Annemann'sFullDeckofImpromptuCardTricks
Harry Houdini
84,172 wordsMentalismintermediateAn Unabridged Republication of the Two Volumes Edited by John J. Crimmins, Jr. An Unabridged Republication of the Two Volumes Edited by John J. Crimmins, Jr.
PassPalmForce
Ted Annernann
ANNEMANN'S
CARD MAGIC
An Unabridged Republication of the Two Volumes
Edited by John J. Crimmins, Jr.
TED ANNEMANN'S
FULL DECK OF IMPROMPTU CARD TRICKS
and
ANNEMANN'S MIRACLES OF CARD MAGIC
With 48 Illustrations by
NELSON HAHNE
Ted Annemann
ANNEMANN'S CARD
MAGIC
An Unabridged Republication of the Two Volumes Edited by John J. Crimmins, Jr.
TED ANNEMANN'S FULL DECK OF IMPROMPTU CARD TRICKS and
ANNEMANN'S MIRACLES OF CARD MAGIC
With 48 Illustrations by NELSON HAHNE
DOVER PUBLICATIONS, INC., NEW YORK
"It's a fact that if you want to be a professional success, or amateur personality, you've
got to make people say, 'That's Joe Doakes, he's a great entertainer!'—not, 'I know a
magician; his name is Doakes.' And if you think I'm kidding, read up on the life of
Houdini, and Bamum."
Gabbatha!
THEO. ANNEMANN
Note:
Ted Annemann's Full Deck of Impromptu Card Tricks begins on page 8. Annemann's
Miracles of Card Magic begins on page 78.
Contents
Contents.......................................................................................................................................................... 5
TED ANNEMANN'S FULL DECK OF IMPROMPTU CARD TRICKS.................................................... 8
A Few Words.............................................................................................................................................. 8
--- Extemporaneous Magic --- .................................................................................................................... 9
THE CARD ON THE CEILING................................................................................................................ 9
THE UNDERCOVER MYSTERY ............................................................................................................ 9
THE WALK AROUND DISCOVERY.................................................................................................... 11
LOCATRIX.............................................................................................................................................. 12
AUDLEY WALSH COINCIDENCE....................................................................................................... 13
UP AND DOWN...................................................................................................................................... 15
WISE GUY CATCH ................................................................................................................................ 17
A STORY OF CRIME ............................................................................................................................. 17
THE 32 CARD MYSTERY ..................................................................................................................... 20
THE CARD ANGLER ............................................................................................................................. 20
ACES OF EIGHT!! .................................................................................................................................. 21
LES CARTES PAR HASARD................................................................................................................. 23
A PARADOX OF PAIRS ........................................................................................................................ 24
THE PSYCHIC TOOTHPICK................................................................................................................. 25
THE "ELM" CARD CHANGE ................................................................................................................ 26
THE CARD UNHARMED ...................................................................................................................... 27
RESTLESS COLORS .............................................................................................................................. 28
THE TORN DECK TRICK...................................................................................................................... 29
A CARD IN FLIGHT! ............................................................................................................................. 30
THE SPECTATOR'S CHOICE................................................................................................................ 31
QUEER QUEST....................................................................................................................................... 32
YOUR FORTUNE, MISS!....................................................................................................................... 33
A TEST OF POWER................................................................................................................................ 35
SUBCONSCIOUS MYSTERY................................................................................................................ 36
NUFIND................................................................................................................................................... 37
--- Tricks With Two Decks ---.................................................................................................................. 39
FOLLOW ME .......................................................................................................................................... 39
SYNTHETIC SYMPATHY ..................................................................................................................... 39
AN EASY LESSON................................................................................................................................. 42
--- Impromptu Tricks Using A "Short" Card --- ....................................................................................... 44
THE MIRACLE SPELLER...................................................................................................................... 45
"NUTS TO YOU" .................................................................................................................................... 45
COMPOSITE ROUTINE ......................................................................................................................... 47
THE MIGRATING PASTEBOARD ....................................................................................................... 48
DECEPTO ................................................................................................................................................ 50
LIES! LIES! LIES!................................................................................................................................... 51
THE MODERN EYE POPPER................................................................................................................ 51
THE CARD THAT ISN'T ........................................................................................................................ 52
--- Card Transpositions ---........................................................................................................................ 54
IMPROMPTU PASSING......................................................................................................................... 54
