ALBRIG H TS

ADVANCED CARD MAGIC

G E N

PUBLICATIONS

WILL ALMA -----M .I.M .C. (L O N D O N )

ALBRIG H T S

ADVANCED CARD
MAGIC

P rin te d a n d P ro d u ce d by E. A I N S W O R T H E ast Stre e t, & S O N , L T D

M a n c h e ste r

(L n A in s w o r t h , O r d r o f the M axi. 1.3.M . M a n a g in g Director)

The State Library of Victoria A f.M A C O N JU R IN G C O L L E C T IO N

I he Goofy Card
The Effect is similar to the well-known Eye-Popper Trick, in which a card repeatedly jum ps from the middle to the top of the deck. Blit with a surprise feature at the finish, which makes a hit every time. Routine: Spread the deck faces towards you, inquiring W h at is your favourite card? Suppose spectator names the Queen, of Hearts; you quickly locate this and run three cards beyond it, and cut the deck there. The left little fingertip holds a break between the top three indifferent cards, and the named card just below. Remark that the Queen of Hearts is a very good card, but I have a BETT ER ON E . . . the Jack of Spades (for example) . . . I call it the Goofy C ard. (Here you execute a triple lift,turning thethree cards as one . . . same as the double lift sleight.) The JS (or whatever) appears face-up on top of the deck, and this is theoneyou refer to as The Goofy Card hereafter. Immediately turnsame face down on deck and, remarking about the perculiarities oftheGoofy Card, pick off the top card, anil without showing its face, slide it into the middle of the deck. This is presumed to be the JS and you do it slowly and delib erately. Now, under slight misdirection, push off two top cards a bit and get your little fingertip beneath same, ready for the double-lift. FIG. 2 Turn the two topcards as one, .show ing that the JS has jumped to the top. END VIEW immediately turn same face down and sliding off the top card (indifferent one) again, push it face down into the middle of the deck, same as before, with out showing its face, but by patter allud ing to it still as the Goofy Card. Very slowly now turn the

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top card and show that the JS lias jumped right up to the top again. (Fig. 1 shows the action of turning top card this time). Now, for the sucker gag at the finish. W hile the Goofy Card is still on display face up, push the card just below off the side of the deck about half-inch, as shown in Fig. 2, with left thumb. Turn the J.S. face down and let it fall well to the left, in towards thumb. The right hand conies over the deck and ap parently slides the top card (JS ) off deck on to table, face down. But you really execute the Turnover Change, in which the second card is withdrawn instead (as shown in Figs. 3a and 3 b ). This is a neat substitute for the double lift or top change, and an original sleight first described in my book, Novelty Card M agic. Audience presumes that the Goofy Card (JS ) is on table, and you strengthen that by acting as if you were all through with that one, and inquire what .they said the name of their favourite card was (the Queen of Hearts in this case). Riffle shuffle and add one extra card on top of the JS (top of deck). Remark that the Queen of Hearts is one of the easiest cards to find, etc., and execute the Slip C u t sleight, shown in Fig. 4. This looks exactly like a genu ine under-cut, but really only loses the top card, which drops down in the middle of the deck, leav ing the JS still on top, un known to spectators. Now, with appropriate patter indicating that you are going to turn the Queen of Hearts (their favourite card), V ERY D ELIBERAT ELY turn the top card, which proves to be THAT G O O F Y CA RD AG A IN (m uch to your surprise and consternation). This invariably gets a laugh; and, by directing your own gaze towards the card left face down on table a moment ago (and which was supposed to be the JS ), you will find that spectator naturally reaches for same and turns it up, thinking it to be a duplicate of The Goofy Card, and the final climax conies when they discover that this one has changed to the Queen of Hearts, T H EIR FAVOURITE CARD. There is a knack in timing the action, the patter and infer ences to create the correct psychological effect and sequence of thought in spectators minds, which is easily worked out in your own natural manner.

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Page Fire

The Persistent Card

Presentation and Patter: Remark that various cards possess certain characteristics peculiar to themselves, and this particular onef (i.e., the Queen of Hearts) is known to Magicians as the Persistent Card, and it is a great nuisance in the deck. For instance: (1) No matter how much you shuffle the deck, you will always find the QH on top. Furthermore (2 ), you can cut the deck till the cows come home, still the Queen persists in arriving on top just the same. (3) Now, it really does not matter W H E R E you cut, she will be there. (4 ) You dont believe it? All right, cut the cards yourself and well mark the exact place you cut at. Suppose you look at the card you cut to. Just as I thought, the good old Queen of Hearts again. (5) Let us try something differ ent. W e'll spell it out Q-u-e-e-n H-e-a-r-t-s and sure enough, she answers to her name. (6) Now, this time, we will lose her for sure; we will cut the deck. Ah! she isnt on top or bottom this time. I wonder where she is? But dont worry, she always TURNS UP when least expected. (7) Suppose you name a number. 14? Good enough. Let us count down to that number (do so), and the 14th card is what?- the Queen of Hearts again? Say, this is beginning to get on my nerves. (8) See here; I know what we'll do. Ill shuffle the deck, and, as 1 shuffle, you can say Stop anytime. Now? All right . . .w ill you please look at the card you stopped at? W h a t is it? O h ! That Queen of Hearts again. (9 ) For that matter, I suppose you are wonder ing how the trick is done. W ell, Ill show you. You1 see, we use ? SPECIAL DECK . . . they are ALL ALIKE . . . every card is a Queen of Hearts, so it really doesnt matter where you stop or what you do; the Persistent Queen is bound to be there. Get the idea? Here, Ill give you this deck; you m ight find the Queen of Hearts in it? Say, perhaps the whole thing was a dream after all. (10) Oh yes! Now I remember. I had that card in my pocket all the time. W orking Routine: Referring to key numbers in the above patter, the following explains the method used to produce each effect; (1 ) After exhibiting the Queen of Hearts, place it in the middle of the deck; but hold a break and bring same to top during the shuffle, by your favourite method of card control. Continue false-shuffling, then stop and show it on top. (2 ) A fast series of false cuts, leaving the QH still on top. (3 ) Cut the deck at random, bringing the QH from top down to the top of the lower portion by means of the Slip. (4 ) Get the QH to top again, by the Pass or any other method. Have spectator cut off a portion, and you mark the cut by laying the lower portion on top of

