Card tricks

Contents

PAGK

Introduction 7

I Principles of Sleight of Hand 12

Preface

'X' RICKS with cards are ever popular, and are within the reach of every one who cares to ' J vote a httle time to the study of sleight of hand.

Who has not watched in speechless wonderment, and longed to emulate the nimble-fingered professor IS he takes the cards in his hand and causes them to pass thence, invisibly, along his sleeve and finally alight on his white shirt front ; or as he throws a card some twenty feet in the air, at an angle of 45 degrees, and causes it to return to his hand, which, during the flight of the card, has seized a pair of scissors with which the card is now severed in twain ?

Much that is new appertaining to conjuring with cards has appeared of late years, which, together with a number of simple tricks of sufficient interest to keep the neophyte engrossed in the early stages of

6 preface

his career, it will be the province of the author in the following pages to reveal. No pains have been spared in compiling this little volume to make it as clear and comprehensive as possible ; and the author trusts that his efforts may be the means of enlightening his confreres, and putting in the way of those who have hitherto taken no interest in legerdemain, the innocent recreation of magic with cards.

ELLIS STANYON

Introduction

Much that is interesting might be ' told of the history of Playing Cards, and the various games of skill they provide, but it is questionable whether this would interest the conjuring fraternity, who, I have no doubt, would rather get on at once to the subject immediately under consideration. It may seem strange, but it is nevertheless true, that many really clever card conjurers never indulge in any game of skill with the cards ; and, from what has come under my notice, they are in many cases, ignorant of the laws governing the best known games. Perhaps it is well that this is so.

Of all branches of sleight of hand, the nianipulation of cards is the one that deserves the most attention. The prestidigitateur who can perform a number of tricks with an ordinary pack of cards will be a welcome guest anywhere ; and, as far as he is concerned, he has the satisfaction of knowing that the cards, and other small accessories required in the production of the various tricks are generally to hand in every household.-

Then again, the continual practice necessary to be-

8 ITntroDuctlon

come a neat manipulator of cards will be found to stand the student in good stead when he turns his attention to the other branches of magic. A clever performer with cards very rarely finds any difficulty with coins, balls, and other small objects ; and, as far as I have been able to learn, is a neat manipulator of apparatus.

Proficiency in the various sleight of hand movements ^^ill be best obtained by practicing in front of a large mirror. By standing, say, four yards away from the glass, the reflection, as it appears to the operator, vnll be eight yards away from his body, which is sufficient to give an excellent idea of the best movement to make, and what angles to avoid. After practicing in this way a number of times, the mirror may be dispensed with, as the hands Avill be found to effect the desired positions, as it were, automatically. This being the case, the performer is now in a position to devote his whole attention to the dramatic element, by far the most important feature of a conjuring trick.

The mere mechanical working of a trick, save in very few instances, utterly fails to produce any illusion. It is a matter of common knowledge among magicians that the art of conjuring depends, not half so much in doing marvelous things, as in persuading the spectators that marvelous things are done. What

ITntroDuctlon 9

is really done is often very simple indeed. Evidence of this lies in the fact that a child will, not infrequently, arrive at the correct solution of a trick sooner than an adult. The simplicity of the child suggests a pin, or a piece of thread, and in the majority of cases he is right ; while the adult will rack his brain in his endeavor to think out some abstruse problem in mechanics, and by the time he thinks he has found it he is compelled to give it up as a bad job.

I am acquainted with many competent performers who absolutely dread having to give an hour's entertainment to children, and many will refuse rather than accept it. The reason, from what has been said, is pretty clear. The simplicity of the arrangements, however, should not tend to discredit the genuineness of the effect produced. Many little ruses will suggest themselves, in the course of the performance, for catching the unwary spectator, be he young or old, and if successful, the effect is much enhanced. This is what may be considered the interesting side of magic from the point of view of the performer, and it forms a sure test of his ability.

j\Iuch of the success of an entertainment depends on the observance of a few old-time rules. The first and foremost of these is, never acquaint the spectators with the nature of the trick you are about to

10 "ffntroDuction

perform, or they, anticipating your movements, will in all probability discover your secret.

Secondly, never perform the same trick twice during the same evening. This follows as a natural consequence of the first rule.

Thirdly, endeavor as far as possible to have more ways than one of presenting your best tricks. Thus prepared, should you be called upon for an encore, there will be no need for you to sin against the second injunction.

