S I X C A R D S ’

CREATIONS
NED W IL L IA M S.
%
as
W ILL ALMA
M.I.M.C. (LONDON)
O iifjinateil by N E l) W IL L IA M S ,

Compiled by

KltV V A K D HAGSHAW E.

Copyright.

E D W A R D B A G SH A W I4 & CO.,
19a, S utherland Place,
: : London, W.2. : :
 SIX CARD CREATIONS

CO N TEN TS.

A N e w M a s te r P a c k , ami 3 effects with it. Cards with-

draw n w hilst per former is out of room m ay bo immediately
located.'
N e w R e v e r s in g C a r d s .
A n A c e a n d K i n g D e c e p tio n
A C a r d P r o d u c tio n S ta n d .
W illi a m s ’s “ E u r e k a ” G ia n t C a r d C h a n g e .
W i l l i a m s ’s novel “ G ia n t C a r d M o n te ,” wherein the

Queen vanishes e n t ir e ly !
 T h e State L ibrary of V ictoria
“A L M A C O N JU R IN G C O L L E C T IO N ”

By N E D W I L L I A M S .

A N E W M A S T E R PACK.

So f a r as we know, t h e u n iq u e idea involved in th is

pa c k has n o t previously b e e n used in ca rd magic.
T he pack", so long as it is u n m ix e d , a p p e a r s to b e a
perfectly genuine one. T h e r e are n o long or short cards,
strippers, m a rke d cards, or any of th e usual devices to bo
found.
Yet a selection of any card m a y be m a d e from th e
pae k spread o u t upo n th e table, w h ilst th e p e r f o rm e r t u r n s
Jtis back, or retires from th e scene of operations. The
card is p u sh e d back into th e pac k , b u t th e p erfo rm er is
always able to locate it im m e d ia te ly t h e ca rd s a re in his
hands.
A sim ilar effect consists of a n y m e m b e r of t h e a u d i­
ence placing t h e pack u p o n t h e ta ble, a n d c u t tin g it into
tw o nearly equal portions. E a c h portion h e sp re a d s o u t
upon th e table, a n d tw o m e m b e r s of t h e aud ience t h e n
select a card from each. T h e card s are r e tu r n e d , a n d
th e p ac k sq u a re d up, y e t th e p e r f o rm e r m a y im m e d ia te ly
produce th e m .
A th ir d effect consists of a s p e c ta to r c u t tin g t h e p a c k
into th r e e portions, an d c h e ck in g th e n u m b e r of c a r d s in
th e ce n tre one. T he th r e e p a r ts of t h e p a c k are t h e n
placed to g e th e r by th e p erfo rm er, who squa re s u p th e cards
on t h e ta ble, showing t h a t he h as left no “ b re a k ” or
o th e r device for location. A sking th e s p e c ta to r t o co n c e n ­
t r a t e on th e n u m b e r of ca rd s w hich he c o u n te d , t h e p e r ­
form er deals c a rd s fro m t h e b o tto m of th e pac k u n til he
ha s arrived a t th e desired n u m b e r, of w hich t h e s p e c ta to r
is thinking.
I n order to effect th e n ecessary p r e p a ra tio n of t h e
paek, a sm all block of wood m u s t first be m a d e, th e thick-
4 S IX CARD CREATIONS

block need only be an inch o r so long, and is show n in t h e

drawing. T h e side m a rk e d A is not perfectly stra ig h t, b u t
is c u t on th e slant, th e botto m of the block being j u s t one-
eighth of an inch less (m ea sured across its surface) t h a n
th e top. Xow, if an ordinary p ack is ta k e n and pressed
aga in st side A of th e block by one of its narrow edges, it
is possible by m e a n s of a p r in te r's guillotine to c u t th e
opposite narrow edge perfectly sq u a re (indicated by th e
arrow in th e sketch). T he re su lt of th is is t h a t t h e top
card of th e p ack (if it has been cut. face down) is a n e ighth
of an inch sh o rter t h a n th e face card, a r d , in fact, all th e
cards are g rad u a ted jn size, each being a fiaction larger from
t h e top card dow nw ards. T he ends will require round-
cornering to finish off. A careful note m u s t be m a d e of th e
ex act order of th e pack, so th a t it can be re-arranged
should it become mixed. 11 will now be a p p a r e n t t h a t
any card rem oved from n e a r th e botto m and placed n ea r
t h e top-will a u to m atica lly become a “ long ” card. In tiie
sam e way, any card tak en from som ew here n e a r th e top
and p u sh e d in at th e b o tto m will becom e a “ sh ort ” card
— v et w h en th e p ack 's arranged in its original order th e re
are n e ith e r longs nor shorts to be observed!