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the former upper half; but crosswise, forming an X . Patter a bit about " n o t influencing them in any m an n e r during which they forget the exact status of things. Lift the portion lying cross wise on top and pointing to lower portion say, Look at the card you cut to. (This is really the original top card of deck the Q H ). (5) The QH, from top of deck, appears on the final letter of the spell-out. This is accomplished by means of the Slip-Back Sleight (Second Dealing) described at the end of this routine. (6 ) Following the spelling disclosure, the QH is on top of deck; which is now false shuffled to leave it there. Double-lift and show indifferent card apparently on top. Let these 2-as-l rest face-up on top of deck and turn entire deck over, calling attention to indifferent card on bottom. Draw off the top card singly, and showing same once more, bury it somewhere in the deck. (The QH is now reversed unknown to the spectators, being face down towards the floor). Immediately cut the deck, while same is still in face-up position, then turn it face-down again, all squared up. Spread the deck and it will be seen that the Q H is face-up in the middle of deck. This is a very neat and deceptive method of reversing a card, apparently without any false moves whatsoever. (7) The QH is produced at any given number by means of the Sup-Back Sleight, same as in the Spelling effect. Or, deck may be placed in pocket and cards withdrawn at random until the given number is reached, when the QH is brought out. (8) Arrange to leave the QH on bottom after last effect. From this position, you can undercut and shuffle this portion off in End Style (commonly called the Hindu Shuffle). At any moment, spectator says Stop, and you raise the right-hand portion and show the QH on the bottom thereof. Replace this portion on bottom of deck again, ready now for (9) the Hindu Shuffle again; This time, rather slowly. Pause every now and then and show bottom card of right-hand portion, which is always the Queen of Hearts. Spectators see the backs of the cards moving as they are run off during the shuffle, and naturally assume that the bottom card changes also. The effect is weird. It really looks as if you were showing all the cards to be the same QH. Continue the shuffle until the QH lands on top of deck, then square up with the right hand and peal off the top card. (10) Hand out the deck to spectator, who will naturally look through it, expecting to find the cards ALL ALIKE as last shown. Instead, he discovers that there is no Queen of Hearts in it! This always gets a laugh. Meanwhile, right hand goes to pocket and leaves the card there, from which it is reproduced at the Climax. (If vou have the Card to Pocketbook effect, it can be used here instead). This routine is especially effective as a follow-up to some oTher effect (for example The Goofy Card ). Perform it at a fair rate of speed; one surprise following another in rapid succes sion. It completely dazzles an audience and is a reputation-builder. The familiar sleights we are assuming every Advanced Card

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Page Seven

W orker knows and 1 have simply referred to them by name. The Slip Back principle and the Slip Cut are described and illustrated herewith. The Slip Force: Card or cards, to be forced are on top of deck, and left fingers come round and press on this. Left thumb riffles down the edges of the cards, from top towards bottom rather slowly. At the same time, you ask spectator to say, Stop!" while you riffle. W hen he signals, right hand comes over and grasps upper section above the break and draws this packet aw ay to ward the left; that is, toward the left fore-arm. The top card is retained by friction of the left fingers and falls on top of lower packet. At this moment, left hand flattens out and extends lower packet toward spectator, for him to look at the card you stopped at, please. Left thumb pushes the forcecard toward spectator slightly, to assure his under standing. The result of this action is that original top card of pack is dragged.off and becomes the top card of lower packet, and is thus forced on spectator, who presumes he is getting the card at point riffled to. Replacing upper portion on top again, the action may be repeated as desired, to force two or three cards from the top. The Slip Back (or Second D e a lin g ) : The deck is held in the left hand, resting well forward on the left forefinger. Left thum b draws the top card down, or back, into the palm, toward the base of the thumb, as illustrated. R IG H T T HUM B About 1 inch is plenty; less will do, when DEALS F R O M you become proficient. The hand is: HERE tipped slightly inward to hide the follow ing action. Apparently dealing off (lie cards, right thumb comes over and draws out the top card from deck proper, aided by the fore-finger as the card comes from deck. The motion of both hands, coming together and then apart is timed to stimu late actual fair dealing. W hen sufficient cards have been second dealt in this manner, the thumb actually pushes up and forward the real top card from its holding position, and this is taken off and dealt in the exact same tempo. If desired, left hand may be lowered at this point, so it can be seen that this card is actually dealt fairly. An even tempo creates the illusion.

