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STERLING
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Junior Magic
© 1977 by Walter B. Gibson
adapted from "Magic Made Simple"
Copyright ©
1963 by Doubleday & Company, Inc.
CHAPTER ONE
HOW TO MYSTIFY . . . . 13
CHAPTER TWO
CLOSE-UP TRICKS . . . .
17
18
Instant Cut and Restored String . 19
The Climbing Ring . . . . 22
The Rising Pencil 24
The Hypnotized Match Box
(Impromptu Version) . . 26
The Hypnotized Match Box
(Mechanical Version) 27
Vanishing Match Box . 31
The Matchless Match Pack . . 33
Improved Matchless Match Pack . 34
The Restored Match . 36
The "Repeat" Restoration 39
Three Vanishing Knots 42
Ring Off! 43
The Rubbery Pencil . 45
CHAPTER THREE
EASY CARD TRICKS . . . 46
The Double Deal 47
Count-Down Cards 49
Four-Heap Deal 50
Let's Face It! 53
Face Up— Face Down 56
The Red Card 57
You Do As DoI 60
New Do As I Do . . . . . . 63
Coins and Cards 65
Ups and Downs 67
Behind Your Back 72
CHAPTER FOUR
TRICKS WITH ORDINARY
OBJECTS 75
One out of Three 76
The Suction Cup 79
The Knot
Slide-Along 81
Cut and Restored Rope .... 85
Fooled— and Fooled Again! ... 89
Farmer and Sheep 92
Silk Through Wand 97
CHAPTER FIVE
MAGIC WITH CARDS . ... 100
Cuts 100
The Single Cut 100
The Multiple Cut 100
The Undercut 101
Shuffles 102
The Dovetail or Riffle Shuffle .
}Q2
The Overhand Shuffle . . . .
jq3
The Front and Back Shuffle ... \ 04
Dealing Cards 104
The Group Deal 1 04
CHAPTER SIX
FINDING A CHOSEN CARD. .
135
The Riffle Glimpse 136
The Wrist Glimpse 137
The Divided Pack 139
Reds and Blacks 140
Two-Suit Setup 140
Odds and Evens 141
The Pointer Pack 142
Bottom-Card Location 144
Count-Down Location 145
Card Controls 147
The Shuffle Pass 147
The Turned-Up Joker 149
The Push-Away Pass 150
The Delayed Cut 151
Automatic Reverse 152
Double Reverse 1 54
CHAPTER SEVEN
REVEALING A CHOSEN CARD. 156
Any Number Down 156
Quick-Count Trick 157
The Card Turns Up 158
The Knockout 159
Double Choice 160
Spell It Out 161
You Can't Get It 162
The Magnetized Card 163
A Hair Raiser 164
Turn It Over 165
Just Say "Stop" 166
Three Heaps—Three Cards . . . . 167
The Seventeen Cards 1 68
CHAPTER EIGHT
MAGIC WITH COINS .... 182
How to Palm a Coin 183
The Finger Bend 183
The Thumb Palm 184
The Standard Palm 185
Coin Vanishes 187
Simple Vanish 187
The Throw Vanish 189
The French Drop 190
The False Drop 191
Multiple Coin Vanish 194
The Sleeve Vanish . . ... . . .
jgg
The Spin Vanish I97
Simple Coin Productions 1 98
From the Finger Bend .... \ 93
CHAPTER NINE
THIMBLE TRICKS 208
The Thumb Palm 209
To Produce a Thimble 210
Production at Knee or Elbow . . . 211
Simple Thimble Vanish 212
Swallow Vanish 213
The Finger Switch 214
The Take-Away Vanish 216
Twist-Away Vanish 218
Eight Thimble Production. . . .
220
Color-Changing Thimble . . . .
227
CHAPTER TEN
MENTAL MYSTERIES .... 231
Tap the Numbers 232
Paired Thoughts 234
Face-Card Fantasy 237
The Ten Pairs 241
Cup, Dish and Saucer 244
The Word-Cards 248
Within the Circle 250
Predicted Thoughts 253
The Nine Slips 255
Mystic Book Test 257
The Repeat Book Test 260
A Sense of Taste 262
The Two Rows 264
Name the Number 268
Cards and Symbols 271
Coins and Colors 274
CHAPTER ELEVEN
PLANNING A MAGIC SHOW . . 279
Index 281
1. How to Mystify
The way to
best learn magic by performing.
is
form.
More often than not, it is the other way
around. A spectator, not knowing the secret,
How to Mystify A 15
quite a few will be described in the pages that
follow.Always take advantage of such a situa-
tion when you can. That, in itself, is a form of
misdirection.
do until you are
Practice every trick you
sure of it. This applies where "method" is
concerned. Even though the trick may be very
easy, try it over and over until it becomes
second nature. After that:
Rehearse the trick to gain the desired "ef-
fect" that youmust impress upon your audi-
ence. They want to see magic, not tricks; so
it is your job to turn tricks into magic.
16 A How to Mystify
2. Close-up Tricks
Close-up tricks form a good starting point in
magic, because you can work them for a few
persons at a time, thus limiting the number
of observers and giving you a chance to study
their reactions. From this you will gain point-
ers that will be helpful with more elaborate
or more difficult effects.