Fourthly, vary your tricks as much as possible. A sleight of hand feat should be followed by a mechanical problem, or one in which chemistry, or any other science, plays an important part. This arrangement will enable you, where practical, to lead your audience to believe that a sleight of hand trick is the outcome of mechanical ingenuity ; or to divert their attention in any direction, no matter where, so long as it is sufficiently remote from the true one. Thus, In' leading their thoughts into other channels, they are prevented from too closely following your movements.

Lastly, the tyro should thoroughly make up his mind to study sleight of hand, which is absolutely necessary to produce an}i:hing like a brilliant effect ^ith cards. ^lany of the simple tricks may b.e made doubly interesting, and possibly raised to the dignity

ITntroDuction II

of stage marvels, by the introduction of one or other of the sleights hereafter described; in fact, by skilful combination of the various passes, new tricks may be formed at pleasure. Any trouble taken in the acquisition of dexterity with the cards will be amply re-i)aid by the enthusiastic admiration it calls forth.

The aspirant should not be discouraged by imagining that the necessary practice is a formidable undertaking. Half an hour's study daily will work wonders in the course of six months, during which time the interest is maintained by working the simple tricks, the repertoire being increased as greater skill is acquired.

It is one thing, of course, to tell how a trick is done, and another to do it; and if the student can obtain one or two lessons from an expert he is strongly recommended to do so, as this will tend greatly to facilitate the early stages of his progress. This, however, is not absolutely. necessar3\ If the novice will carefully follow the instructions given, alw^ays pack of cards in hand, he will find nothing but what may be accomplished, if he will only devote the necessary time to the object in view.

CARD TRICKS

- CHAPTER I

PRINCIPLES OF SLEIGHT OF HAND

The Pass (Sauter la Coupe). — This forms the backbone of card conjuring, and nine-tenths of the most brilHant ilkisions would be impossible without it. The idea, for conjuring purposes, consists in reversing the upper and lower halves of the pack, so that after the operation, that portion of the cards which was formerly at the top is now at the bottom. The value of this sleight will be appreciated when it is seen that a chosen card having been returned to the centre of the pack may be secretly brought to the top or bottom, or caused to occupy any position at the desire of the performer.

The ' ' Pass ' ' is used, less innocently, by cardsharpers, to neutralize the effect of the ' ' cut, ' ' hence its French title "Sauter la Coupe."

Method of Making the Pass. — Place the pack in the left hand, inserting the little finger above that portion of the cards which it is desired to bring to the top. The upper half is now held firmly between the little finger and the remaining three fingers, by 12

IPrfncipIes of Sleigbt of 1ban& the aid of which it may be Hftecl from the rest of the pack (see Fig. 1). Now bring the right hand over the cards, grasping the lower half between the thumb and the second and third fingers ; and at the same time press the inner edge of the cards well into the fork of the thumb (see Fig. 2).

Under cover of the right hand, the top half is now lifted slightly, as described, at the same time the outer edge of the lower half is raised, until the two portions just clear each other, when by closing the left hand, the pass is made.

The instructions may appear somewhat intricate on paper, but if the student will follow them, pack of cards in hand, he will find no difficulty that close attention will not speedly remove. It will be well, when first attempting the sleight, to stand with the back of the right hand toward the spectators, in which position the pass, neatly performed, will be quite imperceptible.

To Force a Card. — At the commencement of many card tricks the pack is spread out in front of a spectator, with a request that he will select a card. In many cases he is allowed to choose freely, but it

Fig. 1.— Making the Pass

(First Stage)

CarD ^rlcfts often happens that it is necessary, for the success of the experiment, that he take a particular card. This is effected by what is known as "forcing" such a card upon him.

The card to be forced is generally placed in readiness on the table, and is added to the top or bottom of the pack by laying the cards on the table for a

moment at the conclusion of the preceding trick. As it is hardly likely that a person will select either the top or bottom card, it must be brought to the middle by means of the ' 'pass, ' ' in which position it is guarded by the little finger of the left hand.

AVhen about to force the card, the pack is spread out fan- wise in front of the spectator who is invited to choose, and the cards passed on one by one as if to facilitate his choice. As the hand is advanced to draw, the card is pushed temptingly forward; and in ninetynine cases out of a hundred it will be the one chosen.