ACME THOUGHT CARD PASS............................................................................................................ 55
CARD PASSE-PASSE............................................................................................................................. 56
--- Poker Demonstrations ---..................................................................................................................... 58
DRAW POKER PLUS ............................................................................................................................. 58
DEAD MAN'S HAND ............................................................................................................................. 59
--- Spelling Tricks ---................................................................................................................................ 62
GIVE A NUMBER................................................................................................................................... 62
"AD LIB" SPELLING.............................................................................................................................. 62
PREPOSTEROUS.................................................................................................................................... 63
NEWSPELL ............................................................................................................................................. 64
5
JORDAN PLUS GARDNER ................................................................................................................... 65
--- Simple Prearrangements --- ................................................................................................................. 69
CARD MINDED ...................................................................................................................................... 69
TATTLE TALE CARD............................................................................................................................ 70
THE TOUCH THAT TELLS ................................................................................................................... 70
CARD BOX SYMPATHY....................................................................................................................... 71
WIRED THOUGHT................................................................................................................................. 73
THE NEW NIGHTMARE EFFECT ........................................................................................................ 73
--- Addenda ---.......................................................................................................................................... 75
THE FORCE THAT COULDN'T BE DONE .......................................................................................... 75
THE "SO SIMPLE" FORCE.................................................................................................................... 76
INDETECTABLE SHIFT - PALM.......................................................................................................... 77
ANNEMANN'S MIRACLES OF CARD MAGIC ...................................................................................... 78
Just A Word ............................................................................................................................................. 78
--- IMPROMPTU TRICKS FOR EVERY OCCASION --- ..................................................................... 79
THE WHISTLE........................................................................................................................................ 79
THE MYSTIC TWELVE......................................................................................................................... 81
CARD OF THE GODS ............................................................................................................................ 82
THE DIVINING PASTEBOARD............................................................................................................ 83
TWO CARDS IN FEAR .......................................................................................................................... 85
THE TWENTY CARD TRICK ............................................................................................................... 87
MATHEMATICAL BLACK JACKS ...................................................................................................... 89
THREE PREDICTIONS .......................................................................................................................... 91
MEPHISTO'S PREDICTION .................................................................................................................. 92
LIKE SEEKS LIKE.................................................................................................................................. 93
A CARD IN HAND ................................................................................................................................. 94
DOUBLE REVERSE ............................................................................................................................... 96
STOP WHEN READY............................................................................................................................. 97
TWENTIETH CENTURY CARDS ......................................................................................................... 98
MODERN MONTE................................................................................................................................ 100
MENTAL STUD .................................................................................................................................... 102
THE RIBBON THAT MADE GOOD ................................................................................................... 104
--- TRICKS WITH DUPLICATES & SHORT CARDS ---................................................................... 106
TRICKERY ............................................................................................................................................ 106
FOUR ACE STAGE PRESENTATION ................................................................................................ 107
FLIGHTY ACES.................................................................................................................................... 110
A QUESTION OF POWER ................................................................................................................... 111
SIMPLEX TORN CARD IN BALLOON.............................................................................................. 114
CARD FINESSE .................................................................................................................................... 115
THE RED AND BLUE BACK COLOR CHANGE .............................................................................. 117
THE FINDERS....................................................................................................................................... 119
THREE CHANCES................................................................................................................................ 120
HERE OR THERE ................................................................................................................................. 122
HIDDEN MYSTERY............................................................................................................................. 124