Not all close-up tricks are easy, however.
This branch of magic sometimes calls for
more skill than any other; but only for those
who make a specialty of such work. The be-
ginner can limit himself to close-up tricks that
are self-working, or nearly so; and those which
are explained in this section are mostly of
that type.
People who have witnessed magic only at
long range are apt to give you credit for being
very clever when you do close-up tricks. They
do not realize that you are presenting a type
of wizardry especially suited to close-up condi-
do not enlighten them on that score.
tions; so
The more wrong theories that spectators form
regarding your work, the better your chances
of baffling them.
Most close-up tricks are done with common
objects and these must often be given for ex-
FIG. 1
18 A Close-up Tricks
are heldpalms up, the rope ends dangling be-
tween thumbs and fingers.
He brings his hands together and draws
them apart, all in one continuous motion,
without releasing the rope ends. A knot ap-
pears instantly in the center of the cord.
the method: The cord is held exactly as
described and shown in fig. i. Pressure of the
thumbs keeps the dangling rope ends in posi-
tion as the hands are turned inward, with the
fingers pointing at a downward angle.
The right fingers go in back of the left hand,
where the two fingers clip the rope end,
first
SEPARATE
CENTER
FIG. 3
20 A Close-up Tricks
normal center of the string (fig. 3d) formed
into an ordinary loop.
This is prepared beforehand, and when the
string is shown, the actual join below the cen-
ter "loop" is hidden between the left thumb
and forefinger, as fig. 3c shows. The right
hand "cuts" the loop with a knife blade, the
action merely pulling the joined portions
apart (fig. 3c). A tug on the ends of the
string (fig. 3f) and the two "pieces" are "re-
stored" as a single length!
presentation: From the start, the string
can be handled quite freely, since the join, if
22 A Close-up Tricks
FIG. 4 MOVE HAND
A FORWARD
^ AND BACKWARD
HAND
BACK AND FORTH
FIG. 5
Rising Pencil A 25
as slight as possible, drawing the body away
rather than pushing the hand forward. This
adds to the effect.
the effect: A
match box is held upright
at the tips of the left thumb and fingers. The
right hand makes hypnotic passes above the
box and the drawer rises in a slow, uncanny
fashion. When
pushed down by the right
hand, the drawer rises again and the match
box is handed for immediate inspection.
the method: The position of the left fin-
gers is important. The thumb presses the side
of the box, while the first three fingers slant
upward across the front, the third finger cov-
ering the edge of the lower end.
This forms a screen hiding the little finger,
26 A Close-up Tricks
FIG. 6
AUDIENCE'S VIEW
REAR VIEW
30 £f$
Close-up Tricks
toward the spectator, the box finally being
placed in his hands for examination.
BOX IS PALMED
C
FIG. 8
i£-1
.THIS END .__^ffl?\
ON TABLE
FIG. 9
PAPER CUPS
FIG. 10
FIG. 11
Restored Match A 37
match in the center of the handkerchief, fold
in the corners and roll the cloth into a loose
bundle. In doing so, grip the duplicate match
through the cloth, so you can show its shape
and break it.
38 A Close-up Tricks
chief, folding it up and breaking it again, re-
storing it in the same magical fashion.
Again, the method is simple: Have a sec-
ond extra match in another corner of the hem.
Break one duplicate the first time, the other
when you do your repeat.
In either case, it is a good plan to have
another handkerchief in your pocket, that you
bring out and use in a different trick, before
or after the Restored Match mystery.
TINY BAG t
GRIP BAG
WITH MATCH
5 AND HIDE IN PALM
FIG. 12
40 A Close-up Tricks
drapes it over the left, which is then turned
palm upward. Make sure that the handker-
chief covers the space between the left hand
and the sleeve, so that the cord elastic is hid-
den.
The right hand lays a match in the center
of the handkerchief, then folds the outer edge
or corner inward over the visible match (fig.
wrist.
Between them, the thumbs and fingers snap
the duplicate match (fig. i2d). The right
hand moves forward, carrying the handker-
chief, letting it unfold at one corner. At the
same time, the fingers release the bag, which
flies up the left sleeve under cover of the
fig. 13
42 A Close-up Tricks
unties the other two. Pull the ends and the
knots will disappear.
presentation: Practice the trick until you
can do it smoothly and easily, but not too
rapidly, as it is deceptive in slow motion. Your
talk can run along the following line:
RING OFF!
Ring Off! A 43
FIG. 14
done.
presentation: Follow the same line as with
Three Vanishing Knots, but stress the fact
that the rope is being tied to the ring.Keep
the loops loose, so the ring will drop more
easily. If the rope snarls, a few shakes will free
the ring, making it all the more mysterious.
44 A Close-up Tricks
THE RUBBERY PENCIL
Here is both easy and decep-
a trick that is
COUNT-DOWN CARDS
the effect: The magician hands the pack
to a spectator and tells him to deal off be-
tween 10 and 20 cards while the magician's
back is turned. That done, he is to add the
figures in his number and deal that many
cards from his packet back onto the pack,
noting the final card dealt. For example, if
his number is 15 he adds the digits together
and deals six cards back ( 1 5 consists of 1 and
5, or 6). If the number is 19, he deals 10
FOUR-HEAP DEAL
the effect: A borrowed pack is thoroughly
shuffled and spread face down along the table,
so a spectator can remove any four cards,
which are also laid face down, in a row.
