;all eyes strange to say, watch the tips of the left fingers as they slowly become visible.

The coin may now be reproduced at the left elbow by reversing the palm.

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"The Super-Lift" The coin is held as in Fig. 9A by the first two fingers and thumb of the right hand and thrust downward into the semi-closed left (that is to say the fist is open enough to allow passage of coin and fingers and no more). The second finger releases its hold and the first finger and thumb thrust it down between palm and first and second finger of left, the left third finger presses inward, however, and allows the coin to pass outside until its lower edge is in a position to be clipped by the third and little finger of the left Fig. 9B (all this maneuvering is unknown to the spectators of course as all they see is the placing of the coin). Immediately the coin is clipped by the left third and little fingers, the right forefinger and thumb release their hold and the coin comes to a horizontal position Fig. 9C. The right hand is shown empty Fig. 9D proof positive that the coin is in the left handâ&#x20AC;&#x201D;however when shown it assumes a position as in Fig. 9C the thumb under and touching the coin. I might say that this is the back view of the hands as performer sees them (the hands are held on a level with the lower vest pockets).

As soon as the thumb is under the coin during the process of showing right, the whole right hand moves in back of the left with the exception of the thumb which remains beneath the coin (as the hand moves in back the thumb really folds in front of its own palm). When this is accomplished the four fingers of the right rest momentarily on top of the closed leftâ&#x20AC;&#x201D;the right thumb balances the coin on its tip, Fig. 9E (side view) and lifts it upward into a finger palm and the right forefinger rubs the back of the left hand Fig. 9F after which the coin is shown to be vanished. This is not difficult and is one of the most deceptive of sleights as there looks to be no possible way for the coin to leave the left hand.

A trial will convince the reader that it doesn't present much of any problem to balance the coin on the thumb and it does not have to be done swiftly in fact a better result will be attained if done slowly.

"Speedex" Vanish The half dollar or palming coin is held by the thumb and forefinger of the left hand as shown Fig. 10A (disregard for the moment the right hand pictured). This is the first part of a familiar move known to manipulators wherein a coin is caused to instantly vanish from sight by the pressure of the thumb and forefinger. This pressure causes the lower part of the coin to snap inward but not enough force is used but what the thumb following the edge of the coin downward can catch and clip it by its edge (see Fig. 10B side viewâ&#x20AC;&#x201D;disregard right hand). Usually this vanish is used for apparently forcing a coin (?) through a hat in the "Misers Dream" and similar series where another (the same one) com is immediately produced. In this little move however it leads to a "semisucker vanish".

Proceed as instructed above holding the coin as in Fig. 10A. When in this position the right hand is moved in back of the left as is pictured in the same illustration. The performer counts "one" and moves the right hand up and over and down in front of the left concealing the coin for

a moment and counts "two" the hand lifts up over and in back again as is shown in Fig. 10A just as the right hand comes to a stop pressure is brought upon the coin by the left thumb and forefinger and the above mentioned vanish occurs. N O W as the coin turns a quarter circle and lays flat held by its edge by the left thumb and forefinger the right second and third fingers clip the horizontal coin Fig. 10B and immediately fold inward and the left hand closes and turns downward—the right hand index finger pointing at the left Fig. IOC. The left hand is shown empty and the coin produced to suit your individual taste and needs. As first mentioned it is a "semi-sucker" effect.

The snap vanish by the left hand and its immediate turnover leads all to believe it in the left hand—as it seems impossible to get it into the right. However—" 'tis so done." This move must be accomplished swiftly. The count of one, two, three, taking no time at all and the steal of the coin must be without hesitation and following a split second after the count of three. This is a little more difficult than the others but well worth practising as it is pretty and above all effective.

The "Laets" Steal The coin is first held as in Fig. 3A Startler Vanish—then to Fig. 3B of the same and is held as in Fig. 3C and the same procedure followed.

Fig. 11A shows another view which is exactly as it should be held in this sleight except the hand is turned downward enough to conceal the fact that the coin is outside of instead of safely inside the fingers.