Effect One : ‘Any card rem ov ed from th e spread pack

and returned in it different position m a y be at onco located
w h en th e cards are g athered u p, as it will either be long,
in w hich case it c a n be cut a t direct, or short, in w hich
case it can be riffled to. T h e perform er m ay ask for th e
card to be p u t back in a n o th e r position, on th e excuse t h a t
it is to show th e p ack is not in any know n order.

A n o th er m e th o d of p roducing this effect is to give th e

pack one cut before spreading it o u t— a single c u t m a k e s
tw o “ wedges ” of it, as show n by sketch. T h e pack is
spread, an d whilst th e p e rfo rm e r's back is tu r n e d a ca rd
is ta k e n “ from about th e c e n t r e . ” W hile th is is being
sh ow n to audience, th e perform er g ath ers up t h e p ac k , and
eith er m a k e s a cut, or th e pass, bringing th e p a c k back to
its original position by s e p aratin g th e halv es b e tw e e n th e
 S IX CARD CREATIONS

tw o ‘ ‘ wedges. ’ ’ H e again sp rea d s t h e pncl-c o u t asking for

th e card to be p u s h e d in t h e ce n tre, w here it e ith e r b e ­
co m es a long o r short, according to w here it w as ta k e n
from.

Effect T w o : S p e c ta to r c u ts th e p a c k in tw o, an d a
c a rd is ch osen from eacli sprea d half while p e r f o rm e r is
o u t of room. H e specifies w hich h a lv e s t h e ca rd s shall bo
p u sh e d back into, an d sees to it t h a t th e y go b ack in to th e
opposite halves from w hich th e y w ere ta k e n . P la c in g t h e
p ack to g e th er he can im m ed ia te ly d e te c t th e ones chosen.

WOOD BLOCK THIS EDGE

CUT STRAIGHT

I
U J L 1

S L O P S E X M E ftA T IT P .
nvc? cut cur/jv j.
The light hand side of the \vo>d block is “Side AMmentioned in text.

Effect T hree : S p e c t a to r c u ts pac k in to th r e e portions,

t h e perform er w atc h in g th e w ay th e se a r c laid out. T he
s p e c ta to r is th e n asked to pick up c e n tr e p o rtio n a n d
check th e n u m b e r of cards, th is n u m b e r, of course, not
being k n o w n to perform er. H e is in s t ru c te d to c o u n t t h e m
w ith o u t d istu rb in g th e ir order— i.e., m erely t o r u n th r o u g h
a n d note th e n u m b e r. T he p erform er m u s t now h a v e th e
t h r e e h e a p s replaced th e opposite way to t h a t in w h ich
t h e y w ere laid out, this leaving th e p a c k in th r e e s e p a ra te
“ wedges ” sh ow n in draw ing. T h e c e n tre one is th e one
s p e c ta to r h a s counted. T h e p erfo rm er m a y sp rea d th e
p a c k o u t on ta b le before picking up,- to show t h a t no
break is k ep t, a n d he t h e n sq ua re s up p a c k a n d gives it a
false shuffle. D uring th is he c u ts off th e b o tto m th ird
6 SIX CARD CREATIONS

of th e p a c k a n d brings it to th e top. H e now holds pae k

back u p in his left h a n d in th e position for dealing from th e
b o tto m , a n d secretly se p a ra te s t h e second “ w edge ” off,
k eeping a slight brea k here. Asking s p e c ta to r to th in k of
his n u m b e r, t h e cards are d ea lt off from t h e b o tto m u n til
th e brea k is arrived at, w hich will be th e n u m b e r of cards
of w hich sp e c ta to r is thinking.