Fig. 2.— Making the Pass (Second Stage)

Ipdnciples ot Sleigbt of IbanD 15

There is no occasion to hurry, coolness is everything in this sleight. Should you pass the card before the extended fingers have had time to seize it, you quickly close the "fan," and carelessly remark, "Certainly, with pleasure ; any card you please," saying which, you open the cards a second time. Should the worst come to the worst, and you fail to dispose of the right card, there is no occasion whatever to become confused; you have merely to perform an extra trick, in which a forced card is not required, and try again.

To encourage the novice, I may say that, for the sake of experiment, I have often accomplished this sleight after having told a person that I intended to make him take a certain card. A card may often be forced with one hand, or when the pack is spread out on the table, provided that it be slightly more exposed than the rest. It is curious how much effect such a trifle as this has in determining the choice of the spectator.

The Changfe. — A card freely shown in the hand of the performer is, a moment later, found to be a totally different one. This is effected by what is known as the "Change."

First Method. — The card to be changed is held between the thumb and forefinger of the right hand; while the card for which it is to be changed

CacD ^dcfts is on the top of the pack held m the left hand (see Fig. 3).

In making the change it will be readily understood that the hands must be brought together if only for an instant; this is so, but the sleight, as will be seen, is so subtle that it escapes notice. Prior to making this movement, the thumb of the left hand pushes

Fig. 3.— Making the Change the top card forward slightly. The card to be changed is now lowered on to the top of the pack, and at the same time the top card is seized between the first and second fingers of the right hand, and drawn rapidly away ; the thumb of the left hand retains the present top card, and the change is made.

Second Method. — Occasionally, it will be found more convenient to have the card left at the bottom

Iprinclples ot Sleigbt of IbanD 17

of the pack instead of at the top. This is accompHshed by holding the card to be changed with the first and second fingers, instead of the thumb and forefinger, as in the method ah-eady described; in other respects the movement is practically the same.

The bringing of the hands together in the act of making the change is entirely lost in a rapid half turn to the left; but the movement may be rendered even more deceptive by what is really an optical illusion, making it appear that the hands have never even approached each other. The illusion is produced by holding the left hand immediately in front of the body, then, in the act of making the change, to move it a little to the left, leaving the right hand in the position formerly occupied by the left hand. The impression given is that both hands have simultaneously made a movement toward the left, but that their relative positions have remained unaltered. Should the performer mistrust his ability to execute the sleight unobserved, he may do so with absolute safety under cover of the remark, "See, I do not return th€ card to the pack for a single instant, ' ' then, suiting the action to the word, the change is made.

Third Method. — A chosen card having been

brought to the top of the pack may be made to take

the place of a wrong card shown "in the following

manner : The operator, holding the pack in the left

CarD Zvichs hand, takes up wliat appears to be the top card; in reahty, however, he removes two cards, and showing the undermost one exclaims, ' ' That is your card, I beheve, sir? Yes ; thank you." Then, suiting the action to the word, he makes a quick motion as if returning the card to the top of the pack, but in doing so ic checked by a reply from the drawer to the following effect : "No, that is not my card; I drew the seven of clubs, and you have shown me the ten

of hearts."

It is needless to say that, in the act referred to above, the undermost card was actually returned to the pack, thus leaving the performer master of the situation.

To Palm a Card^ — This consists of holding a card, or several cards, in the palm of the hand, in such a manner as not to attract the attention of the spectator, while at the same time the hand may be used with perfect freedom (see Fig. 4). The abiUty to do this neatly is of the utmost importance to a

Fig. 4.— Palming a Card (First Stage)

Ipdnciplee ot Sleigbt of IbanD conjuror, and is by no means so difficult as. at first sight, it may appear. Many pe'ople, with a vague idea of palming as applied to coins, balls, and other small objects, never dream of the possibility of being able to conceal in the palm of the hand an article of such comparatively large area as a playing card. This, of course, is all in favor of the deception.

In the case of a single card, the ' ' palm ' ' is generally executed after the follomng manner: We will suppose a card has been freely chosen and duly noted by the drawer. The pack is then spread out, fanwise, to facilitate the return of the card; and when this has been done the "fan" is closed, the little finger being inserted between the two halves, on the top of the chosen card, in readiness for the "pass" (see page 12), The card is brought to the top and pushed, Avith the thumb half-way off the rest. At the same time, the right hand is brought over the pack, and the card gripped between the first joints of the fingers and the fleshy part of the thumb (see Fig. 5).