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The M ind of Mephistopheles

The Effect: Several cards are selected and shuffled into the deck. You name the location of each and spectators find their card at that number. (Note: Use a full deck of 52 cards; S C " means Selected Card). Routine: Secretely count off a number of cards from the bottom (i.e., 12). Crimp these by squeezing between the base of thumb and little finger, so that a bridge appears at inner-edge of the deck only, that is, T O W A R D YOU . To start, shuffle the tleck. except for the bottom stock, which remains intact (use the Hindu End Shuffle). Spread the cards for selection, allowing free choice from anywhere above the B O T T O M STOCK. Have three persons each select one card and return them individually, these being brought to the top of the deck in turn (especially easy with the Hindu Shuffle). In this procedure the bottom stock is not disturbed. False shuffle in overhand style, with a rapid series of under cuts and throw on top, and cut the deck several times. Finally, CUT AT THE BREAK, which leaves the situation thus: On top of the deck is the 12-card stock, followed by S.C. Nos. 3, 2, and 1 in that order. Cancel the crimp and pass the deck to selector No. 1, with request that he name his card. After appropriate intuitional business' you get a hunch that his card lies 15th from the top. Have spectator count that many cards ON THE PALM OF YOU R HAND, and turn up the 15th card, which is his! Take the remainder of deck from him and drop same O N T O P OF THE 15 CA RD S just counted in your hand. Then, false shuffle, retaining the entire order of the deck. Hand the deck to Selector No. 2, who names his card, and you declare that it lies about 39th from the top. (RU LE: Deduct the first number (i.e., 15) from 54, when using a full deck of 52). This party counts off in like manner ON THE PALM O F Y O U R HAND. But, a little subtlety is injected here to fool the wise one, viz: After he has counted1 about 10 cards or so (any number you desire) you interrupt him by saying, W h a t number did I say? momentarily drawing your hand away. He w ill stop, look up at you, and say, 39. You remark, T hats right, and allow him to continue. But, in that moment of misdirection, you C R IM P T H E CARDS IN Y O U R HAND (10, or whatever) for a purpose which will be apparent later. On the count of 39, he finds his card as you predicted! (Note that S.C. No. 3 is now on top of It is remaining portion, unknown to anyone but yourself). Drop the cards from your hand on top of his portion, take the deck and cut it several times at random, and finally cut at T HE CRIM P, which leaves the new 10-card stock on top. Cancel the crimp and hand the deck to the 3rd Selector. This

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time, to make things more impressive, request that he simply think of the card, but dont name it yet. You get an impres sion and declare that his card w ill be found 11th from the top (always one more than the number last crim ped). He counts down and, reaching the l l t l i card, have him name his card and then show it! This embodies various subtleties to baffle even experienced card workers. I have shown it to many, and none has ventured a guess. Phtter Suggestion: Talk about powers of intuition, psychometry or penetrative vision, etc. Or, as a demonstration of how gamblers control cards to make them fall where they w ish. Or, a small Buddha, Odd Coin, or Elephant charm-piece may be employed to whisper the location to you.

Intuition or W hat ?
The Effect: A borrowed, shuffled deck is handed to performer. W ithout looking at the faces, he immediately names the card at any number requested. And this can be repeated indefinitely. The Alethod is a combination of the peek and the slip back the former being illustrated in this text and the latter described- on page 7. Presentation: As you accept the deck face-down on palm of left hand, emphasise the fact that you "d o not see the faces at any time . . . depending entirely upon intuition . . . a psychic sense developed by constant handling of the cards, etc. W h ile talking, raise the deck to height of chest (back toward you and faces toward audience). Tip the upper edge of deck slightly inward, so you can glimpse the upper index of the top card, as illustrated. This is a very subtle sleight, and, most of the time, your head and gaze is turned aside. Request any spectator to name a number . . . preferably a low one to save time . . . say between 7 and 17. As soon as the number is named, for example 12, you think a moment, and declare that the 12th card is the Ace of Hearts (nam e the one you peeked a t). Lower the deck (faces towards floor) and begin to count off several cards A LO U D . . . the cards being slid across from TH E left hand to right without disturbing their original order. (This is done so that the identity of the top card is not known to the audience, its face being hidden by the following cards). As you continue the count and action, G RA D U A LLY RAISE THE D ECK so spectators can see the faces of the cards as they move across. Now N O T E THIS: as the eleventh ( 1 1th)

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card (in this example) goes over, the T O P CARD FROM RIGHT HAND PO RT IO N IS PUSHED BACK SIM U LT AN EOU SLY. This secret action is started by the right thumb, the card comes under the left thumb and is drawn on top of left hand portion of the deck. It is immediately moved across in the regular manner, being counted as the 12th card. (Try this before a mirror, and note that the sleight occurring at the rear of deck, toward you, is completely masked by the fan of cards facing audience). Count in a slow, even tempo and aloud. THE REPEAT is cleverly accomplished, viz; As the 12th card is counted it moves, or rather, is slid across from left to right and comes to rest on the face of the right hand packet. The packets arc separated and that in right hand is called attention to by saying, Am I right? the 12th card, Ace of Hearts? Under this bit of misdirection, the left hand packet is lowered to correct position and you glimpse the index of the top card again. This is accomplished at the very instant that you call attention to the 12th card . . . the right hand packet being held directly in front of your eyes and shielding their downward glance. Place the right hand portion on B O T T O M OF DECK, and, knowing the identity of the top card, vou can immediately repeat the effect. The effectiveness of this presentation lies very largely in how well you sell it beforehand, by emphasising that you never see the faces, etc. It is especially good in connection with The Mind of Mephistophcles in this series. W hen per formed in sequence, they tend to prove beyond all doubt that, regardless of shuffling, you somehow know or sense the location oS every card in the deck. For Variation: You may perform this as a feat of pure memory. In that case, you openly glance throught the deck V ERY RAPIDLY. Then claim you have completely memorised the cards and can name the one at any number.

Peculiarities of the Pasteboards

This is a Triple-Climax effect, demonstrating the surprise Intelligence of the Cards. Effect (in brief): From a borrowed deck, three spectators select a card each, and these are returned and shuffled. The performer discourses on the Peculiarities of the Pasteboards and demonstrates by spelling out a card at random, and on the last letter, that very card appears. The deck is immediately handed to a spectator, who proceeds to spell the name of his card, and this, too, answers to its name. Next spectator names his card the deck is cut deliberately, and that card appears on top. Now, the deck is handed directly to the third, and last, spectator. He names his card, and, while the deck is in his own hands, that very card turns itself face-up amongst the others.

