BUCKLEY'S

NEW AND IMPROVED

Effects With Cards

A Series of Twelve Problems

NUMBER ONE

T H E TKIPLE CLIMAX
By A R T H U R H . B U C K L E Y

Illustrated by

H A R L A N E. T A R B E L L

Edited by

GUS MOFORD

Published by

MAGIC PRODUCTS COMPANY

C H I C A G O , U. S. A.

August, 1921
 L B
* * J « ' S

W I L L ALMA
M.I.M.C. (LONDON)
 ALMA CONJURING mLLECTlON'.'
INumber O n e — A I nple Climax
EFFECT, BRIEF PRESENTATION AND PATTER,

T h e p e r f o r m e r requests two g e n t l e m e n f r o m t h e a u d i e n c e to t a k e p a r t in t h i s
experiment.

U i e s e m e n we will call " A " a n d " B . " A is r e q u e s t e d to s t a n d a t the p e r -

former's left and B at his right.
T h e p e r f o r m e r f r e e l y shuffles t h e p a c k , t h e n h o l d i n g t h e cards in t h e l e f t h a n d
h a s A l i f t t h e index c o r n e r of t h e cards ( o p e n i n g t h e p a c k a b o u t t h e m i d d l e ) a n d
n o t e one c a r d . T h e n , e x t e n d i n g t h e p a c k t o w a r d s B , B is also r e q u e s t e d t o n o t e
one c a r d , in t h e same m a n n e r t h a t A d i d .
T h e p e r f o r m e r t h e n f a n s t h e pack i n f r o n t of A, r e q u e s t s h i m to select .a card
b u t n o t to look a t it b u t t o show it to t h e a u d i e n c e . ( P e r f o r m e r , a d d r e s s i n g some
one in t h e f r o n t r o w : " W i l l you please r e m e m b e r t h e n a m e of the c a r d . " ) A is
t h e n tokl to r e t u r n t h e c a r d t o t h e p a c k ; while t h e p e r f o r m e r is shuffling t h e c a r d s
he addresses A : " I w a n t you to t a k e t h e pack, deal t h e c a r d s one by one, f a c e d o w n
011 my l e f t h a n d ; do it in such a m a n n e r t h a t t h e c a r d s will be u n k n o w n t o e i t h e r
of u s . " W h i l e each c a r d is b e i n g d e a l t i n t o t h e p e r f o r m e r ' s l e f t h a n d , t h e p e r f o r m e r
slaps t h e c a r d s w i t h h i s e m p t y r i g h t h a n d , a n d c o u n t s a l o u d , " O N E , " " T W O , "
" T I I P E E " ( a t t h i s s t a g e of t h e effect, t h e p e r f o r m e r addresses A ) : " P a r d o n m e ,
I f o r g o t to m e n t i o n , you h a v e t h e p r i v i l e g e of s t o p p i n g t h e deal a t any t i m e you
wish. D o n o t let m e influence you in a n y way. T o p r e v e n t m y d o i n g so I w o u l d
p r e f e r t h a t you t h i n k of a n u m b e r , any n u m b e r u n d e r t w e n t y , a n d w h e n you have
d e a l t t h e n u m b e r of c a r d s you have in m i n d , say ' S T O P ' — p l e a s e proceed w i t h t h e
d e a l . " T h e deal is t h e n c o n t i n u e d by A a n d t h e c o u n t i n g by t h e p e r f o r m e r :
" F O U I t , F I V E , S I X , S E V E N , E I G H T , NINE" ( A says " S T O P . " ) Performer
( t o A ) : " I s n i n e t h e n u m b e r you h a d i n m i n d ? N a m e y o u r c a r d , p l e a s e . " (A:
" T h e jack of h e a r t s . " ) P e r f o r m e r e x t e n d s l e f t h a n d w i t h t h e n i n e c a r d s j u s t d e a l t
by A. " W i l l you look a t t h e t o p c a r d , t h e n i n t h c a r d a t which you s t o p p e d . I t is
y o u r c a r d , t h e j a c k of h e a r t s . H o l d it u p so t h a t t h e a u d i e n c e m a y see i t — t h a n k
you." Takes card from A with right hand, immediately t u r n s to B with card
e x t e n d e d , face down ( a d d r e s s e s B ) . " I d o n ' t suppose by a n y s t r a n g e c o i n c i d e n c e
t h a t y o u r c a u l was also t h i s one, t h e j a c k of h e a r t s ? N o ? T h e n will you please
name your card?" ( B ) " T h e six of s p a d e s . "

P e r f o r m e r i n s t r u c t s B to blow 011 c a r d ( s u p p o s e d l y t h e j a c k of h e a r t s ) . " N o w ,

look a t i t . " I h e n show to t h e a u d i e n c e . C a r d proves t o be B ' s s e l e c t i o n — t h e six
of spades.