--- TRICKS WITH FAKED & DOUBLE FACED CARDS ---............................................................. 127
CARD IN HIGH..................................................................................................................................... 127
A CARD IN FLIGHT............................................................................................................................. 131
THE SUPER EYE POPPER................................................................................................................... 134
CARD ON THE WING.......................................................................................................................... 134
UNIFLIGHT........................................................................................................................................... 135
LOST AND FOUND.............................................................................................................................. 137
RENOVATED SPHINX CARD TRICK ............................................................................................... 138
THE MUTILATED CARD .................................................................................................................... 140
COLOROTO .......................................................................................................................................... 141
VICE—VERSA...................................................................................................................................... 144
SYMPATHETIC CLUBS ...................................................................................................................... 145
6
--- TRICKS WITH SIMPLE SET-UPS ---............................................................................................. 148
CARD VOICE........................................................................................................................................ 148
A FUTILE LESSON .............................................................................................................................. 150
THE SCARNE THOUGHT CARD ....................................................................................................... 150
RESTLESS CARDS............................................................................................................................... 151
THE CARD PHENOMENON ............................................................................................................... 153
THE ULTRA FIND................................................................................................................................ 154
--- TRICKS WITH SPECIAL DECKS --- ............................................................................................. 157
CRISS-CROSS....................................................................................................................................... 157
THE FUTURE DECK............................................................................................................................ 158
--- COMPLETE ROUTINES --- ............................................................................................................ 161
THE OMEGA CARD ACT.................................................................................................................... 161
No. 1 — THE RISING CARD ........................................................................................................... 164
No. 2 — THE PENETRATING CARD ............................................................................................. 165
No. 3 — THE POCKETBOOK CARD.............................................................................................. 166
No. 4 — THE IMPALED CARD....................................................................................................... 167
No. 5 — THE TORN CARD.............................................................................................................. 167
FIVE FINDO.......................................................................................................................................... 169
No. 1 — CARD AT ANY NUMBER ................................................................................................ 169
No. 2 — "YOU COUNT 'EM" ........................................................................................................... 170
No. 3 — CARD FINDER................................................................................................................... 171
No. 4 — "STOP" ................................................................................................................................ 171
No. 5 — "THE SPELLER" ................................................................................................................ 172
--- FORCES AND IMPROVEMENTS --- ............................................................................................. 174
ONE HAND CARD FORCE ................................................................................................................. 174
FORCING WITH A DIE........................................................................................................................ 174
--- ADDENDA --- .................................................................................................................................. 176
IT GOES THIS WAY ............................................................................................................................ 176
7
TED ANNEMANN'S FULL DECK OF IMPROMPTU
CARD TRICKS
A Few Words....
Card effects, such as the ones which follow, are to be welcomed at any time for that
impromptu type of "do something" trick which every perpetrator of magic is called upon
to do —generally at off moments when the favorite gimmick is in another suit. Just learn
a few of them and you'll be ready at the drop of a hat to pick up your host's deck and
maintain your reputation.
These 52 tricks were favorites with Ted Annemann and the majority bear the earmarks of
his genius for substituting subtlety where difficult sleights would ordinarily have been
called for. Among the effects are contributions by such famous card men as Dai Vernon,
Dr. Daley, Jean Hugard, Al Baker, Audley Walsh, Stewart Judah, and many others. All
the tricks bear Annemann's endorsement as well as the acclaim of the readers of the early
issues of THE JINX Magazine, now out of print.
We know you'll enjoy doing these tricks, as each one has been streamlined to obtain the
maximum of effect with the minimum of effort. We feel sure, too, that you will prize this
collection of 52 impromptu card tricks and that this book will prove to be one of the most
popular books in your library.
MAX HOLDEN J. J. CRIMMINS, JR.
8
--- Extemporaneous Magic ---
THE CARD ON THE CEILING
TED ANNEMANN
For those who might like to try this card effect (which is one of the most effective of all
card tricks) I can give a most practical bit of information. Get a small, sample size salve
tin with cover. Into it put some Woolco Paste, obtainable in nice large jars from
Woolworth stores—for a dime. 1 Be sure that it doesn't come to the top of the tin. Just
carry this around for the time when you'll need it. Opportunity arising, remove the top,
transfer it to the bottom and keep in your right trouser pocket. With the tin not too full,
the paste won't start sticking up things.