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Page Eleven

The Presentation of this snappy and surprising routine will be most readily understood from the following patter. (The numbers in brackets refer to the explanation, where the action at (hat point in the routine are disclosed). Patter: So many people think that a deck of cards is simply 52 inanimate (1) pieces of pasteboard, with backs all alike and the faces different so you can tell em apart. But I have found that, far from being lifeless, the cards have a sort of intelligence sometimes I think they have character, individual ity, and peculiarities, just as you and 1 . Let me show you what I mean. Suppose that you; select one of them . . . and you . . . and you . . . and you. Thank you. Remember them, please, and return them as I shuffle the deck. (2) To illustrate what I mean by the peculiarities of the paste boards, let us take a card like . . . well, the Ace of Diam onds, for example. Now there is a G REA T CA RD . . . and I say it is a great card, because no matter how much you shuffle the deck, the Ace of Diamonds w ill always answer to its name . . .like this (3) A-c-e o-f D-i-a-m-o-n-d-s, spelling the Ace of Diam onds and, on the last letter sure enough there is the good, old Ace of Diamonds. Do you see what 1 m ean? (4) But not all the cards act that way. It is simply the peculi arity of the Ace of Diam onds and few other cards of the 52 in the deck. Now, suppose that YO U take the deck in your own hands (5 ), so that no one may accuse me of trickery, and, if you will kindly name your card aloud, I will tell you the peculiarity of that particular card, that is, if 1 can remember it. (Spectator says, i.e., the 8 of Spades) . . . W ell, well, thats a break for me! It just happened to be the other one of the 52 that SPELLS ITSELF. Go right ahead and try it, just as I did, That's right now turn over the card on the last letter and so help me, Hannah it is the 8 of Spades. You see anyone can do it if youre lucky. (6) Most every time, when I show this, someone says, *0hr Yes, its sleight of hand the hand is quicker than the eye and that sort of thing. But really (7) nothing could be farther from the truth. The fact is that 99 per cent, of all card problems are based on the Laws of Probability and Chance, and the other 1 per cent, are pure BUNK, anyway; but wait . . . Y O U (turning to 2nd selector) selected a card also, didnt you? If you w ill, please tell the folks what card you chose and well see what happens. The Ace of Hearts? Good . . . that is one of the EASIEST C A RD S IN THE DECK to find. Look. AM you have to do is CUT THE DECK (8) anywhere you like, and wherever you happen to cut (pause dram atically) youll find the Ace of Hearts! (Turn over the top card and show ). Simple, isnt it? Yet it always surprises me as much as anyone else . . . but then, the cards have their idiosyncrasies, just as people do. (9)

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Now, lets see someone else selected a card . . . O h, yes, YOU did (to first selector). Here, take the deck and hold it tightly (10) between both hands, so . . . and now, while you have them safely IN Y O U R O W N HANDS, kindly name the card you selected. (Queen of Spades) The Queen of Spades THE R O B O T CA RD . . . I call it that because, from any distance, it always OB EYS M Y VOICE. My dear young lady (aside) 1 am speaking to the Queen, you understand . . . by the power of Mephistopheles, 1 CO M M A N D the Queen of Spades TO FIND ITSELF . . . and Behold! a miracle has happened. Look . . . I don't want to even touch the deck, but if you w ill please, just spread out the cards here on the table, face down . . . and SU RE EN OU G H THERE SHE IS ST ARIN G US IN T HE FACE, just as though nothing had happened! (Pause until they recover their breath). So, you see, it isnt a matter of the hand being quicker than the eye but simply a matter of K N O W IN G THE PECULIARITIES OF THE PA ST EB O A RD S. Thank you. Presentation Routine: Borrow a deck if possible and before presenting the effect look through the faces of the cards under the pretex of removing the Joker or any logical excuse. W hat you really do is LOCAT E ANY 13-LETTER CA RD (i.e., AD, 2D, Q D , 10D, etc.) and run 9 more cards beyond it. Cut the deck there, so that the demonstration card is placed 10th from the top. False shuffle or cut (retaining the top stock) and go into the routine. Please follow this with cards in hand, reading the patter just given and referring to the cue-numbers as you go along. (1) Fan the cards, showing all different and well mixed, while delivering patter. (2 ) Have three persons each select a card, being sure they take them from below the top stock (otherwise, free choice). Now undercut about half and have first selected card replaced on original top, immediately shuffling off a la Hugards Hindu Shuffle (or, your favourite m ethod), bringing the chosen card on fop with 10-card stock just beneath. Repeat with 2nd and 3rd selected cards; thus you have the three chosen cards on top, w ith original 10-card stock beneath all set for the next step. (3) Demonstrate how to spell a card, using the name of the one you sighted in the beginning (i.e., Ace of D iam onds). This is now exactly 13 cards down and will spell out automatically for you. (4) Having laid each card down in a little pile, as you dealt off one for each letter, TURN UP THE CA RD ON THE LAST LETTER, as you repeat its name, the Ace of Diamonds. Then, while pattering, pick up the packet and, as you replace these on top of deck again, GLIM PSE THE B O T T O M CA RD O F THE PACKET (which is the last selected card returned and the first dealt off from top).