P e r f o r m e r t u r n i n g to p a r t y in front row—"What was y o u r card, please?

T h a n k y o u ; t h i s g e n t l e m a n ( t u r n i n g to A ) h a s it i n h i s p o c k e t . " As t h e w o r d s a r e
s p o k e n p e r f o r m e r removes c a r d f r o m A ' s pocket a n d exhibits i t to s p e c t a t o r s .

NOTE—In the above description of the effect, presentation and patter, we have
aiven the reader more detail than is ordinarily used, because it is to be again studied
by the reader after you have learned the fundamentals of this problem.
 Sleights Necessary to Performing the Triple Climax
I n p e r f o r m i n g t h i s effect six sleights a r e e m p l o y e d :
TIIE F L E S H GRIP"
EUCIvLEY'S BOTTOM SHIFT
!
THE TWO-HANDED PASS
T H E SLAP SHIFT
THE TOP CHANGE •
. T H E BOTTOM PALM

T h e m a n n e r in which these s l e i g h t s a r e u s e d will be b e t t e r u n d e r s t o o d w h e n

t h e reader is m a d e a c q u a i n t e d w i t h t h e p u r p o s e f o r w h i c h t h e y a r e employed.

T H E F L E S H G I U P is used to r e t a i n t h e location of a n o t e d c a r d , u n t i l t h e
o p p o r t u n i t y aiises f o r t h e s h i f t to be employed.

B U C K L E Y ' S B O T T O M S H I F T p e r m i t s t h e secret e x t r a c t i o n of a noted c a r d ,

c a u s i n g t h e c a r d to be conveyed silently a n d w i t h o u t visible m o v e m e n t t o t h e
b o t t o m of t h e pack.

T H E T W O - I I A N D E D P A S S , in t h i s effect, is e m p l o y e d to convey t h r e e c a r d s
f r o m t h e b o t t o m to t h e t o p of t h e pack.

' T H E S L A P S H I F T is an excellent m e t h o d of s h i f t i n g t h e b o t t o m c a r d , of
several cards, held in t h e l e f t h a n d , to t h e top p o s i t i o n ; u n d e r p r e t e x t of s l a p p i n g
t h e cards w i t h t h e r i g h t h a n d .

T H E T O P C H A N G E is employed to secretly e x c h a n g e a c a r d h e l d i n the

r i g h t h a n d f o r t h e .top c a r d of t h e c a r d s h e l d in t h e l e f t h a n d .

T H E B O T T O M P A L M , in t h i s effect, is employed to t r a n s f e r t h e b o t t o m c a r d
of a pack ( h e l d in t h e l e f t h a n d ) t o t h e p a l m of t h e r i g h t h a n d .

DETAILS FOR LEARNING SLEIGHTS

W e will now proceed to s t u d y in d e t a i l t h e v a r i o u s sleights, t h e p u r p o s e of
which h a v e j u s t been e x p l a i n e d .

USE YOUR OWN METHOD, I F GOOD

Most p e r f o r m e r s u s i n g effects t h a t r e q u i r e s l e i g h t - o f - h a n d h a v e t h e i r own p e t
m e t h o d f o r p e r f o r m i n g c e r t a i n sleights. If y o u r m e t h o d is good a n d gets t h e
d e s i r e d r e s u l t in a clean-cut, u n d e t e c t a b l e m a n n e r , use it. D o n ' t c o n f u s e y o u r m i n d
by t r y i n g to accomplish t h e same r e s u l t in a dozen d i f f e r e n t ways. S t i c k to t h e
m e t h o d t h a t comes most n a t u r a l l y to you a n d p r a c t i c e it u n t i l you can p e r f o r m
it in a finished m a n n e r .