T h e above are th r e e effects possible w ith th is pack,

an d no d o u b t several o th e rs will occur if th e re a d e r h a s a
p ac k m a d e up a n d tries o u t th e above.

As selected cards are found th e y should be th ro w n

aside, as th e y ca nn ot be replaced in th e ir correct order
w ith o u t referring to th e w ritte n a rran g e m en t.
 SIX CARD C R E A T IO N S 7

R E V E R S IN G CARDS.

Several cards are r u n off th e pack, show n, a n d each

second card rev ersed so t h a t h alf fac e t h e au d ien c e a n d
th e o th e r half face b ack ou t. T he f a n is closed, flicked,
an d th e cards all found t h e sa m e w ay again. T h is m a y
be r e p e a te d as m a n y tim es as th e p e rfo rm e r th in k s fit.

W h i ls t no originality is cla im e d for th is effect, we

believe th e m e th o d of faking th e cards to b e new , in a s m u c h
as th e y can be show n freely back an d front before an y aro
ta k e n o u t an d reversed, a f te r reversal, a n d aga in w h en
th e se cards have m ysterio usly tu r n e d back once more.

E ive cards are prep a re d in the m a n n e r sh o w n in tlio

illustration, w ith a half-face a n d half-back u p o n eith er

side. I f t h e card on th e left is tu r n e d ro u n d sidew ays in
t h e direction of arrows, th e back ap p e a rs as t h e d ra w in g
of card 011 right. T hese five cards are placed a t t h e top
of th e pack, w ith ordinary ones in b e tw e en , and a n ordinary
card 011 top o f these.

I n showing, th e eleven top ca rd s are r u n off th e pack,

fa n n e d o u t in such a m a n n e r t h a t th e y m a y be sh o w n back
a n d front, an d ea ch a lte r n a t e card reversed. I n doing-this,
t h e p erfo rm er c o m m en c es w ith th e (ordinary) card a t th e
8 SIX CARD CREATIONS

bac k of th e fan. W h e n h e com es to t h e face card, if lie

t h e n reversed th is im m e d ia te ly he w ould expose a double
card b e n e a th , so before th is card is rem oved th e fa n is
t u r n e d around. T his ca rd is t h e n ta k e n off at th e back
a n d reversed. I t only re m a in s to close t h e fan, a n d in
ta k in g it in th e o th e r h a n d it is held by t h e opposite
edge, w hen , on being re-fanned, th e cards a p p e a r all th e
sa m e way, an d c a n be s h o w n bo th sides again. I t is only
necessary to rep e at th e se m o ves to d e m o s tr a te th e effect
again.
 S IX CARD CREATIONS 9

AN A C E A N D K I N G D E C E P T I O N .

I n th is effect t h e fo u r Aces a n d four K ings are

rem oved from th e pack, a n d af te r being show n, t h e Aces
a re stood back o u t on a sm all s ta n d on t h e p e r f o r m e r ’s
left, an d th e K ings placed sim ilarly on a s ta n d to t h e
p e rfo rm e r's right.

A n Ace a n d a K ing arc now rem o v e d from t h e r e sp e c ­

tive p a c k e ts an d c h a nged over. T h e perform er, r e m a r k ­
ing on th e p ec u lia r s y m p a th y existing b e tw e e n th e cards,
picks up th e le ft-ha nd p a c k e t (which should c o n s ist of
th r e e Aces and a King) an d now show s it to consist of th e
lour Kings. Likewise th e o th e r p a c k e t is ta k e n a n d sh ow n
to consist of th e four Aces. T h e p ac k ets are again placed
back, face inw ards, on th e sta n d s.

A n Ace is again ta k e n from th e Ace p ac k et, a n d a K ing

from th e o ther, and th is tim e th e se ca rd s a r c r e tu r n e d to
t h e pack. T he perfo rm er now asks t h e audience to guess
w h a t cards rem a in , th e answ er being “ T h re e Aces a n d
th r e e K in g s .” H o w ev er, on picking up th e cards from t h e
s ta n d s th e p erform er is able to prove t h e au d ien c e wrong,
for th e six cards now rem a in in g are A L L B L A N K , a n d can
be shown freely on bo th sides.