Fig. 5.— Palming a Card (Second Stage)

20 CarD Zxic\\6

In the case of several cards the procedure is somewhat changed! We will suppose it is desired to palm off the four top cards prior to handing the pack to be shuffled. The pack is held, as usual, in the left hand. The right hand is brought down over the cards, apparently with the sole object of squaring them together, but really, with the thumb, to push forward six or seven cards about half an inch over the top edge of the pack. The precise number is immaterial so long as you secure four or more, as to stop to count the exact number would be fatal. This having been done, the right hand is removed, and casually shown emjDty, at the same time both sleeves are pulled back slightly with the object of showing that all is fair and above board.

This movement having been successfully accomplished the cards are palmed in the act of transferring the pack from the left hand to the right while pulling back the sleeves. The right hand very naturally falls on the upper extremity of the extended cards, and tilts them mechanically into the palm, the upper end of the pack forming the fulcrum. At the same instant the upper end of the pack is gripped between the fingers and thumb of the right hand, and forthwith handed to be shuffled (see Fig. 4). In this case, however, the faces of the cards are uppermost.

Should you require to use the hand containing the

IPdncipIes of Slefflbt of IbanD 21

palmed cards, do not hesitate, if need be, to bend the cards until their opposite ends all but meeet ; any temporary ' ' curl ' ' may be afterwards cured by means of the "ruffle" (see page 25). The palmed cards are returned to the pack, either when taking it from the spectator, or in the act of transferring it from one hand to the other.

The False Shuffle, — The method of palming off the top card prior to handing the pack to be shuffled is, at times, likely to become monotonous to the performer ; and is not unlikely, if too often repeated, to lead to detection on the part of the audience. Anything likely to cause the interest to waver, or that tends in any way to sin against one of the cardinal precepts of magic, is to be avoided.

Again, it is not always desirable to place the pack in the hands of a spectator, especially when it is necessary to keep a number of cards in view, or, as is often the case, the whole of the pack in a pre-arranged order. This double desideratum is secured by employing what is known as the ' ' False Shuffle. ' '

First Method. — A selected card, duly noted, is received back in the pack in the orthodox manner ; the " pass " is made, leaving the card at the bottom. A shuffle frequently used by card players is now employed in which the pack is held in the right hand, fingers on the outer and thumb on the inner

22 CarD Zxic\\6

end, the back of the cards facing the left hand. The cards are now passed, a few at a time, from the top of the pack into the left hand, the operation being assisted with the left thumb. At the conclusioji of the shuffle, the last card, i, e.,the chosen one, falls on the top of the pack, to be disposed of as may be required in the course of the trick.

Second Method. — This, again, is a sTiuffle in ordinary use. It is equally suitable for keeping one or more cards undisturbed at the top of the pack. The shuffle is executed by dividing the pack into two portions, one in each hand, the cards being held in a vertical position, face to face, on the table, a few inches apart. A few cards are now let fall from each portion alternately, the upper ends overlapping as they fall. The performer has merely to take care to hold back the original top cards until the last, when they are again allowed to fall on the top of the pack, and the shuffle is complete.

Third Method. — This shuffle is most suitable for keeping five or six cards together at the bottom of the pack. For the purpose of illustration ^ve will suppose that the required number of cards have been brought to the desired position by the ' ' pass " or other ^ means. ,^

The shuffle is commenced by holding the pack in f. the left hand and passing five or six of the top cards j

u

Iprlndplcs ot Slei^bt of 1ban& into the right hand, the remainder being placed in Hke parcels, alternately, above and below the first packet. The cards which it is desired to keep in view are finally placed at the bottom of the pack.

Fourth Method. — This is a very subtle arrangement' in the form of a shuffle, for keeping the whole of the pack in a pre-arranged order.

In the first place, the ' ' pass ' ' is made rather low down in the pack, in other words, about one-fourth

Fig. 6.— The False Shuffle of the cards are brought to the top, the division being kept by means of the little finger of the left hand. The whole of the cards are now taken in the right hand, fingers at the top end, and thumb, which at the same time keeps the opening between the two portions, at the bottom end of the cards. The cards are now held horizontally, face downward, a few inches from the table, on which they are allowed to fall in four heaps, as indicated in Fig. 6, the under-

CarD tTricfts most packet falling at 1, the next in order at 2, and so on; finally, that portion of the cards brought to the top by the ' ' pass " is allowed to fall at 4. The operation is completed by placing, with the left hand, heap 1 on heap 4; with the right hand, heap 2 on heap 1 ; and, with the left hand, heap 3 oh top of all, when it will be found that the cards occupy the same positions as they did before the ' ' pass ' ' was made. By a little ingenuity on the part of the performer, this shuffle may be varied, and be made more complicated, ad lib.