Use any deck—have the card selected and replaced. Get it to the top and ask if anyone
has a suggestion as to how you might find it. The stall serves you well. Your right hand
drops to your pocket and the second finger gets a dab of paste which is then applied to the
back of the top card. Now, remark that you have an idea (it will be more bizarre than any
offered). Give the deck a last minute dovetail shuffle leaving the sticky card on the top.
Hold in right hand with second finger and thumb at the ends. Throw flatwise to ceiling
with a little twist to the right as you let it go. The circular or rotary motion of pack is
what assures a nice flat contact—the deck falls and the card is there for all to see and
remark about until the janitor or house boy gets a ladder. This particular paste works
better than soap, etc., and all those things which have been written about before. And for
the first time I think I've brought out the partial spin of the deck which makes this effect a
sure thing.
It will save you a lot of time and trouble in getting the knack of the throw if, when you
practice, you tie the deck each way several times with thread.
THE UNDERCOVER MYSTERY
TED ANNEMANN
This effect has all the elements of the type of trick which will be long remembered by
your audience. It is ideal for an impromptu "quickie" in a bar, cafe or anywhere that a
tray is available.
Effect: Borrow a deck of cards and have two selected. Now ask for a tray and drop it,
bottom up, on the floor. Ask for the name of one of the selected cards and drop the deck
onto the tray causing this first selected card to reverse itself on the top of the deck. Drop
the deck a second and third time, but the second selected card refuses to make an
appearance. However, as a finale, someone lifts up the tray and finds the second card face
up on the floor beneath the tray.
1
Unchanged from 1943 edition. Almost any strong paste can be used.
9
Method: First have two cards chosen and returned to the deck. It is now necessary to get
one of them to the top and the other to the bottom of the deck. Probably the easiest is to
have both cards returned to the deck together, then insert the little finger and make the
pass. Remember which is on top and which is on the bottom. Now hold the deck in your
left hand by the side with the thumb at the face of the deck and the fingers across the top.
Have the deck well into the thumb and first finger crotch. Ask for the tray and take it up
side down with the right hand, fingers underneath and thumb on the upper (bottom) side.
Step back a little, as if looking for a good spot on the floor. At the same time bring the
hands together so that the tray covers the left hand which turns the deck face up. The left
thumb now slides off the face card and it is grasped by the right fingers on the under side
of the tray.
Apparently finding a good spot, drop the tray down flat from a standing position letting
the card go with it. If you just let it go you have nothing to worry about. And it is a very
disarming bit of business. Explain at this point that you use a metal tray because it will
work only on metal and not on a wooden floor or surface. Ask the person whose card is
still on top of the deck to name it. Drop the deck onto the tray and the named card flips
face up. This is merely the age old trick of sliding the top card sidewise about half an
inch so that the air will flip it face up as the deck drops. Many know it but it is a build up
for the finish. Pick up the cards and ask the name of the second card. Drop the deck again
but this time nothing happens. Try it once again and then hand the deck to the spectator
and ask him to take out his card. He can't find it and, as a climax, you have him lift up the
tray and his card is looking right up at him.
No one even remembers that you put the tray down and I've had them swear they put it
down themselves. And the wise ones who know the air current flip over are given
something to think about when the finish comes.
10
THE WALK AROUND DISCOVERY
TED ANNEMANN
Whether or not this effect will be accepted as a "freak" trick as was my idea of finding a
card by music, in "Sh-h-h—! It's a Secret," I don't know. However, I do know that this
brain storm has garnered much applause, and not a little talk when performed in front of
goodly sized groups of people.