The right hand now takes a position as shown Fig. 11B and passes downward and lightly slaps (as magician counts "one") the left hand but in a peculiar manner. The right hand fingers outspread, the second and third wrap around and under the left hand Fig. 11C. This is done swiftly and without hesitation. The hand is lifted again and brought down for the count of "two". This time the second finger of the right comes to a momentary rest under the "back-palmed" coin. The coin balances on the middle finger. The left hand still closed releases the coin and moves upward slightly (it should be done the first time too—to carry out the effect) and the right moves outward enough so that the balanced coin clears the left hand after which it is palmed (orthodox) and the third slap is given the left hand and the coin shown to be vanished.

It stands to reason that the same maneuvering cannot be done the third time as in the two previous slaps the palmed coin makes it impossible as the spreading of the hands has a tendency to release the com prematurely (at least with your humble servant) so the third slap is done with the right fingers to the back of the left hand. Fig. l l D . Strange to say it is much enhanced thereby for if done correctly the right hand is empty after "one" presumably empty after "two" and all eyes watch at "three" and see nothing. *% 35 :>

"Smpl" Drop The coin in this instance is held in the left hand as though in readiness for the back palm at a height just above the belt line and away from the body on the left sideâ&#x20AC;&#x201D;the right hand comes up, the fingers slightly in back of the left overlapping a bit. Fig. 12 A. The right now turns the left over in a swinging motionâ&#x20AC;&#x201D;upwardâ&#x20AC;&#x201D;over and downward.

Fig. 12D shows the turn half completed as the hands move upward. As they turn the left hand closes completely over the coin and the right forefinger rubs the back of the left hand. Fig. 12B. The left is opened and shown to contain the coin which is held once again as in Fig. 12A. The right again approaches and turns the left, but on the upward swing when the backs of the hands are to the audience the coin is released by the left hand and performs a turnover "flop" landing in a position for the ordinary finger palm as shown in Fig. 12C which is more or less of a performer's view, another view is in Fig. 12C-1 which is given to make it a little more explicit. Although it would be impossible to see it as shown in 12C-1.

After the exchange the hands continue in exactly the same manner as before stated. The right forefinger rubbing the back of the left) etc.

Of course the coin is now finger palmed in the right at the proper moment the left is shown empty.

"The Reverso Match" Harry Valcarte Effect: An ordinary match pushed into the closed fist is found to have reversed itself, that is, if the match was pushed in the fist head first it will now be completely turned around with the head on this end.

The match is again pushed into the fist head first but upon opening the hand it is again found to have reversed itself. The match is at once passed for examination. There is nothing to add or take away. Only one ordinary match being used.

Method: Hold the match at the plain end as shown in Fig. 13A, between the thumb and forefinger of the right hand. In this condition it is thrust into the closed left fist as is also shown in the same illustration.

The match, however, instead of resting completely in the closed hand, "exits" after it passes the first and second fingers and comes to rest (after it is out of sight), in an angular position on the third finger nail, the reason for its being on the finger nail will be apparent in a moment.

The first and second fingers close and hold it for a short moment by pressure against the flesh of their first joints. See Fig. 13B. The magician remarks "Just a little squeeze" (this is to cover any slight movement the spectator may see, although after a few trials it will be noted that hardly any movement is visible). As this remark is made the third finger pushes outward on the match and the first and second fingers open sufficiently to allow the match to be revolved by the second and third fingers.

The match should now rest on the SECOND finger nail, held there by pressure of the third finger. See Fig. 13C. Immediately the match 4 36 1 -

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is turned, over pressure is continued by the third finger and the first and second finger pull slightly away from the palm of the hand enough to allow the match to snap off the fingernail into the closed fist (this is the reason for the match resting on the finger nails to allow the match to turn over without contorting the hand or having the fingers move any more than necessary). This is a very good "sucker" effect as after doing the stunt twice without opening the closed hand the spectator invariably asks to see the "other match". It is again operated and if attention is paid, to details (keeping finger and thumb over end of match) quite often they ask to see the other end of the match and "so the conjurer goodnaturedly passes it for examination." This is what we all strive for so don't pass this one up because it seems simple or because it is a small affair. A good many impromptu effects are reputation builders.