THE FLESH GRIP

H o l d a pack of cards in t h e l e f t h a n d , t h e balls of all foils' fingers p r e s s i n g
a g a i n s t t h e side of t h e pack, t h e t h u m b r e s t i n g flat across tho m i d d l e of t h e t o p
card a n d t o u c h i n g t h e t i p of t h e second f i n g e r . ( T a k e a pack of c a r d s a n d follow
each move described.)

W i t h t h e pack in t h i s position t h e p e r f o r m e r r e q u e s t s some p e r s o n to n o t e a

 c a r d by r a i s i n g t h e i n d e x c o r n e r s of t h e cards a n d l o o k i n g a t one c a r d . (See
F i g u r e 1.)

FIG. I. F IG.Z

W h i l e t h e c a r d s a r e raised press t h e ball of t h e first finger firmly a g a i n s t t h e

lower p o r t i o n of t h e p a c k . T h i s causes a m i n u t e p o r t i o n of t h e flesh of t h e ball of
t h e linger t o over-lap t h e c a r d t h a t is i m m e d i a t e l y u n d e r t h e n o t e d c a r d . (See
F i g u r e 2.)
W h e n t h e r a i s e d p o r t i o n of t h e p a c k is released by t h e s p e c t a t o r t h i s "flesh
g r i p " p r e v e n t s t h e c a r d s f r o m f a l l i n g f a i r l y back i n t o place a n d a s l i g h t division
is m a i n t a i n e d a t t h e n o t e d c a r d .

I m m e d i a t e l y lower p a c k , backs t o w a r d t h e a u d i e n c e , to p r e v e n t t h e method

b e i n g detected.
TIIE BUCKLEY BOTTOM SHIFT

P l a c e c a r d s in p o s i t i o n as t a u g h t in t h e "flesh g r i p . " N o w b r i n g t h e r i g h t
h a n d over p a c k , as shown i n F i g u r e 3, w i t h t h e i n d e x linger of t h e r i g h t h a n d at
t h e e n d of pack a n d n e a r t h e i n d e x finger of
t h e l e f t h a n d . T h e t h u m b of t h e r i g h t h a n d
occupies a position a t t h e o t h e r e n d of t h e pack.

With the right h a n d raise tho upper por-

tion of t h e pack ( w h e r e t h e o p e n i n g h a s been
m a i n t a i n e d by t h e "flesh g r i p " ) , slide t h e fin-
g e r s of t h e l e f t h a n d i n t o t h e o p e n i n g , p r e s s i n g
a g a i n s t t h e noted c a r d , p u s h t h e noted c a r d o u t
u n d e r t h e r i g h t h a n d a n d g r i p t h e index c o r n e r
between t h e t h i r d a n d f o u r t h fingers as shown in
F i g u r e 4. F i g u r e 5 shows card being d r a w n
under pack. FIG. 3

FiG.4 FIG.
 THE SLAP SHIFT
T h e slap s h i f t was devised f o r use in t h i s effect. I t is t h e m o s t p r a c t i c a l
m e t h o d f o r secretly b r i n g i n g t h e b o t t o m c a r d , of several c a r d s h e l d in t h e l e f t
h a n d , to t h e top. T h e s p e c t a t o r deals t h e cards, face d o w n , on t h e p e r f o r m e r ' s l e f t
h a n d , which is held so as to receive t h e cards i n t h e position shown in F i g u r e G.
W i t h his r i g h t h a n d t h e p e r f o r m e r slaps t h e back of each card as i t is placed in h i s
h a n d . ( S e e F i g u r e 7.)

As t h e r i g h t h a n d is raised, t i l t t h e l e f t h a n d down to cause t h e c a r d s to slide

s l i g h t l y f o r w a r d a n d to expose t h e bottom
' c a r d . T h e m o i s t u r e of t h e h a n d f o r m s enough
resistance to cause t h e b o t t o m card to remain
s t a t i o n a r y . ( S e e F i g u r e G.)
W h e n t h e p e r f o r m e r desires to t r a n s f e r
t h e b o t t o m c a r d t o t h e t o p t h e cards a r e

FIG. 7
slapped as before, b u t this t i m e t h e c a r d 19 g r i p p e d by t h e i r g h t h a n d a t its exposed
c o r n e r s ; t h e r i g h t h a n d is a g a i n raised to slap t h e p a c k , conveying t h e c a r d to t h e
top. ( S e e F i g u r e s 7, 8 a n d 9.)