It consists only of effect and little else, but to date it has not failed to get a laugh when the
"walk-around" begins. It is so unlooked for, and so unexpected, that it evidently appears
funny that one should try and find a card in that manner. But, as those who make a living
before the public know, the out of the ordinary effects are those that are remembered
longest, and build up reputations for the performers first to do them.
Effect: From the viewpoint of the audience, a card is selected, returned as usual, but then
the deck is placed face down on the floor and spread around over the area of about one
square yard. Now the performer starts WALKING AROUND IN A CIRCLE ON TOP
OF THE CARDS! He asks that the selector concentrate upon his chosen card and
imagine the performer walking over it, coming closer and closer to it with each circle he
makes. Suddenly the performer stops. Saying that he is quite sure the chosen card is
under his right foot as it stands, he kneels on his left knee, lifts his right foot a bit and
removes from beneath, a card which he keeps face down and places it, still face down, to
one side. The cards on the floor are picked up and the spectator who selected one is asked
to name it aloud. Turning the oddly located card over, the performer shows it to be the
actual one originally selected!
Method: So that's my story, and I'll stick by it. Use any ordinary deck. Just before
starting in to work, put a piece of magician's wax, or better still, a piece of diachylon
(lead plaster) wax, about the size of a pea, about an inch from the instep towards the toe
on the sole of your right shoe. When this is stepped on, it flattens out to about the size of
a quarter. And don't worry about walking on it. It may pick up dirt and dust, but it will be
ready when you need it. Have the deck shuffled and a card removed. Take the deck back
as you hand the spectator a pencil to mark the card. Then have the card replaced, and in
your own way get the pasteboard to the top of the deck. After a riffle shuffle or two,
leaving the top card in place, put the deck on the floor with your right hand, and spread it
rather evenly toward the right in a long, straight spread, Now move towards the spread a
bit, and turn your body slightly to the left. Your right foot comes directly on top of the
right hand end card, you figuring to get the wax on about the center of the card's back. By
doing this, part of the card will be sticking out under instep. As your foot covers the card,
your right and left hands, scatter the row of cards in each direction, until they cover about
a good square yard of space. Thus, no one ever sees you deliberately put your foot on the
deck, or obviously steal away a card. Now walk over the cards in a circle, and watch the
reaction of the audience.
11
You go through the business of telling the spectator to think very hard of his card and that
you will try to stop near it. Let your audience know, in this case, about what you are
doing. Suddenly it occurs to you to stop, or so it seems to the watchers. You state that
you are sure the card is beneath your foot. Now kneel on the left knee, raise your right
foot at the heel, and your left hand goes under your instep on the protruding end of the
card and presses it to the floor as your foot is removed. Thus, it is not seen that the card
is, or has been attached to your foot. Hand it face down to someone or put it face down.
to one side. Before standing, scrape the cards together if you wish, or leave them for your
assistant. Then have the card named, show it, and return it to the selector. As I said in the
beginning, you'll actually have to try it before you will be completely convinced of its
value.
LOCATRIX
TED ANNEMANN
A simple method of location is that which follows. The basic principle together with the
disclosure make an exceptionally clean stunt, and while the principle is not new it has
been enlarged upon to the point where it will confuse even those who are acquainted with
or have used the old, single key card idea.
Effect: The deck is handed to a spectator while the performer turns his back. He requests
that the person deal the cards face down into a pile, singly and silently, and to stop
dealing at any time that he pleases. At such a time, he is told to look at the top card of
either the pile he is holding or the pile on the table, then to place the two packets of cards
together and cut the assembled deck a couple of times.
Turning around for the first time, the performer takes the cards, glances through them,
and finally says that it may be easier to locate the card while the pack is behind his back.
Putting the cards behind his back for a moment, he remarks that he has it at last, and the
deck is brought around and placed face down on the table. The spectator names the
12
pasteboard he originally noted, and the performer discloses it correctly and without a
chance of failure.