The "Miracle" Move Harry Valcarte Here is something for the advanced performer yet is simple enough in operation for the beginner. It clicks every time.

A billiard, ball is slowly placed in the left hand which is held palm outward just above the knee Fig. 14A. The left hand after receiving the ball turns over so that the back is to the audience and the right rubs the back of the left with the finger tips at the same time the left moves downward and here it will be found that the ball through pressure and friction of course, is held there by pressure. The left continues to move downward and hero it will be found that the ball through pressure and friction rolls to the wrist of the left hand between the leg and wrist to be exact.

Fig. 14B. The finger-tips of the right at the same time have moved up to the wrist and just for a second the right finger-tips close. At the same time the left hand moves to the left and allows the ball to roll into the right. Fig. 14C. After a suitable pause, the left hand is shown empty.

"The One Hand Shuffle" Harry Valcarte This effect has and still does bring forth more genuine astonishment from an ordinary audience than any of the tricks the writer has presented.

The reason is obviousâ&#x20AC;&#x201D;99 out of a hundred people handle cards more or less and to 50 per cent of them an ordinary shuffle offers at least a little difficulty and when a shuffle is executed with one hand they realize the skill necessary to bring it about.

The psychology of introducing skillful flourishes or shuffles into a c r d act is sound, contrary to the USUAL advice of the USUAL magican. No intelligent audience actually believe you possessed of any power other than ordinary.

The greatest compliment that can be paid a present day performer is "clever". Furthermore the introduction of a skillful visible flourish or shuffle proves your "remarkable digital ability" and misleads the keen

minded when a mechanical experiment is used later. They give you credit for something you do which they cannot see or picture when it occurred.

To sum it all up it's a good bit of showmanship.

(By the way the first to be seen using this was a performer by the name of Wagner over twenty years ago.) The following will well repay anyone for the little practice it requires.

Hold the deck with the hand most suitable for you. Most performers who are right handed use the left and vice versa. It is described and pictured here as presuming that the reader is right handed. The start is exactly the same as the "Charlier" pass, but instead of cutting the deck in half and shifting the two halves, only a quarter is taken at a time.

(For the sake of clearness the cards in the drawings show four distinct parts.) Hold cards as in Fig. 15A. The little finger is not used at all except at the end of the shuffle to help square the cards. Notice the first finger is just at the under edgeâ&#x20AC;&#x201D;the finger nail is the guide and places the first finger exactly where wanted. The two middle fingers hold sides of the cards at their tips and the thumb is also holding the opposite edge by its tip. This is necessary to allow for clearance. About one-quarter of the deck is allowed to drop from the thumb. (Fig. 15Bâ&#x20AC;&#x201D;note how the thumb is moved to allow the dropâ&#x20AC;&#x201D;this gives a better control.) ^When this first quarter is dropped they are lifted and pushed with the forefinger Fig. 15C just as far as possible, until they touch the thumb. There should be about a one-eighth clearance between the two packets and it may be necessary to bend the lower packet with pressure from the first finger to allow the thumb to bend at this point so as to drop a second quarter of the deck Fig. 15D which falls on the first finger. The latter now straightens allowing the second quarter to drop completely. Fig. 15E. The thumb is now straightened which releases the first packet held thereby.

Fig. 15F. Now another quarter is dropped by the thumb on top of these.

Fig. 15G. These three packets are pushed up by the first finger Fig. 15H and the two middle fingers straighten out allowing the top quarter packet to slide completely over after which the remaining cards drop on top completing the shuffle.

The writer on all occasions uses this only with the four cuts. He used to do eight but from a showman's point of view, four is all that is necessary as NOBODY ELSE can do it once (we are writing of the lay audience of course). Therefore the reader may be satisfied to do it just as written here BUT if he cares to practice a little, six and eight cuts may easily be made by cutting smaller packets although it isn't necessary nor is it so speedy.

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