The magician gathers the pack and hands
it to the spectator. He turns his back and tells
2 OF KING OF OF
5 JACK OF
CLUBS SPADES DIAMONDS CLUBS
(10 (^ (7 (^
cards cards cards cards
face face face face
down) down) down) down)
Let's Face It A 53
are turned face up or face down. In some
cases,one card is already face up and the other
face down, complicating matters still more.
Finally, the magician takes the packet be-
hind his back, stating that he will pick out
each card by its color: red or black. A few
moments later, he brings out the packet and
spreads it, showing all the red cards face up
and the rest face down. He turns over the fan
and sure enough, all the black cards are faced
the other way!
the method: The trick is practically auto-
matic, which makes it all the better, as the
system itself is well concealed from the start.
First, your packet must contain an even num-
ber of cards, half red, half black. These colors
must alternate through the entire packet of
about twenty cards.
To conceal the arrangement, cut the packet
and turn over the two top cards. Do this a
few times and you are ready. Show the packet
"well mixed/' and let people cut the packet
and turn over the two top cards together. Re-
peat this as often as you want.
Behind your back, deal the top card face
down from your left hand to your right. Deal
the next card face up. Continue thus through
the entire packet. Bring out the cards, fan
them and you will find one color all face up,
the other color all face down.
54 A Easy Card Tricks
.
Red Card A 57
up. A spectator is given a folded slip of paper
and is told to name any number from 1 to 1 5,
5 OF 10 OF 8OF JACK OF
SPADES CLUBS HEARTS SPADES
YOU DO AS I DO
This is a classic among impromptu card ef-
fects,one that will really bewilder your audi-
ence. Yet it is easy to do, once you have
learned to handle a pack of cards in a fairly
convincing style.
ent pack!
the method: After a few shuffles and ex-
changes, note the bottom card of the pack
that you hand to the other person, for example,
the 9 of Clubs. You take his pack and say:
"Now, do as I do." Lift off about two-thirds
of the pack, set it to the right, then lift off
NEW DO AS I DO
Here, the effect is almost identical. Two
packs are shuffled and exchanged by the per-
former and a spectator. Each notes a card,
New Do As I Do jfa
63
and these, when drawn from the other per-
son's pack, prove tobe the same.
the method: During a shuffle, note the
top card of your pack before handing it to the
spectator. Then tell him: "Now do as I do."
In this case, lift off two-thirds of the pack and
carry it well to the right. Then lift off the
top third and bring back a short way, setting
it
15c).
He spreads the cards in a double fan and
asks the first person to note whether his card
is in the top half or the bottom half, but not
to mention which. The magician then "weeds"
the bottom half by drawing it downward
(fig. i5d), and places it on the top half,
squaring the two into a single packet (fig.
15c).
Now, he repeats the "up-down" process and
spreads the double fan so the second specta-
tor can see whether his card is in the top or
bottom half. Again, the magician draws the
bottom portion clear and places it on the top,
squaring the entire packet.
He then fans the packet and lets someone
remove the Joker (fig. i5f). The pack is cut
at that point (fig. i5g), the magician counts
off the top ten cards (fig. 15I1), placing them
face down in front of the first spectator. He
places the remaining ten in front of the sec-
ond spectator.
Originally, the magician dealt two cards
facedown. He turns up the first and it proves
to be the 5 of Clubs, so he has the first
FIG. 15
COUNT OFF TOP TEN CARDS
in his heap.
They turn up their cards and each proves to
be the very card that the spectator noted. The
magician has scored a double "hit" in pre-
dicting the exact number at which each chosen
card would appear!
the method: The 5 and 6 are secretly
placed on top of the pack beforehand, as they
represent the numbers at which the chosen
cards will appear without fail if the trick is
ways right!
the method: Behind his back, the magi-
cian counts off 6 cards and lays them face up
on the pack. In showing the front card and
letting someone name it, the magician notes
the back card, which is turned his way, for
example, the 9 of Clubs.
Putting the pack behind his back again, he
moves that card to the front. When he shows
the pack, he calls, "9 of Clubs," and notes the
next face-up card, the Ace of Hearts. He con-
tinues thus, concluding the trick when he runs
out of face-up cards.
presentation: Ask someone to shuffle the
pack. Turn your back, saying, "Let me have
them now, so I can mix them still more."
lows:
In naming the fifth card, spot the sixth (say
the King of Hearts) and, as you put the pack
behind your back, turn it face down on the
pack. Immediately bring out the pack, saying:
"That's enough. Let's try something else."
Then, inquiringly, you add: "You want me to
call more cards? All right."
You are holding the pack face down, as
everyone can see, making it seem impossible
that you could know any of the cards, except
the bottom one, which you just named. But
it happens that you know the top card, too.
So behind your back, you move it to the
bottom and turn up more cards on top of
six
turned.
Then, the person is told to change the posi-
tion of the other two cups, moving each to
the spot where the other was. In this way, all
chance of noting any exact position of the cups
will be completely eliminated.