T he secret lies in th e u se of six p re p a re d cards, w ith

w h ich are used one o rdinary Ace an d a n o rdinary King.
O n co nsulting th e d ia g ra m t J i g p rep a ra tio n of th e faked
cards will be m a d e clear. E a c h of th e six ca rds is actu a lly
th r e e — a n Ace stuc k by its low er edge to a King, w hich
is in t u r n s tu c k by its u p p e r edge to a blank. T h e cards
are sh o rten e d w here indicated. I f th r e e of t h e card s arc
ta k e n , a n d a n ordinary Aee placed a t t h e front, th e y m a y
be riffled show ing all Aces, an d in t h e s a m e w ay th e
o th e r th r e e w ith a K ing at th e fro n t m a y be sho w n all
Kings.

A t c o m m e n c e m e n t th e card s are in th e pack in th e

desired order, an d th e perfo rm er th ro w s t h e m o u t in tw o
10 SIX CARD CREATIONS

face-dow n p a c k e ts u p o n th e table. E a c h p a c k e t is now

riffled th ro u g h , show ing all Aces in one, an d all K ings in
t h e other. I n placing o n th e ir resp e ctiv e sta n d s, backs
o u tw ard s t h e p a c k e ts are tu r n e d so t h a t n e x t tim e th e
opposite edges will b e riffled. T he o rd in ary Ace a n d K ing
are now rem o ved fro m th e p ac k ets an d cha n g ed over. E a c h

p a c k e t-is now picked up, an d riffled th ro u g h (o show t h a t

all K ings have assem bled in one an d all Aces in th e other.
T hey are th e n once m ore tu r n e d abo u t on the sta n d s. T he
face cards ( th e u n fak e d Ace a n d King) are. ag ain ta k e n ,
an d now r e tu r n e d to th e pack. On th e r e m a in in g cards
being picked up an d show n, th e y are found to be all blanks.
 S IX CARD CRIiATIONS 11

A C A R D P R O D U C T I O N ST A N D .

T his sim ple y e t effective s ta n d should be of assistance

to th e card m a g ician for t h e p ro duction of chosen cards,
etc.

As a n e x a m p le of its use, th r e e card s m a y be s e lec ted

a n d placed in a cardbox. F r o m th is th e y trav e l, a t th e
c o m m a n d of th e p erfo rm er, to t h e sta n d , w here th e y
a p p e a r in s ta n ta n e o u s ly , one by one.

T h e draw in g will m a k e clear t h e a p p e a ra n c e a n d co n ­

s tru c tio n of th e sta n d , w hich h a s a n o p e n front in w hich

t h e card s m a teria liz e. E a c h ca rd is a t ta c h e d by a spring

hinge to t h e lower edge of sta n d , an d t h e to p s of t h e cards
hav e sm a ll eyelets fixed in th e m . A rod w h ich c a n be
d r a w n along a t t h e b ack of sta n d , h a s t h r e e b e n t arm s
upo n it, th e se engaging in t h e ey e le ts in t h e cards. T h e
a r m s being of th r e e different sizes, t h e pulling of a th r e a d
a t ta c h e d to th e rod ca use s one a r m t o be freed fro m a
ca rd a t intervals, w h e n t h e s p rin g im m e d ia te ly raises t h e
card to a n u p rig h t position in front of t h e s ta n d , an d so
it “ a p p e a r s . ”
12 S IX CARD CREATIONS

T H E “ E U R E K A ” G IA N T C A R D C H A N G E .

This trick w as designed p a rtly for children, an d th e

in s ta n t change! involved is q uite surprising.