FIG.9

FIG. 6

As t h e p e r f o r m e r s t a n d s w i t h h i s r i g h t side to t h e a u d i e n c e t h e c a r d is a t 110
t i m e exposed.

THE TOP CHANGE

T h i s sleight h a s been m o r e or less completely described in books p e r t a i n i n g to
s l e i g h t - o f - h a n d . I t is n o t o u r i n t e n t i o n to criticize or d i s p u t e t h e a u t h o r i t y of
 IV
J

p r e c e d i n g a u t h o r s , b u t as 'our objcct is to m a k e these lessons as complete as possible,

we feel it o u r d u t y to give a n explicit d e s c r i p t i o n of t h i s w o n d e r f u l s l e i g h t .

T h e u n d e r l y i n g p r i n c i p l e t h a t p e r m i t s t h e use of t h i s sleight w i t h o u t d e t e c t i o n
is of g r e a t i m p o r t a n c e . T h e combined m o v e m e n t s t o g e t h e r w i t h t h e w o r d s spoken
( l e a d i n g to t h e s u b s t i t u t i o n of t h e c a r d s ) should be n a t u r a l , c a r e f u l l y p l a n n e d a n d
rehearsed in a d v a n c e of t h e p e r f o r m a n c e .
T h e m o v e m e n t s , l e a d i n g to or f o l l o w i n g t h e s u b s t i t u t i o n , a r e susceptible t o
several v a r i a t i o n s , d e p e n d i n g u p o n t h e effect in w h i c h it is u s e d .
W e will describe t h e basic p r i n c i p l e , t h e specific v a r i a t i o n used in t h i s effect,
a n d follow t h i s w i t h a n e x a m p l e t h a t is i l l u s t r a t e d by t h e d r a w i n g s i n F i g u r e 10.

The Basic Principle

T h e p e i f o r m e r h a s a c a r d in his r i g h t h a n d which h e desires to e x c h a n g e f o r
one ( o n to]) of a p a c k ) held i n h i s l e f t h a n d .
- W e will call t h e c a r d t h a t is held in t h e r i g h t h a n d " a " a n d t h e one on t o p of
the pack "b."
N o w r e f e r to F i g u r e 10-Y. C a r d u b " is p u s h e d over t h e fingers by t h e t h u m b
a n d card " a " ( h e l d between t h e t i p s of t h e t h u m b a n d index finger of t h e r i g h t

h a n d ) is placed u p o n t h e p a c k . C a r d " b " is t h e n carried away between t h e first a n d

second fingers of t h e r i g h t h a n d .
B e a r in m i n d t h a t t h e basic p r i n c i p l e j u s t described is always t h e same, b u t
t h e moves m a d e b e f o r e a n d a f t e r t h e c h a n g e are varied a c c o r d i n g to c i r c u m s t a n c e s
a n d t h e r e q u i r e m e n t s of t h e effect i n w h i c h t h i s sleight is \ised.

Variation Vsecl In This Effect

C a r d " a " ( i n t h e r i g h t h a n d ) is held a t a r m ' s l e n g t h f r o m t h e body ; t h e r i g h t
h a n d is t h e n lowered in a sweep t h a t b r i n g s it n a t u r a l l y down to t h e pack, w h e r e
 it is deposited a n d t h $ s u b s t i t u t e d c a r d " b " is c a r r i e d away between t h e first a n d
second fingers of t h e r i g h t h a n d . T h e m o v e m e n t of t h e r i g h t a r m is t h e n c o n t i n u e d
toward spectator B .