The magician passes his hand back and
forth over the cups, finally stopping and lift-
ing one of them. Under that cup is the ring!
the method: One of the cups has a slight
identifying mark, made by the performer and
known to him alone. For example, the bot-
*J&
KNIFE BLADE
_i
^ MAGNET IN CUP
FIG. l6
=? MAGNET
SECRETLY DROPS
INTO PALM
( P .
3 8).
the effect: The magician stretches a six-
foot length of rope and shows a knot tied in
the center. He takes the knot in one hand and
slides it along the rope to the end. With an-
other sweep, he slides it to the other end,
then back to the center where the knot in-
stantly vanishes.
the method: Beforehand, three slipknots
are tied in the rope. Such a knot is easily
made by forming a loop in the rope (fig. 17a),
then bending the upper portion beneath the
loop, and pushing it up through (fig. 17b)
and tightening it there (fig. 17c)
Two such knots are tied near the ends of
the rope; the third is tied at approximately the
center (fig. iyd). The rope is held in the
hands, middle knot hanging down for the audi-
Slide-Along Knot A 81
ence to see, end knots hidden in the hands
(fig. 17c).
The magician picks up the rope with one
end knot (A) in his left hand and the other
end knot (B) in his right. He shows the center
knot (C) and grips it with his left hand, carry-
ing the end knot (A) along. With his left
thumb, he pushes out the center knot (C)
and draws his hand toward the end of the
rope, revealing the knot there (A). This is
illustrated in the two sketches in fig. 17L
Holding that end with his left hand, the
magician takes its knot (A) with his right
hand and pushes out the knot; then he slides
his right hand along the rope to the other end,
showing the knot there (B).
Letting the rope dangle from his right hand,
his left hand grasps the knot (B) and secretly
pushes it out, then pretends to draw it to the
center of the rope, letting the ends dangle.
The right hand grabs both ends together,
shakes the rope, showing that the knot is gone,
and the left hand takes one end of the rope so
that it can be stretched to prove it.
Slide-Along Knot A 83
we draw the knot along to the end of the rope"
—the left hand slides along as though taking
the center knot with it— "and leave it here
on the end of the rope, as solid and firm as
ever!"
Here, the left hand knot (A)
displays its
gone!"
The left hand comes over and takes one end
while the right retains the other. The hands
and the rope is shown between
are spread apart
them, with no trace of a knot
BLUE RED
HANDKERCHIEF
PULLED
THROUGH WAND
\J
FIG. 20
essential.
CUTS
the single cut: This consists of lifting a
group of cards from the pack and laying them
alongside the rest. Sometimes the lifted group
is replaced, which puts the pack back in its
Guts A 101
hand drawn back quickly, carrying the lower
is
SHUFFLES
A shuffle mixes the cards quite thoroughly,
though it may be limited to a degree to suit
the purposes of a particular trick.
FIG. 22
fig. 23
Shuffles A 103
THE FRONT AND BACK SHUFFLE: This Starts
DEALING CARDS
Dealing is another common procedure
which has several variations. Since these var-
iations are important in card tricks, they will
be described in detail.
fig. 27
114 jf$
Magic with Cards
cards from right to left as well as left to right,
but as long as you follow the regular process
of "top to bottom" and "bottom to top" it
makes no difference.
This is perhaps the most deceptive of all
THE GLIDE
This simple move enables you to "change"
one card into another, neatly and effectively.
The pack is held face up in the left hand,
thumb at the left, fingers at the right, curled
slightly across the front card of the pack
(fig. 29a).
The left hand turns the pack face down
and the right fingers end
go beneath the far
11 Q >
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**7"T
r>»
•«*•
1
FIG.
> > +
30 j.h4- to*
THE SLIP
fig. 31
THE SLIDE
This move is used to bring a card from the
top of the pack to the bottom, turning it face
up in the process. Hold the pack in dealing
position in the left hand, then lower the left
thumb beneath the pack and tilt it forward
to a face-up position against the left fingers.
The right hand approaches the pack and
grips it between the thumb at the near end
and the fingers at the far end. The right hand
draws the pack slightly forward and upward,
THE TURNOVER
This is a simple way of reversing the bottom
half of the pack, bringing it face to face with
the top half. Hold the pack in the left hand,
face down. Grip the top half with your right
fingers at the far end, thumb at the near end.
a b
THE GLIMPSE
Glimpsing a card at the top or bottom of
the pack is necessary in certain tricks, and
PALMING A CARD
the effect: By palming a card, the magi-
cian can secretly remove it from the pack,
later producing it from his pocket, or leaving
it there if he wants to dispose of it, as in the
case of an extra or duplicate card.
the method: The move itself is quite sim-
FIG. 36
SINGLE-CUT FORCE
the effect: A person cuts a pack of cards
and notes the bottom card of the upper packet.
Later, the magician reveals the name of the
card.
the method: Glimpse the bottom card
of the pack or shuffle a card to that position.
Tell the spectator to cut off any number of
cardsand place the rest crosswise upon them.
While you turn your back, he is to glance at
the card above the break.
with all the rest that are above it. But in doing
this, the right fingers secretly bring along the
bottom card of the pack, hidden beneath the
part that represents the upper portion.