Method: While this is not a sensational trick, you will find it one of those nice
impromptu effects that is easy to remember and to present at a moment's notice. The top
and bottom cards are noted and remembered as keys before the deck is handed out. It will
be seen from the above directions, which are given very carelessly, that the spectator
receives the impression he does just about what he pleases. He stops dealing when he
desires, looks at the card on the top of either heap, puts it back on either heap, and places
the two piles together and cuts. And there is no chance that he may do the wrong thing as
far as the performer is concerned.
On running through the pack, the performer looks only for the card to the RIGHT or
under each of the remembered key cards. One of these is the noted card without fail. Both
are brought to the top of the deck and, remembering the top one, the performer states that
it may be easier to locate the card behind his back. The deck is placed behind his back for
a moment and the top card is pushed, face up, into the center of the deck. The hands are
brought to the front again and the deck is laid face down on the table as the spectator
names his card. The performer formally discloses it, either by turning over the top card or
by spreading the deck on the table to reveal the face up pasteboard in the center of the
spread.
AUDLEY WALSH COINCIDENCE
Effect: Have a deck in hand for following these paragraphs to make it much easier. In
effect, the performer genuinely shuffles a borrowed deck and fans them face down. One
after the other, four people (two alternately, or even one) select any card freely by pulling
it only half out of the fan. These are openly shifted to the bottom of the deck which is
handed a watcher who puts these four bottom cards face down on the table in a row. As
yet no one has seen their faces. The spectator is asked to run through the deck and
remove the four Aces so that you may show him a great coincidence! The Aces are gone
and found on the table! That's the coincidence! Taking the deck you ask one person to
give you the Aces one at a time in his favorite order, and you place each one at different
spots in the deck face down. Giving the pack a shuffle or two, you deal four hands of
poker and turning them over, you have the four Aces. This makes a nice, quick bit of
work and there is nothing difficult at all.
Presentation: Have the four Aces on the bottom of the deck to start. Dovetail shuffle and
keep them there. Now fan the deck and have four cards pulled out a little more than half
way. Close the deck with these cards protruding at front. The left thumb and second
finger hold the sides of the deck at the front end from below with the first finger curled
up against the bottom. With the right second finger tap the front edges of the protruding
cards to make them even and sticking out about an inch and a half. The right thumb and
second finger now holds the deck at the sides near the rear end and as you remark about
the freedom of choice and the coincidence you want to show them, the right thumb
counts off four or more cards from the bottom. The right hand raises the pack just a trifle
13
and this group is held by the left thumb and the second finger at the front end. This hand
immediately moves foreward with the packet under the protruding cards and the thumb
and second finger grasp the front edges of the protruding four. Now the right hand pulls
the deck from these cards held by the left hand and drops it on top. The illusion of it all is
quite perfect. Onlookers only see you square and pull out the four chosen cards, putting
them on the bottom of the pack. The spectator now takes the deck and puts the four
bottom cards face down on the table in a row. He looks through the deck for the Aces, at
your request, and then is told to turn over the tabled cards, taking the deck you hold it
face down in your left hand with the left thumb at the upper left corner, so that it may
riffle the corner downward. The pack is really held tightly between the base of the thumb
on one side and the fingers on the other. Ask for the Aces singly and in any order. The
left thumb rimes down three cards and taking the first Ace face down you carelessly
insert it about half way at this point, but sticking out a little to the left also. This covers
the thumb completely which riffles three more cards while the second Ace is handed to
you. Stick this in the pack apparently at random and continue letting three cards go by
your thumb for the third Ace and again for the last Ace. Put the Aces in carelessly so that
they stick out at angles and at different lengths and it is very convincing.
14
Now dovetail shuffle leaving the top 16 cards in place, make a false cut if possible, and
deal out four poker hands. You must get the Aces because you put them in the proper
places. This is an extremely neat table routine for clubs. In the first part be certain that
your audience appreciates the fact that the selection is perfectly free and not forced. If
you remark at the outset that four different cards are needed in order to show a strange
coincidence, no one will ever suspect what is going to happen. In the second part do the
bit of thumb riffling each time as the spectator is picking up an Ace and you are watching
him.