Example
( A s a p p l i e d t o t h i s effect) j
K e m e m b e r t h a t A is s t a n d i n g a t t h e p e r f o r m e r ' s l e f t a n d B a t his r i g h t .
F i g u r e 1 0 - X shows t h e position of t h e h a n d s while t h e p e r f o r m e r is a d d r e s s i n g
A p r e v i o u s to t u r n i n g t o w a r d s B . ( T h i s t u r n f r o m A t o B is u s e d as a s u b t e r f u g e
to cloak t h e e x c h a n g e of A ' s c a r d f o r B ' s c a r d . )
As t h e p e r f o r m e r t u r n s , t h e e x t e n d e d r i g h t h a n d is b r o u g h t n a t u r a l l y d o w n
(see d o t t e d lines a n d a r r o w s in F i g u r e 1 0 - X ) a n d while crossing t h e body i t sweeps
past t h e pack, l e a v i n g A ' s c a r d thereon, a n d c a r r i e s B ' s c a r d (see F i g u r e 1 0 - Y )
away between the first a n d second fingers oi t h e r i g h t h a n d , c o n t i n u i n g t h e sweep
of t h e a r m t o w a r d s B . ( S e e d o t t e d lines a n d a r r o w s in F i g u r e 10-Z.)

If you will bear in m i n d t h e position of y o u r c o m m i t t e e ( A a n d B ) you will see

t h a t t h i s e n t i r e m o v e m e n t between t h e two i& a g r a c e f u l sweep of t h e a r m a n d a
t u r n i n g of t h e body f r o m l e f t to r i g h t , t h e e x c h a n g e b e i n g m a d e as t h e h a n d s con-
verge. T h e r e is n o p e r c e p t i b l e p a u s e as t h e e x c h a n g e is m a d e .

T H E BOTTOM PALM

A n easy a n d p r a c t i c a l m e t h o d of m a k i n g t h e b o t t o m p a l m , t h a t fits nicely

i n t o t h e effect t a u g h t h e r e i n , is a s l i g h t v a r i a t i o n of t h e color c h a n g e .

H o l d t h e pack of cards in t h e l e f t h a n d , backs u p , t h e second, t h i r d a n d f o u r t h

fingers 011 one side a n d t h e t h u m b 011 t h e opposite side, t h e i n d e x finger on t h e
f a c e of t h e b o t t o m c a r d . X o w place t h e r i g h t h a n d so t h a t t h e first j o i n t s of t h e
m i d d l e fingers touch t h e bottom end of t h e pack, force t h e bottom c a r d to p r o t r u d e by
s l i d i n g it f o r w a r d by the i n d e x f i n g e r of t h e l e f t h a n d . W h e n t h e p r o t r u d i n g c a r d
touches t h e first j o i n t s of t h e m i d d l e fingers of t h e r i g h t h a n d band it down s l i g h t l y
a n d c o n t i n u e t h e m o t i o n of t h e r i g h t h a n d t o w a r d s t h e floor, which will f o r c e t h e
c a r d n a t u r a l l y i n t o the p a l m of t h e r i g h t h a n d . I n o r d e r t h a t it m a y r e t a i n i t s
position a s l i g h t c o n t r a c t i o n of t h e r i g h t h a n d is necessary.

T h e c a r d i n t h i s position is n o w readily moved to t h e top of t h e pack or i n s e r t e d

in A ' s pocket, as i n t h i s effect.

T H E TWO-HAND PASS
T h e t w o - h a n d e d p a s s or s h i f t is probably t h e best k n o w n , m o s t u s e f u l a n d
m o s t difficult s l e i g h t employed by t h e c a r d c o n j u r e r . I t m u s t be m a s t e r e d b e f o r e
yon can p e r f o r m t h e " T r i p l e C l i m a x . "

P r a c t i c e i t f a i t h f u l l y , a h a l f - h o u r each day, f o r two weeks. I n t h i s l e n g t h of

t i m e t h e h a n d s should be sufficiently well t r a i n e d t o enable you to do t h i s pass
creditably.
T h e t w o - h a n d e d p a s s is variously employed, s o m e t i m e s to m o v e a selected c a r d
to t h e top of t h e p a c k , s o m e t i m e s to t h e b o t t o m , b u t i n t h i s effect i t is u s e d to t r a n s f e r
t h e t h r e e cards t h a t a r e a t t h e b o t t o m of t h e p a c k to t h e t o p . T h e moves r e q u i r e d
are i d e n t i c a l in each case a n d a r e as f o l l o w s :