The left hand tilts its packet slightly in-
ward, so that the performer can "square" the
upper packet by tapping its left edge against
fig. 38
fig.
39
FIG. 41
SIDE VIEW OF a
SHOWING HOW
RIGHT HAND
RIFFLES THE PACK
A* 2* c* 6* 7* 8* 9*
A* 5A c A 6* 7* 8* 9^
A<? 3<? 5<? 6<? 1* 8<? <?
9
7o Joker
the effect: A
pack is shuffled and a spec-
tator draws a card from any place he wants,
notes the card (say the 10*) and lays it face
down on the table, at the performer's instruc-
tion.
The spectator is then told to deal additional
cards onto his, stopping after he has dealt the
exact number indicated by the value of the
card itself (in this case, 10). He does this
while the magician's back is turned. At the
finish, he is to drop the entire pack on the
pile just dealt, square the pack, cut it anywhere
and complete the cut.
In fact, the pack can be given a few more
cuts to confuse the performer completely; yet
when he looks through the pack, he finds the
chosen card!
the method: Note the bottom card (say
the K^ ) after the shuffle. Spread the pack and
let the person take a card from anywhere, or
hand him the pack and tell him to draw out
a card himself.
When he down, deals its
lays this card face
own number on it and drops the pack on top,
he puts just that many cards between your
locator (K^ ) and his own card (10* ). Single
cuts will not change this, so all you have to
AUDIENCE
FACES
BACK OF CARDS
fig. 43
AUTOMATIC REVERSE
This is a combination of card control and
card discovery, a complete trick in itself,
fig.
44
turn the top card face up, and then turn the
entire pack face down (fig. 44c).
Bring out the pack, spread it along the
table,and the chosen card will appear trium-
phantly face up in the center (fig. 44f).
DOUBLE REVERSE
the following:
QUICK-COUNT TRICK
the effect: Any number is named, from
1 to 15. The performer counts to it quickly
and turns up the chosen card.
the method: This is similar to Any
Number Down, but is done in a bolder, faster
style that makes the repeat count unnecessary.
Start with the chosen card on top of the pack,
then count off the cards quickly, reversing
their order as you take them in the right hand.
At the person's number— say, 8—simply turn
over the whole batch and slap it face up on
the pack, announcing: "And there's your
card!"
Since the chosen card is showing face up,
THE KNOCKOUT
the effect: Here is another quick and
effective discovery of a chosen card. In this
case extend the pack and ask someone to strike
it downward to the table. The spectator does
so and knocks all the cards from the perform-
er's hand, with the exception of one, which
proves to be the chosen card.
the method: The chosen card is first
DOUBLE CHOICE
In certain tricks, a chosen card may be
learned through a process of elimination, un-
til only one of two choices remains. Or oc-
casionally, the performer may be uncertain as
to which one of two cards was selected. When
confronted with such a situation, a "two-way"
discovery is the answer. The magician places
one card on top of the pack, the other on the
bottom. He then says to the chooser: "Name
your card."
If the spectator names the top card, the ma-
gician gives the pack a snap, turns up the top
card and says: "There it is!" If the bottom
card is named, the wizard pack as slaps the
though driving the card to the bottom, then
turns the pack face up and shows the card.
Another procedure is to use the Knock-
160 A Revealing a Chosen Card
out, described previously, leaving either the
top or bottom card, according to how the pack
is held.
The Turnup discovery can be used if the
spectator names the top card as the chosen
one, while the Knockout is reserved in case the
bottom card is named.
SPELL IT OUT
the effect: After a chosen card has been
shuffled into the pack, the performer asks the
chooser to name it. Suppose the person says,
"9 of Spades."
Rapidly, the magician counts cards from the
top of the pack, spelling "N-I-N-E O-F
S-P-A-D-E-S" (a card for each letter), and
turns up that very card!
gether.
variation: Spell the person's name instead
MAGICIAN'S VIEW
A HAIR RAISER
the effect: The magician holds the pack
in his left hand, front of pack toward the audi-
ence. He pretends to take a hair from his head
and attach it to a card somewhere in the pack.
He pulls the imaginary hair with his right
hand and a chosen card swings up out of the
pack (fig. 46).
1 2 3
4 5 6
7 8 9 10 11
12 13 14
15 16 17
5 cards: ^
* 9 * *
* *
g
fig. 47
CHOSEN
CARD
FUP HERE
sure to work.
back is turned."
Once you have turned away, you say: "You
each have a card? All right, look at your card,
remember it, and hand it to your friend across
the table. You each have the other's card?
Good. Look remember
at the card, it, place it
FOUR-ACE DEAL
Although one of the simplest of card
tricks, this is really a surprising effect and well
worth including in any routine.
B C
A D
lowing:
the finger bend: As the name implies,
the coin is either placed or allowed to slide
into the bend of the fingers, which are closed
sufficiently to retain it there (figs. 49a and
b).
The position of the hand is natural and by
holding the coins in the last three fingers the
forefinger is free to point at the other hand or
otherwise direct attention elsewhere.