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Pane Thirteen

If it happens to be a 13-letter card, you are all set to hand the deck directly t0 **1C selector. If not, you rc\ adjust by remarking obviously your \ card is lost. It may be somewhere in A the middle, down here or way down . V / near the bottom no one could poss ibly know. If his card happens to have 12, 11 or 10 letters in its name, suiting action to words, you remove from the top either 1, 2, or 3 cards, respectively, burying them anywhere below the top stock. On the other hand, if his card spells with 14 or 15 letters, you remove one or two cards from anywhere down in the deck and replace on top. Thus, you either reduce, or build-up, the top stock so as to properly place his card for the spell. (5) Hand the deck to selector No. 3 (the last m an you are working backwards) who, under your instructions, spells out his card, just as you demonstrated before. (6) W hile your audience is recovering from the first surprise, pick up thelittle packet he just spelled off and replace on top of deck (IM P O R T A N T ). Turn his card face down. As matters now stand, all three chosen cards are right on top of the deck, while spectators think they are lost, after all this. (7) W hile continuing patter, H OLD THE D ECK LIG H T LY ON THE PALM O F LEFT HAND, so everyone realises that there are no fast or false moves. You are ready for what follows. (8) The Slip Cut. This is a clever sleight, as described by Frank Lane in his book Help Yourself and adaptation of Erdnases card table false cut. It is done with the deck laying face down on left palm, the thumb lying across, and PRESSIN G D O W N ON THE T O P CARD. (See illustration on Page 4 ). W ith right thumb and second finger reach in, as if to undercut the deck fairly, but instead, you pull out THE U PPER PO R T IO N , and throw deliberately on top, If you try this, you w ill find that the pressure of left thumb prevents the top card from coming off with the rest, and this creates an illusion that looks like a genuine undercut. Do it D ELIB E RA T ELY (not too fast) dropping the portion from right hand on top with a pronounced slap, and slightly jogged so the two halves of cut show up plainly. This sleight is positively deceptive and M O ST EFFECTIVE. It loses the top card (previously shown as spectators No. 3 spell card) which drops down into the middle of the deck. Now slowly and dramatically, turn up the new top card and show it to be the 2nd m ans card. This is the second surprise! Leave it displayed, face up, on top as you patter and get ready for the next.

PEEK AT SPECTATORS CARD ^

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(9) Double Lift. Sim ply pick up the two top cards as one ( the top one, showing, is selected card No. 2 and below it, face down, is the 1st chosen card). It appears as it you lifted off the Ace of Hearts to show it, while you turn the deck face up in left hand and bury it somewhere near the middle, properly still face up also. Then square the deck up nicely and hand to Selector No. 1. Thanks to the double-lift HIS CA RD (next to be disclosed) IS N O W REVERSED IN THE DECK, boldly and subtly, right before their eyes. It looks innocent, but it does the trick-... . and easy. (10) Hand the deck immediately to the first man who chose a card, and have him hold it securely between both hands so they will be perfectly safe (but really to prevent curious handling at this crucial point). Now take plenty of time to build up the CLIM A X as dramatically and triumphantly as you know how. Here you have a simple routine no difficult sleights, but plenty of subtleties and misdirection. A Triple Clim ax, surprise after surprise in rapid fire succession. Impossible for an audience to follow it simply makes em dizzy. And, it fools magicians, too; they get lost somewhere in the routine, even if they follow some parts of it. Practice it a few times, until you see how easy and automatic it works. I K N O W IT S G O O D and it is one of my favourites for close-up, impromptu work. I hope you like it.

Mental Power
This routine can be performed with a borrowed deck of cards and involves cards that answer to their names. Patter and Presentation: Psychologists tell us that the mind is superior to matter you may or may not believe in this theory. Nevertheless, I have found that even such inanimate objects as these 52 pieces of pasteboard are subject to the power of thought, and the mysterious force of the human will. Suppose you shuffle them . . . Thank you. And now, I shall ask you to remember two things at once a card and a number. (1 ). The numbers in the brackets indicate corresponding sections of the working routine to follow. In other words, I am going to count off some cards, a dozen or so, from the top of this deck which you have shuffled. 1 will not sec the faces of them, but you w ill; and as the cards pass slowly before your eyes, just remember ANY ON E that strikes your fancy. And, also, remember the PO SIT IO N of that card that is, whether it is the 6th, the 7th, 8th, or whatever. 1 will count aloud and slowly, and after you have made your mental selection, please dont stop me or say anything that m ight give me the least clue to your choice. Understand? All right, then . . . one, two, three etc., etc. (2 ).

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Page Fifteen

Arc you thinking of one? Good . . . and will you REM EM B ER THE CARD AND THE N U M BER. Right? Then maybe we had better mix em up a bit. (3) And, just to convince you that everything is fair and above board, I shall ask you, now, to take the deck in your own hands and count down to the position your card was, when you saw it before the shuffle. Count them off FACE-DOW N, if you will please, and if you noted say the 5th card, then just count down 5 and see if, by any chance, it is still there. (4) It isnt? Good! Then it must be lost somewhere in the deck. As a matter of fact, NO ON E C O U L D PO SSIB LY K N O W THE CA RD Y O U ARE SIM PLY T HIN K IN G OF . . . isnt that so? (5) But getting back to the mind over matter proposi tion; it is my contention that if I were to simply THINK O F A CARD, say the Ace of Spades, for example, and then CAST M Y T H O U G H T INTO THE DECK (6 ) instantly, and invisibly, that card would RESPO N D T O M Y W IL L and assume a position in the deck in A N SW E R TO ITS NAM E! Let us see . . . w ell spell it out . . . a card for each letter. (7 ) A-C-E-O-F-S-P-A-D-E-S, and turning up the card on the last letter Sure enough! The Ace of Spades HAS attuned itself to my mental command. You may call it luck, chance, a coincidence, anything you like ( 8 ) but the fact remains that it proves the truth of a natural, psychological law. W ould YO U like o try it? (9) All right, then take the deck IN Y O U R O W N HANDS. And mind you, all this while you have been simply T H IN K IN G of one of the 52 cards in the deck, havent you? And no one but yourself could possibly know the identity of that particular card; you havent mentioned it to a soul, have you? Right. Then all 1 ask is that you make a vivid, mental picture of your card. Now then, cast your thought INTO T HE D EC K with the full power of your will and C O M M A N D that card to A N SW E R TO ITS N A M E ! (Pause dramatically now for the Clim ax.) Fine. Then spell it out just as I did; RIG H T OUT LOU D, if you will please. And, turning over the card on the last letter, IT IS The K ing of Clubs Y O U R C A R D ! W orking Routine: This is a beautiful and direct mental effect, performed anywhere, any time, with a borrowed deck of cards. Entirely impromptu and you do not see the face of a single card (apparently). The deck is shuffled beforehand, eliminating all possibility of a set-up or pre-arrangement (so they think). Now, please re-read the presentation and refer to the cue numbers as you follow the explanations (w ith cards in your hand). Its easy. (1) As you take the deck, and while pattering about remember two things at once, etc., you get a G LIM PSE of the top card. The deck is held as if to deal, first finger along upper edge; second, third and fourth fingers along right side and thumb resting on upper left corner of top card. As you talk, you gesture