T a k e a p a c k of cards i n y o u r l e f t h a n d , r e f e r to cuts 1 - A t o 7-A a n d c a r e f u l l y

check each move as i l l u s t r a t e d a n d described.
 H o l d t h e p a c k as i n F i g u r e 1 - A , t h e l i t t l e f i n g e r in-
s e r t e d 011 t o p of t h e t h r e e b o t t o m cards, t h e second a n d
t h i r d f i n g e r s a n d t h u m b on t h e t o p of t h e p a c k , t h e first
f i n g e r r e s t i n g on t h e c o r n e r of t h e p a c k a t t h e side. T h e
p r e s s u r e of t h e fingers a n d t h u m b on top of t h e p a c k will
keep t h e c a r d s t i g h t l y closed at t h o f r o n t so t h a t t h e sep-
a r a t i o n will n o t he n o t i c e d by t h e spectators.
Now f o r m a bridge over the cards (as in F i g u r e 2-A)
w i t h t h e r i g h t h a n d , t h e ball of t h e second a n d t h i r d
f i n g e r s a n d t h e t h u m b g r a s p i n g tho lower p o r t i o n of t h e
p a c k a t opposite ends.

T h e u p p e r p o r t i o n of t h e p a c k , t i g h t l y c l a m p e d by t h e second, t h i r d a n d
f o u r t h fingers (see F i g u r e 3 - A ) is g r a d u a l l y d r a w n over t h e u n d e r p o r t i o n u n t i l
i n a v e r t i c a l p o s i t i o n . W h i l e t h i s m o v e m e n t is in process of e x e c u t i o n t h e l o w e r ,
p o r t i o n is being r a i s e d by t h e r i g h t h a n d (see F i g u r e 4 - A ) u n t i l h i g h e n o u g h (see
F i g u r e 5 - A ) t o p e r m i t t h e vertical p o r t i o n of t h e pack to slide u n d e r n e a t h t h e

\X \ V r^

2-A

p o r t i o n h e l d in r i g h t h a n d (see F i g u r e (!-A). T h e p o r t i o n held in t h e r i g h t

h a n d is now p e r m i t t e d t o f a l l f a i r l y d o w n lipon t h e re-located c a r d s as in F i g u r e

I f these moves h a v e been p r o p e r l y followed t h e desired r e s u l t , n a m e l y , t h a t

of m o v i n g t h e t h r e e b o t t o m c a r d s t o t h e t o p , will have been successfully accom-
plished.
 KEHEAliSE PROBLEM

Hake sure that yen have mastered the various moves and sleights so that
you can use them in an undetectable manner; then refer to

Effect, Presentation and Patter

and rehearse the problem as a whole. '

As soon as your assistants, A and B, have assumed positions to the left and
light of ycu, proceed with the effect, using moves and sleights as outlined below.
A having selected card, retain its position bv the flesh grip, then transfer
to bottom of pack by using the "bottom shift."
B having selected card, retain its position by the "flesh grip" and transfer
to bottom of pack, underneath A's card (again using the "bottom s h i f t " ) .
A having selected a second card (noted by audience) retain its position by the
"flesh grip" and transfer to bottom of pack underneath B's card (again using the
"bottom s h i f t " ) .
Xow insert little finger between the third and fourth bottom cards, execute
the "two-handed pass"; this will bring the three noted cards to top of pack in the
order in which they were noted, namely, A's first, B's second, and the one noted
by audience third.
You will then (riffle) shuffle the cards, taking care to release top of pack
last so as to interlace all but four or five top cards. Audience will not notice
this ruse as they have no knowledge that the selected cards are at the top of pack.
You are now ready to have A deal the cards in your left hand. You will
note that you do not inform A that he has the privilege of stopping the deal
until after he has dealt the three noted cards. This is to prevent the possibility
of A stopping the deal before you have the three noted cards in your possession.
When A stops deal give cards an extra slap and transfer A's card (which is
now the bottom card of those dealt in the performer's left hand) to the top bv
the "slap shift."
A is now told to take his card and show it to the audience. This affords the
performer an opportunity to shift B's card to the top by the use of the "bottom palm."
Xow take card from A, tuin toward B and execute the "top change" to get
possession of B's card.
After B has named his card hand to him to exhibit to audience.
While B is doing fliis use "bottom palm" again to obtain possession of card
noted by audier.ee, this time retaining card in palm.
Xow ask the person in the audiencc to name the card noted, insert the palmed
card into A's (inside) breast coat pocket, withdraw and show card.