The Finger Bend is particularly useful as
several coins may be palmed at one time
b c
FIG. 49
How to Palm a Coin A 183
FIG. 50
fig. 51 o
COIN VANISHES
Vanishes are frequently used in coin rou-
tines and require proper timing and good mis-
direction as much as digital skill. Some of the
simplest are among the best.
SIMPLE VANISH
the effect: A coin is shown in the right
hand and is apparently placed in the left.
When the left hand is opened, the coin has
vanished.
The method: Stand facing the audience,
but turn the body toward the left as the right
fig. 52
fig. 53
fig.
55
fig.
59
fig. 60
TO PRODUCE A THIMBLE
The production of a thimble on the finger
tip is accomplished by reversing the palming
show clearly that the finger has
process. First,
no thimble on its tip (fig. 6ia). Then bend
the finger inward, insert it in the thimble
(which hidden at the base of the thumb)
is
(REAR VIEW)
LEFT HAND HIDES
RIGHTS PALMING ACTION
SWALLOW VANISH
the effect: In this bit of byplay, the per-
former apparently places a thimble in his
mouth and swallows it, only to have it reap-
pear on the tip of his finger.
the method: This is a variation of the
Simple Thimble Vanish, where the performer
faces the audience, showing a thimble on the
top of his right forefinger.
Bring the hand upward with a rapid sweep,
BEND SECOND
fig. 63 FINGER IN THIMBLE STILL ON
EXTEND FOREFINGER SECOND FINGER
TWIST-AWAY VANISH
Here is a very neat and convincing vanish
of a thimble, starting with it on the tip of the
right second finger. This is particularly effec-
tive during a routine where it is the middle
thimble of three already produced and on the
finger tips.
the effect: Standing with his right side
toward the audience, the magician spreads his
left hand palm front. He shows a thimble on
FIG. 65
ger.
In the course of more manipulations, addi-
tional thimbles appear on the third and fourth
fingers, giving the magician a "full hand."
Then, in rapid succession, thimbles appear one
by one on the tips of the left fingers, so that
the magician is showing eight in all.
waiting there.
The left hand now moves a thimble from
the right forefinger to the right little finger.
»J
==S=**
PAPER CUP
SHIRT
FRONT
FIG. 66
PUSHUP
FIG. 67
COLOR-CHANGING THIMBLE
a t>
FIG. 68
ranged as follows:
2
7 *3
16 11
*7 5
PAIRED THOUGHTS
This is an excellent follow-up to Tap the
Numbers because it utilizes the same cards,
but with an entirely different result. Again,
its climax is a surprising mental "coincidence."
A A 5 13
B B 2 16
C C 11 7
FACE-CARD FANTASY
This intriguing effect can be presented
either as a test in psychology or as a mind-
reading experiment. The result, however, is
the same: You name a card which a person
has mentally selected from a group of four;
what is more, you can do it without fail!
the effect: The magician spreads a fan
of four face cards and asks someone to con-
centrate upon one card alone. The magician
puts the cards in his pocket, then brings out
three of them, one by one, keeping their backs
toward the audience.
As he reaches into his pocket for the fourth
card, the magician asks the spectator to name
the card he chose. Whatever the card, say the
Jack of Clubs, it is the very card that the
magician now brings from his pocket; and he
immediately shows the faces of the other three
cards to prove that all are different, with no
duplicate of the chosen card among them.
the method: The four cards originally
shown are, preferably, Jack of Spades, King of
Hearts, Jack of Clubs and King of Diamonds,
the similarity of the faces of Jacks and Kings
being helpful.
T A R O T
E N D E R
I O N I C
S C A D S
MOTOR
S H E E R
N I N T H
M I L L S
or
S A L A D
z I P P S
T I T L E
O O Z E D
Word-Cards A 249
cards, emphasizing that: "Here are twenty-
five different words—" calling them off rapidly
as you show them. Turn the packet face down,
deal the five heaps and hand each to a different
person, saying: "Mix them all you want, then
draw one card and lay the rest aside without
looking at them. Just concentrate on that one
card and the word that you find on it."
That done, you pick out the proper letter
cards, but act as though you were spelling
the spectator's word mentally. Tell him:
"Keep spelling the word to yourself—letter by
letter— now I've got it. Call the word and see
how close I came."
When he word is "Least,"
states that the
show the letters one by one as you pick them
in that order. Continue with the other per-
sons, acting as though you were spelling out
each word through sheer concentration.
TEAR
OPEN CENTER,
AND PUT SUP AND LEARN
AWAY REST NAME
PREDICTED THOUGHTS
the effect: A spectator is asked to think
of any number between 1 and 1000 and to
keep it in mind without naming it. The per-
former writes something on a small slip of
paper, which he rolls into a ball. He turns a
small glass upside down and places this predic-
tion on the bottom of the upturned glass.
Predicted Thoughts jfa 253
Now, the spectator writes his number in
the center of a square of paper. This is folded
into quarters and given to the magician, who
tears it into pieces, which he burns. The magi-
cian picks up the glass, drops the prediction
into it and hands the glass to another specta-
tor.
B C j
D
e j
v j
f
»AH
6 ! H I
BQ
RND SUP WITH ALL
ROUGH EDGES
SUPS DROPPED IN HAT
G
FIG. 70
A SENSE OF TASTE
the effect: The magician hands around
some rolls of candy drops: lemon, lime, or-
ange, grape, cherry, or any other flavors. All
are exactly alike in size and general appear-
ance except for their distinctive labels.