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the deck being about level with chest and in an upright position with backs toward yourself. As you speak about counting off some cards, tip the upper end of the deck slightly toward you and, at the same moment, push with thumb across and downward just a trifle. This move causes the top card to bulge outward and the index on upper right corner may be readily seen, as in the sketch on Page 9. Now calculate mentally the N U M BER OF LETT ERS in that top card (i.e., The Ace of Spades spells with 11 letters). M AKE SURE that spectator understands precisely what you mean he is to remember a CA RD and its N U M BER (or position) as you count. This is IM PORT AN T, and gives you plenty of opportunity to make the peek. (2 ) Now, with pack held up before his eyes, so faces are toward him and backs toward you, begin to pass the cards one at a time from the top of the deck (in left hand) to the right hand. Each one goes in FRON T of the other, so as not to disturb their relative order, and you are counting aloud at the same time 1-2-3-4-5-6-7-etc., (up to, and including, the pre-determined number, depending upon the spelling of the top card as glimpsed. Right here is the tricky little move that makes the trick possible. N OTE THIS as the final cartl passes over, in his view, from left to right, you SLIDE BACK THE FIRST (top glim psed) CA RD (SC in sketch) from right to left the left thumb drawing it back O N T O P OF TH E DECK. The two cards move simultaneously; the final counted card which spectator sees, going over in front, effectively masks the action of No. 1 card coming back, from right to left. (This is the SlipBack Principle). The move is indefectible, especially since spectator has already made his mental choice and has no reason to suspect trickery at this point. So far as you are concerned, the trick is practically done the result being that the demonstration card is now properly placed so that it w ill spell out automatically (as you will see in the routine). (3) Now false-shuffle so as to retain the top stock of 11 cards, or whatever. I always use the Hindu Shuffle, but any method will do use your own style.

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Page Seventeen

(4) At this point, either you or the spectator may count down to tlie number he thought of, looking at the card there. It cannot he his mental choice, because the slip-hack move placed every card one ahead of its former position and HIS CARD W IL L N O W BE ON T O P OF THE LITTLE PACKET counted off (If he thought of the fifth, it is now the fourth, etc.). (5) Replace the card spectator verified as not being his, on the remainder of the deck, and the little packet (W IT H HIS CARD ON T O P ) on top of all. Now falsecut, if you can, retaining the chosen card on top, and you are ready for (0) THE FIRST SU RPRISE a demonstration of thoughtpower. It is simply a spell off" but D O IT D RA M A T ICALLY, gesturing with hand from head to deck, as you speak of casting your thought into the deck." This helps to make" the effect as you (7) toss off the cards, one for each letter, from the top of deck, finally turning up the card on the last letter and showing it to be the card YO U T H O U G H T OF! D ont rush let the effect of it sink in, with a naive remark, Do you see w hat I m ean? Now, W A T C H OU T! (<S) As you pick up the little packet of cards just spelled off and replace them on the deck, you get a PEEK OF SPECT A T O R'S C A RD ! (Remember, this was the first card laid down on table, and now ON THE B O T T O M OF THE LITTLE PILE). (See sketch on Page 13). This is casual and unsuspected, well covered by patter about luck, chance, coincidence, etc., and they are still recovering from the first surprise. (9) If the chosen card happens to be one that spells with THE SAM E N U M BER OF LETTERS, you are all set for the grand climax. Just false cut or false shuffle and hand him the deck, containing tiie palter, as given. But, if it spells with more letters you simply RE-ADJUST by saying Remember, right now your card could be anywhere in the deck it may be somewhere in the middle, down here, or way down here near the bottom, no one knows. And suiting action to the words, you take a card from various places in the deck and place on top, thus building up the top stock, so that HIS CA RD will spell out properly. If his card spells with fewer letters, use the same excuse to reduce the top stock, the required number by taking one card each time and placing it back in the deck in various places below the set up. This point of READJU STM EN T, if anything, makes the effect more confusing and effective. Now for the climax! Place the deck IN HIS O W N HANDS, and let him THINK OF IT, cast his thought into the deck, etc., finally spelling out the VERY CARD HE HAS BEEN T H IN K IN G O F HIM SELF! There arc subtleties in this effect designed to baffle the wise ones and T H EY DO. If you try the effect a few times, Y O U LL LIKE IT and D O IT! I hope you keep it exclusively for your own use.