I have dwelt at some length on trick shuffles, but have found this necessary, inasmuch as many tricks depend, for the most part, on one or other of those mentioned.

To Slip a Cafd» — This sleight, although very simple, is not to be despised, as it plays the leading part in many excellent tricks. It is performed by holding the pack in a horizontal position, face downwards, in the left hand. The right hand advances and, apparently, withdraws the undermost card; in reality, however, this card is drawn back slightly Avith the,

Fig. 7.— Slipping a Card

Ipdnclples of Slelgbt of IbanD 25

third finger of the left hand (see Fig, 7), and that next above it removed.

For a practical application of this movement, see page 49.

The Ruffle* — This is really, so to speak, an ornamental sleight, of which many are frequently used, either as proofs of dexterity, or for the more legitimate purpose of diverting the attention of the spectators from the true modus operandi of the trick. I shall have occasion to revert to this in the following pages.

The "Ruffle" is executed by holding the pack in the left hand, with the thumb pressed firmly on the centre of the cards. The right hand grips the cards, with the second and third fingers at the top and the thumb at the bottom. The upper edges of the cards are bent upwards and allowed to spring from the fingers, one by one, causing a sharp, crackling sound, from which the sleight derives its name.

To Throw a Card. — This, again, is a sleight of an ornamental character, but in addition to this, when successfully executed, forms an indubitable proof of the dexterity of the performer.

A card is held by one end between the fingers and thumb of the right hand, with the forefinger on the outer corner (see Fig. 8). The card is thrown forward at an angle of 45 deg., with all the force at

CarO ^rlcfts command, as indicated by the arrow ; and, as it leaves the hand, the forefinger, with a quick pull on the corner, causes it to revolve rapidly on its own axis. When the force with which the card is thrown forward becomes spent, the fact that it is still revolving rapidly causes it, so to speak, to slide back on the air and return to the hand of the performer.

The prin- ■^

ciple will be ^^

better understood if notice be taken that when the card is thrown in a horizontal line, as i ndicated by the

second arrow, it will still make an effort to return, but does so at the same angle, i. e. , 45 deg. , and consequently falls far short of the mark.

The card may also be thrown from one side of a theatre to the other by holding it as shown in Fig. 8, and causing it to revolve slightly as it leaves the hand. In this case, however, no pull must be given to the outer corner.

An excellent ' ' vanish " for a card is provided with

Fig. 8.— Throwing a Card

IPdnciplee ot Slei^bt ot DanD 27

this sleight. The pack is held in the left hand, and the card to be vanished in the right. The card is thrown into the air several times, and returns to the hand in the manner explained ; finally, under cover of making an effort to throw it a considerable distance, the hands are brought in contact Avith each other, and the card left on the top of the pack. The right hand still continues its upward movement, the effect being to the spectators that the card disappears in the air from the tips of the performer's fingers. As you are careful to conceal the fact that you intend to vanish the card in this direction, the illusion is perfect.

By way of variation the returning card may be caught between the blades of a pair of scissors, and if desired cut into two portions thereby. To do this hold the scissors under the cards in the left hand in such a manner that, having thrown the card, they may be quickly taken in the right hand. The card may now be caught as described.

To Springf the Cards from One Hand to the Other, — This also is a sleight requiring considerable dexterity. The pack is held by the ends between the thuml3 and the two middle fingers of the right hand (see Fig. 9), the back of the cards bulging slightly toward the palm. This is important: if the cards are bent in the opposite direction the sleight becomes impossible of execution.

Cac^ XLxichs

The left hand is brought into close contact with the face of the cards, which are now allowed to escape, one by one, in rapid succession, from the fingers of the right hand, when they forthwith jump into the out stretched palm. The forward movement of the cards is checked by their upper ends coming in contact with the extended forefinger of the left hand.

The movement should be practiced at first with the hands quite close together, the distance being gradually increased as more skill is acquired. A skilled performer will cause the cards to spring a distance of two feet or more; and even this distance may be caused to appear much greater by means of an optical illusion produced by moving the hands from side to side, their relative positions remaining the same, while executing the sleight.