While the wizard's back is turned, specta-
tors select one of the packages and drop it in
his hand. They hide the rest so the magician
cannot see them when he turns to face his
audience. Yet within brief moments the ma-
gician names the flavor in the package which
he holds.
#
the method: The number of cards in each
row does not matter, as long as they are equal
at the start. For example, assume that the
person puts seven cards in each row, thus:
rn/\« n* *r in *t* *c *r +n
BOTTOM
You do not see these cards, but you take
a high number of your own— say 20—and
imagine or visualize the rows as containing
that many cards each. You then ask the per-
son to take away cards, add them, or move
them ashe chooses, but to tell you what he
does. Thus:
He moves 3 cards from the bottom row to
the top, and says so. That leaves the rows
like this:
rTI/A'p « T* *¥* T* ^P *«* *f* T* T* ^F* *•
BOTTOM: * * * *
BOTTOM: * *
BOTTOM: * * *
Mentally, you add one to each of your
rows, giving you 24 in the top, 16 in the
bottom. Now comes the important part:
You tell the person to count the number
of cards in the bottom row and to take that
many from the top row. He takes 3 (the
number bottom row) from the 11 cards
in his
in his top row, which gives him:
rp^yp .
BOTTOM: * * *
# # # # # #
the number!"
note: If a person should remove only one
item as his number, the rows would be equal-
ized. So if he specifies "One," you simply say,
"That's too small, let's make it larger." Or,
you can say, "Name any number
at the start,
above one, but less than the number of cards
in either row."
but snugly.
The card with the square is cut i/i6th of
an inch short, too slight a difference to be
noticed even when the cards are handled as
a group.
The card with the triangle is cut slightly
narrow, which also is unnoticed. Again, the
difference about i/i6th of an inch.
is
dime in it.
Next he tells B that if he took the red en-
velope, he can put in either the dime or the
half dollar. If he took the yellow envelope, he
must put in the coin of lowest value that is
still on the table. If he took the blue envelope,
* *
B-bl A-y C-r
A-r B-y * *
C-bl
B-y * *
C-r A-bl
276 £f$
Mental Mysteries
In the chart, the capital letters, A, B, C,
represent the three persons. The small letters,
r, y, bl, are the colors: red, yellow, blue. But
this can be simplified by marking the letters
PROGRAM 1
PROGRAM 2
strictly impromptu.
280 Jf$ Planning a Magic Show
Index
aces, assembled, 179-181 controls 133-134, 135, 147,
alphabet cards, 248, 249 152-155, 160, count-down
Alternating False Shuffle or 49-50, cuts 100, 100-102,
Packet Shuffle, 113-115 129-134, 151-152, cuts,
Any Number Down, 156-157 false 107-110, deals 47-49,
Assembled Aces, 179-181 104-105, 105-106,
Automatic Reverse, 153-154 106-107, 176-178,
"discovery" 148, 152-154,
beginners, 13-16 154-155, 156-157,
Behind Your Back, 72-74 158-159, "divider" 139,
blacks and reds (cards), 140 hair 164, hat 171, locating
book test, mystical, 257-260, 135, location 132-133,
repeat, 260-265 144-145, magic 101-134,
bottle, 25 magnetized 162-163, pack
Bottom Card Location, 144 47, 112, 121, 139, 140,
Bottom Glimpse, 122, 131 141, 142, 143, palming
Bottom to Top shuffle, 1 12 125-126, pointers 142-143,
"breaks" (cards), 133, red 57-60, reds and
147-148 blacks 140, revelations
156-181, self-finding
candy, 262-264 172-174, self-turning
card 158-159, seventeen
alphabet 248, 249, bottom 168-171, sleights
144, chosen 135-155, 115-134, symbols 271-274,
156-181, coins 65-67, tricks46-74, word 248-250
colored 57-60, 89-92, Card Controls, 147
Index A 281
Card from a Hat, 171 Cut and Restored Rope,
Card on the Wall, 172 85-88
Card That Finds Itself, cut and restored string, 19-22
172-174 Cuts, 100-102
Card Turns Up, 158-159 cuts and shuffles, 100-102,
Cards and Symbols, 271-274 129-134, 151-152
Climbing Ring, 22-24 cuts, false, 107-110
Close-up Tricks, 17-45
coin Dealing Cards, 104—107
card coincidence 65-67, deals, 47-49, 50-53,
colors 274-278, from hand 104-107, 176-178
to hand 200-203, magic Delayed Cut, 151-152
182-207, palming 183-187, dimes, 204-205
productions 198-207, "discovery," card, 148,
vanishes 187-198 152-159, 160
coincidence, coin and card, dish,cup and saucer
65-67 telepathy, 244-247
Coin from Wand, 205-206 Divided Pack, 139-142, 175