T he perform er introduces tw o gian t cards, t h e E ive of

Clubs an d Throe of D iam on ds. “ I hav e here a small
H o u s e , ” he con tinues, “ or p erh a p s ‘ flat ' would be b etter.
Anyhow, it has one window in th e fron t— I k now i t ’s a
w indow because t h e r e ’s a cat sitting ju st inside, and you
can see right th ro u g h to th e inside of th e h o u s e .” A flat
piece of board, sim ilar to Tig. 1, is shown, h aving a c u t ­
o u t “ w in d o w .” T h e T hre e is picked up an d inserted at
th e top of this, an d passes down inside leaving its ce n tre
pip visible th ro u g h th e window. T he oth e r card is picked
u p an d held back out in th e o th e r h and. T h is card is now
flicked across th e “ h o u s e , ” a p p a re n tly causing th e two
cards in sta n tly to change places— for t h e T hre e inside
ju m p s halfw ay ou t a n d becom es th e Five, whilst th e card
in th e h a n d is tu r n e d ro u n d a n d seen to be the Three.
T he perform er, affecting to h ea r a rem a rk, now opens up
th e “ house ” (which is hinged in tw o sections) an d freely
shows th e interior. “ No, sir, you are m is ta k e n —th e house
is q uite em p ty . I t is only th e cat, ns 1 s a i d . ”

This little eifect is brought about by m e a n s of an extra

piece of ca rd working up a n d dow n w ithin th e double side
of th e front of th e house, a n d having a pip r ep rese n tin g
th e ce n tre of t h e T h re e used. T he faking is clearly show n
in th e lower draw ing, w hich sh o w s th e tw o p a r ts form ing
th e front of th e house open ed to show' th e piece, w hich h as
eith er card or m e ta l tu r n e d - u p pie c e s ( aa ) to engage th e
card inserted at top. W h e n t h e card is pressed down, it
ta k e s t h e piece w ith pip dow n w ith it, and th is shows
th r o u g h th e w indow. E la s tic each side r u n s from t h e fake
piece, up over tw o draw ing-pins pressed in at top, an d this
norm ally keeps th e fake piece above th e window. W h e n it
 S IX CAED CRIiATIONS 13

is ta k e n dow n w ith a ca rd inside, th e fingers a n d t h u m b

p re ss ea ch side t o keep ca rd in place. As soon as t h e
o t h e r is pick up and flicked ov er th e “ h o u s e , ” th e p r e s ­
su re is released, causing t h e card in h ouse to be sho t
14 S IX CARD CREATIONS

halfw ay o u t by t h e elastic, an d visibly chan ging from th e

T hre e to th e Five.

W e h a v e o m itte d t o m e n tio n , b u t h a d b e t t e r add,

t h a t th e tw o giant cards afte r being show n are shuffled
to g e th e r an d laid face down on th e table w hilst t h e house
is being shown. T he card picked u p for insertion is, of
course, th e Five, w hich is placed in so t h a t t h e face is n o t
visible u n til th e house is tu r n e d and th e ce n tre a p p a re n tly
seen th ro u g h t h e “ w in d o w .”
 S IX CARD CRIiATIONS 15

A NEW G IA N T 3-CA RD M O N T E

( W h c r r i n the, Queen vanishes e n t i r e l y !)

T hre e giant cards are exhibited freely on b o th sides—

a Q ueen an d tw o T w o s. A fter being sh ow n th e y are
placed o n a skeleton sta n d , baeks o u t, a n d c h a nged abo u t
in th e usu al m a n n e r , th e audience being in vited to follow'
th e position of t h e Queen. This card, on being called for,
is tu r n e d aro u n d and show n to be a Two. T h e rem a in in g
cards, still backs out, are th e n c h a n g ed over, a n d t h e
au d ience allowed to call for one of th e se, w hich also proves
to be a Two. T h ere is now, a p p a r e n tly , only on o c h a n ce
left, and th e rem a in in g card is tu r n e d about, b u t th is is
found to be a n o th e r Two. T h e p e rfo rm e r exp lains t h a t ho
h a s in reality been using Tw o s all th e tim e , t h e Q ueen
sim ply being a n optical illusion, an d th is card is t h e n
discovered elsewhere. One very effective finish use d by
t h e inve nto r is to find th e Q ueen reposing on t h e bac k of a
v o lu n te e r assista n t, who h as helped in t h e preceding
ex p e rim en ts.