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Surprise Speller
This effect can be shuffled. done with any borrowed deck, well W hen the deck is handed to you, secretly glimpse the top card, i.e. the Queen of Hearts. W hile pattering, thumb count enough cards from bottom of deck to spell the name of the noted card . . . that is, with right thumb snap off one card at a time onto left palm, mentally spelling Q-u-e-e-n o-f H-e-a-r-t-s. Crimp this bottom stock by squeezing the cards between base of thumb and little finger, so that a bridge or break shows at the INNER E D G E OF DECK ONLY, toward you. This little preparation is easily accomplished while speaking of the mental nature of the effect. Spread the cards for selection, allowing free choice from anywhere above the bottom stock. W hen spectator has removed the card, immediately square the deck and undercut about half, having chosen card returned on original top (on the QH in this case). Drop the right hand portion on top and go into a false shuffle, viz a rapid series of undercuts-and-throw on top. This looks convincing, but really does nothing more than cut the deck. Seemingly pay no attention to what you are doing at this point, but conclude by CU T TIN G AT THE BREAK O R BRIDGE. This leaves you with the spelling set-up (bottom stock) on top of deck, followed by the chosen card and QH just beneath. Now emphasize that you have divined spectators thoughts and know the.card, and will find it in the following manner. Have him extend his left palm, and you begin to spell Q-u-e-e-n o-f H-e-a-r-t-s-, dealing off one card for each letter. Then D O U B L E LIFT, showing the QH face-up on top of deck . . . with a smile of satisfaction, as if the appearance of the card at conclusion of the spell proved the point. Immediately turn these two cards, as one, face down on top of deck again, and with great assurance, slide it (supposedly the QH, but really the chosen card) off onto palm of spectators right hand, saying, Am 1 right? The action thus far, plus your patter, leads spectator to believe you have gone astray and automatically elicits his response, No . . . that's not M Y card. You exhibit surprise and consternation for benefit of audience, then ask him to name his card. Snap on back of card he holds and it apparently changes to the correct one, while in his hands. This is a strong and surprising climax, its effect depending much upon correct timing plus personal showmanship. And here is a little tip! As you place that card (supposedly the wrong one on spectators palm, place your right forefinger upon it, as if for emphasis, but really to preclude any possibility of his turning the same prematurely. Also, the fact that he has a packet of spelling cards in his other hand hampers any tendency he may have to do so.

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Page Nineteen

There is a lot of psychology in this presentation, and an emotional reaction at the finish, which you can only appreciate by trial. Time your patter to exactly correspond with the action.

7 he Educated Cards
The Effect: Several cards, chosen by spectators, spell out automatically. The last one, spectator spells himself, mentally, and it's there! Routine: Secretly count off 11 cards from the bottom of deck, and crimp by squeezing between the base of thumb and little finger, so a bridge shows at rear of deck only . . . that is, toward you. Have three persons each select a card from any where above the bottom stock. These are returned individually and brought to the top in turn (the Hindu End Shuffle is best for this). Now false shuffle in overhand style by a rapid series of undercuts and throw on top, finally CUT AT THE BREAK. (This leaves the 11-card stock on top, followed by SC (selected card) Nos. 3, 2, and 1, in that order. Request Selector No. 2 to name his card, and mentally calculate the number of letters in it. You know that his card' is 13th from the top so, if he names, a card such as Queen of Hearts (13 letters) you can spell it right off . . . dealing one card for each letter . . . turning up the card on the final s and show it to be correct. (If his card spells with 12, 11, or 10 letters, prefix the words, The, You selected, or You choose the . . . dealing one card for each of these extra words, so as to use up exactly 13 cards in all. For 14 or 15 letter cards, adjust by dropping the final s of the o-f, respectively. As you spell, deal off the cards into a pile on table. Show the 13th one to be HIS CA RD . . . and then BU RY IT IN THE DECK. Replace the pile of 12 on top of deck, and false shuffle, retain ing the top stock. Request Selector No. 1 to name his card, and spell in like manner. Turn up the last (13th) card to show it correct, but this time, LEAVE IT O N THE PACKET spelled off. Now, in picking up the pile of 13 cards and in the act of replacing same on top of deck, G LIM PSE THE B O T T O M CA RD OF THAT G RO U P, which is the last m ans card. (If necessary to adjust for correct spelling of this final card, do so by removing 1, 2, or 3 cards from the top and burying them in various parts of the deck, remarking the cards may fall anywhere, near the top, the middle, or near the bottom , etc. If it is a 14 or 15 letter card, adjust by w ithdraw ing one or two cards from different parts of deck and replacing same on top with same excuse. The object is to so place the last card, that it will spell out correctly when the last man does it himself.) For the finale, false shuffle without disturbing the top stock, and hand the deck to Selector No. 3. Emphasize that the

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gentleman has the cards in his own hands. No one knows the identity of your card . . . and you may spell it yourself, either mentally or aloud, as you wish. In either case, he spells in like manner and, on the final letter "s, TURNS UP THE CO RREC T CA RD HIMSELF! A splendid and bewildering effect. Patter along the lines of Educated Cards That Answer to Their Names. Their automatic intelligence is proved by the last example, where the cards are in spectators hands BEFORE his card is known to anyone (? ) . M any of the boys have wondered how 1 determine the number of letters in the spelling of any card at sight, and without interrupting patter, I am happy to pass the method on. And you will find it useful in many of the spelling effects in card Magic. Included here is my original manuscript, INSTANTANEOUS M E T H O D FOR SPELLIN G ANY C A R D .