Coins and Cards, 65-67 "divider," card, 139
Coins and Colors, 274-278 Double Choice, 160-161
Coin Vanishes, 187-198 Double Coin Production, 207
Color-Changing Thimble, Double Deal, 47-49
227-230 Doubled Thought, 175-176
color-guessing (cards), Double Lift, 123-125
53-56 Double Reverse, 154-155
colors and coins, 274-278 Dovetail or Riffle Shuffle,
Controlling the Card, 135 102-103, false, 110
controls, card, 133-134, 135, Draw Shuffle, 129-134
147, 152-155, 160 Draw Shuffle Control, 133-134
cord elastic, 39, 41 Draw Shuffle Location,
Count-Down Cards, 49-50 132-133
Count-Down Location, drop, false, 191-194, French,
145-146 190-191
Count Off deal, 104-105
Cup, Dish and Saucer, Easy Card Tricks, 46-74
244-247 effect, 13
cup, paper, 76-78, 79-81 Eight Thimble Production,
cup, suction, 79-81 220-227
282 A Index
,
155
How to Palm a Coin, 183-
187
Finger Bend, 183-184
Finger Switch, 214-216 Hypnotized Match Box (Im-
Flash Force, 131-132
promptu) ,26, (Mechanical)
27-31
Fooled-and Fooled Again,
89-92
force, fan, 127-129, flash, identical choice trick, 60-63,
131-132, single cut, 126- new, 63-65
127 illusion, optical, 45
Four- Ace Deal, 176-178 Improved Matchless Match
Four-Heap Deal, 50-53 Pack 34-36
French Drop, 190-191, in Instant Cut and Restored
multiple coin vanish, 194 String, 19-22
Front and Back Cut Shuffle,
113
Front and Back Shuffle, 104 Joker, turned-up, 149
Index A 283
Just Say "Stop" scenario, 194, with simple finger-
166-167 palm vanish, 195-196
Multiple Cut, 100-101
knee, thimble trick, 211-212 Mystic Book Test, 257-
knife, 79-81 260, repeat, 260-265
Knockout, 159-160 mystify, how to, 13-16
knot, instant, 18-19, slide-
along, 81-85 Name the Number, 268-271
knots, vanishing, 42-44 New Do as I Do, 63-65
Nine Slips, 255-257
Let's Face It!, 53-56 number, naming, 268-271,
locating the card, 135 tapping, 232-234
location, 132-133, 144-145
Odds and Evens, 141
magic show, planning, 279- One out of Three, 76-78
280 optical illusion, 45
Magic with Cards, 101-134 ordinary objects, tricks with,
Magic with Coins, 182-207 75-97
magnet, 79-81 Overhand Cut Shuffle, 112
Magnetized Card, 162-163 Overhand Shuffle, 103, false,
March of Dimes, 204-205 110-112
marked paper cup, 76-78
match box, hypnotized (im- pack, 47, 112, 121, 139, 140,
promptu), 26, mechanical 141, 142, 143
version, 27 Packet Shuffle, 113-115
match box, vanishing, 31-32 pack, match, 33-34, 34-36
match, broken then restored, pack, squaring, 47
36-39, repeat, 39-42 Paired Thoughts, 234-237
Matchless Match Pack, 33- Palming a Card, 125-126
34, improved version, 34- palming, card, 125-126, coin,
36 183-187, thimble thumb
match pack, tumbling, 33-34, palm, 209-210
improved version, 34-36 palm, standard, 185-187, 199
Mental Mysteries, 231-278 palm, thumb, 184-185, 198-
method, 13 199,209-210
misdirection, concept of, 14 paper cups, 76-78, 79-81
Multiple Coin Vanish, 194- paper, sheet and slips, 255-
196, with French Drop, 257, 257-262
Index A 285
Slip, 118-119 thoughts, paired, 234-237,
Spell It Out, 161-162 predicted, 253-255
Spin Vanish, 197-198 thread, 22-26
spotting the card, 135 three-heap cut, false, 108
square knot, vanishing, 42-44 Three Heaps-Three Cards,
squaring the pack, 47 167-168
Stacked Pack Shuffle, 112 Three Vanishing Knots, 42-
Standard Palm, 185-187 43
string, cut and restored, 19- Throw Vanish, 189-190
22,doubled, 21, knotted, thumb palm, coin, 184-185,
42-43, ringed, 42-43 198-199, thimble, 209-210
Suction Cup, 79-81 Top Glimpse, 122
surprise, 15 To Produce a Thimble, 2 10—
Swallow Vanish (thimble), 211
213-214 Top Bottom shuffle, 1 12
to
switch, finger, 214-216 Tricks with Ordinary Objects,
symbols and cards, 271-274 75-99
triple cut, false, 109-110
table knife, 79-81 Turned- Up Joker, 149
Take- A way Vanish (thimble), Turning the Pack, 121
216-218 Turn Over, 165
it
286 A Index
wall, with card, 172 X-ray "vision," 245
wand, 97-99, 205-206
Within the Circle, 250-253 You Can't Get It, 162
Word-Cards, 248-250 You Do As I Do, 60-63
Wrist Glimpse, 137-139
Index A 287
Cut a string in two and heal it into one
—
piece right before your friends' eyes!
Watch them gasp as you hypnotize a match
box . pluck a coin from thin air
. . or . . .
<^ ^*
s STERLING
PUBLISHING
NEW YORK
CO., INC. ?Ze** C&.,
London
U4.
& Sydney