T h e trick n ec es sita tes th e u se of tw o faked cards, one

being t h e Q ueen a n d th e o th e r a Two. E a c h of th e s e
c a rd s is prep a re d by strip p in g b ack to p a n d b o tto m corners
of one side, in se rtin g tw o th in , b e n t wires, an d sticking
dow n th e corners again so t h a t each wire is in t h e position
show n by Fig. 1. T his figure re p r e s e n ts th e bac k of a
card, an d th e wire a t th e co rne r is sufficiently raised to
allow of a n o th e r card being slid into it.

A t th e c o m m e n c e m e n t, th e Q u een h a s an extra Tw o
slid into t h e wires a t its back, an d th e s e tw o c a rd s are
show n as one. T h e backs of th e ca rd s should be sim ilar
to th e S te a m b o a t p a t te r n , m a k in g th e wires invisible.
A fter th e th r e e cards hav e bee n show n, t h e Q ueen is
picked up a n d held in t h e left h an d , as sho w n by F ig. 2.
T h e rig h t h a n d picks u p t h e faked tw o and, holding it in
position as show n, slides it over th e face of t h e Q ueen.
16 S IX CARD CREATIONS

As this h ap p e n s, th e th u m b of th e left h a n d releases th e

Queen, which is sp ru n g o u t a little w ay from th e Tw o
behind. As th e Tw o in t h e right h a n d passes over t h e
Queen, th e wires on th e Tw o are allowed to engage on to
t h e Queen. T he rem a in in g ordinary T w o is now picked
up and placed at t h e back of th e cards. To th e audience,
all t h a t ap p e ars to have h ap p e n e d is t h a t th e Q u een has
b een placed b e tw e en t h e Tw o s. T he cards are tu r n e d
arou nd in th e left h an d , an d th e right proceeds to deal
th e m off on to th e sta n d . T h e first card d ealt will be
th e to p ca rd — th e ordinary Two— an d n e x t th e ex tra Two

is w ith d ra w n from th e wires, leaving th e Q ueen clipped by

t h e wires a t th e back of th e re m a in in g Two. T h u s a l l '
cards are ev e ntually show n to be Two s.

I n only r e m a in s to produce a d u p lic ate Q ueen to co n ­

clude th e trick. W h e r e it is produ ced upon a s s i s t a n t ’s
back, th e m e th o d is to have d uplic ate w ith a hooked wire
a tta c h e d a t th o bac k of th e o th e r cards. T hese are held
in t h e r ig h t h a n d (before co m m en c in g th e trick), an d in
seatin g a s s is ta n t on right, t h e hooked card is se cretly left
upon his back. T he cards left in p e r f o rm e r ’s h a n d s are
th e n show n on all sides, and th e trick proceeds as before.
() L F/ A C T

H21S
 V / ., A V . lA V . \ W W V . V . W . V . V . ,i V A S W , W A W . V . S V W A , A V . % % ^ n V . V . V
,V W .V .V M W W W W .V W »V «

‘‘CIGARETTE MAGIC AND MANIPULATION.”

By D. DEVEEN. $

This book has mot w ith universal praise and recommendation, £

as being a standard work on its subject. I t should bo in Y O U R ?
library, as you are certain to find m any m oves and tricks of £
interost. <
ClgarctU Vaniihes I;
Cigarette Productions j;
Cigarette Acquitments •;
Effects with Fakes
The Fieatlng Cigarette i
lighted Cigarette ?
Manipulation. i
If it’s anything w ith cigarettes, undoubtedly T H IS is the book you w ill w ant. {
40 PAGES 24 PHOTOS $
$
Price 4j6, P ost 2d. U .S.A . 1.25, ?
J
tj
F ro m n il L o a d in g D tn le r a o r t h e P u b lis h e rs*
•p
A w A W A W rtW A ,A W A ‘.V .W .% W W W W V rtV .V .V .V .V .,.V A V /.V w X

W ILL ANDRADE
5 2 SWAN ■>TON ST
MELBOURNE

P rin te d by B a rn e tt’i P rin tin g W orks, L ondon, W . u a n d published by E d w . B a g n h a w t & Co.,

19*, S u th erlan d P lacc, London, W .a