Albrights Instantaneous Method

Fo/ Determining the Number of Letters Required to Spell Any Card. Step 1. Memorise the Number of Letters VALUES, thus: Spell Ace, Two, Six and Ten .......................... Four, Five, Nine, Jack, King ................ ,, Three, Seven, Eight, Queen ................ in the Various with 3 Letters 4 ,, 5 ,,

Learn to recognise these values at sight, but practicing the following exercises: W ith the deck face down, turn one card at a time face-up on the table and name the number of letters required to spell its value. For instance, as you look at an Ace, say 3. Looking at a Queen, say 5. Continue until you have gone through the entire deck. Step 2. Memorise the number of letters in each SUIT, thus: of Clubs ........................................... Spells with 7 Letters of Hearts and of Spades ................ 8 ,, of D iam onds ................................. 10 ,, Practice, b}' going through the deck one card at a time, and disregarding the values, name the number of letters required to spell the Suit of each. Looking at a Club, you say 7, at a Heart, say 8, at a Diamond, say 10; etc. Thereafter, you will instantly recognize the number of letters required to spell each Suit. Now! Step 3. Combine the VALUE plus SUIT, thus:.................... ACE of Hearts (m entally add 3 plus 8) Spells with 11 letters Queen of Clubs (mentally add 5 plus 7) Spells with 12 letters JACK of Spades (mentally add 4 plus 8) Spells with 12 letters

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Now go through the deck once more, this time nam ing the total number of letters required to spell T HE C O M P LE T E NAM E OF EACH CARD. At first, slowly, striving for accuracy. Speed w ill come automatically with practice. You will be surprised and pleased at your new-found ability to name the number of letters required to spell any card at SIG H T . And, once learned, you will never forget it.

Triple-Stop

Disclosure

Preparation: On top of deck, place three cards: the second and third to indicate the Suit and Value of the top card, respectively; the top card being the Queen of Hearts, the other cards should be any Heart and any Queen. Presentation: Force the top card. Some performers w ill make a pass and force from about the middle; have card returned to same place, reverse the pass to bring all to top of deck again. My personal method is the Slip Sleight, viz: Riffle down the left side of deck with the thum b until spectator says, Stop. Right hand comes over and apparently removes the top portion intact, but, the left fingers are curled up around right edge of deck, and, as the right hand draws its portion upward, the left hand moves downward and somewhat toward the right, drawing the original top card with it by pressure of the fingers . . . and this falls on top of the LH portion, becoming the top card thereof, and this is immediately extended to spectator to look at the card you stopped at. (T his Slip is familiar to most card workers). As spectator removes and notes this card, drop right hand portion on top of left, square up, and undercut about half, so that the chosen (forced) card is returned to original top. And false-shuffle, retaining same three cards as originally set up on top of deck. For the denouement, speak about spectators sub-conscious intuition, etc. Riffle down side of deck (same as above) and have spectator say Stop, tim ing this so that his word of command comes at a point approximately two-thirds down in the deck. Execute the Slip Sleight when cutting the deck there, and drop the left-hand portion on table. Repeat this procedure a second time, dropping this packet to the left of the first section, and the remaining packet to the left of that, forming a row of three packets or piles of cards. Now, you remark upon strange coincidences, etc., and turn over the top card of right hand packet (No. 1) showing A Heart you must have selected a Heart R ig h t? Continue by showing top card of second (m iddle) pile, remarking, A Queen You must have chosen a Queen. Finally show top card

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of remaining pile, saying Could it be possible that you really took . . . the Queen of Hearts?" . . . just as you slowly turn the card. Worked rapidly and in sort of a carefree style, this effect is a stunner. Simple, but to the layman a surprising mystery. The entire routine depends upon the smooth execution of a single sleight the Slip. Experienced workers will readily understand that this routine can be adapted to the disclosure of several selected cards . . . or four Aces, previously shuffled (? ) into the deck, etc.

Lucky Nuinber
The Effect: (1) Three persons, each select a cart), and these are returned to various parts of the deck. (2 ) Each person now chooses another card . . . their Lucky Card . . . and performer deals a packet of cards to each corresponding to the number of pips thereon; also tells their fortunes. (3 ) Claim ing that every person is influenced by a mysterious force which guides his every action performer calls that you exercised free will in the choice of your Lucky Card and each holds a packet of cards corresponding to it; yet, strange as it may seem, if you will turn over those packets you w ill find Y O U R CH OSEN CA RD . . . disclosed by your own lucky number. (And this is so.)

Routine: (1) The tirst two chosen cards are brought TO THE B O T T O M of the deck; and the third one TO THE TOP. (Y ou may use your own means of accomplishing this.) Remem ber, Nos. I and 2 on bottom and No. 3 on top of deck. (2) The deck is now fanned out, face down, and the last person (No. 3) invited to remove another card, which you call her Lucky Number Card. She is asked to show this. If, for example, it is a 4-Spot, you deal off four cards, one at a time, face down on the palm of her hand. (Unknown to anyone, the first card dealt is her previously chosen card. Now, tell her fortune as indicated by the Luckv Card. (Use your imagination on this.) But, while pattering, SLIP THE B O T T O M CA RD TO THE T O P OF THE DECK, in readiness for the next party. There is plenty of mis direction here. Now, pass to the 2nd person and proceed in like manner. And, not forgetting to slip that bottom card to the top again, proceed to the first person and she chooses her Lucky Card. You deal a packet for her and tell her fortune, same as you did for Nos. 3 and 2. (3) As matters now stand, each person holds a packet of cards, face down, in number determined by their own choice of a Lucky Card. The disclosure is simply a matter of building up a clim.'ix with mystic patter as outlined

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Page Tti'enty-three

in the effect. Finally, each person turns over the packet of cards they hold and, on the bottom of same . . . staring them in the face . . . is T H EIR CH OSEN CA RD S! If you wish to carry the mysticism a bit farther, you can venture a PRED ICT IO N , presumably based on the identity of their respective cards . . . the ones first chosen and last disclosed. This is purely imaginative and concocted on the spur of the moment to suit the mood and occasion.

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Notes