UP AND DOWN
DAI VERNON
While this trick is not wholly original, the method of handling makes it a self contained
mystery, and does away with the older way of dealing the cards into table piles, a
procedure that is quite boring and mechanical looking.
Effect and Routine: From any deck the performer deals 20 cards and the Joker. While a
spectator shuffles the 20 cards, the performer runs through the rest of the deck and
removes two cards which he places face down in front of two of his audience. He now
hands the Joker to one spectator who inserts it anywhere in his packet of 20 cards, then
fans through the packet and notes the card in back of, or to the LEFT of the Joker. He
closes the cards and hands them to the second spectator who fans through them and notes
15
the card in front of, or to the RIGHT of the Joker. He closes the fan of cards and cuts
them a time or two.
Taking the packet, the performer holds the cards with faces towards the first person and
says he will run through, putting one up and one down, and the spectator is to note
whether or not his card goes in the UP bunch or the DOWN bunch. The cards are held in
the left hand with their backs towards the performer as he separates the cards as follows:
The right hand takes the top card from the back of the packet, calling it UP. The next card
is taken by the right hand in front of the first card, but DOWN about half way so that it
covers the lower half of the first card. The next card goes in front also but is an UP card
and thus squares with the first card. The fourth card is DOWN, squaring with the second
card. Continue this maneuver throughout the packet, and at the finish, just pull out the
bottom interlacing bunch and drop them on top of the face down upper group. Regardless
of whether the spectator sees his card or not, or where, that part is just a blind. Now
repeat the same thing with the second person. This idea does away with all dealing of
cards on a table.
At the finish of the second time through, fan the deck face toward someone and have him
remove the Joker from wherever it is. All through the effect you emphasize that you
never see the faces of the cards. When the Joker is taken out, cut the deck at that spot.
Count off the top ten cards (don't disarrange them) saying that you will divide the packet
in half, and put them, face down, in front of the first person. Put the remaining ten cards
in front of the second person. Now state that before any selections were made, you placed
a single card face down in front of each person and that these are "prophecy" cards and
will indicate where the selected cards are to be found. Turn over the first of these
"prophecy" cards—it's a 5 spot! Openly count down in the first man's packet and hold the
fifth card face down. He names his selection, you turn up the card you are holding and it
is correct! Turn over the second man's "prophecy" card. It is a 6 spot! Count down and
hold the sixth card in his packet. He names it and you are correct again!
You should like this feat because it's clean and neat, working automatically. Just put
down a 5 and 6 spot for the two prophecies. Follow through as described and everything
is bound to work.
16
WISE GUY CATCH
S. WIMBROUGH
Effect: Hand a man a deck of cards. He stands in front of the audience and holds them
face down behind his back. You tell him to remove any card from within the deck, keep
his eyes tightly closed, and while thus incapacitated bring the card around, still with its
back to the audience, touch it to his forehead for a second and then put it safely into his
back pocket.
He can't (and doesn't) know what it is. You can't possibly read his mind because of that.
And yet, after he opens his eyes, you tell him to pick out any person in the front row of
those watching and ask him to name a card. THAT PERSON NAMES THE CARD HE
HAS IN HIS POCKET!
Method: Aptly named, this effect is one of those ideas to be kept in the mind for the wise
guy who always seems to pop up. Just before handing the deck to this ever present type
of obnoxious personality, simply reverse the top and bottom cards. Following your
directions as given above he provides the whole audience (let alone the front row) with
the name of the card he has chosen, for upon putting it to his forehead (while his eyes are
closed) IT IS FACING THE AUDIENCE AND THEY ALL BECOME AWARE OF ITS
IDENTITY. He then puts it into his pocket from where it is subsequently removed much
to his discomfiture.
A STORY OF CRIME
TED ANNEMANN
One of my favorite "story tricks" for many years is the one I'm describing here together
with the patter angle, which is really the most interesting part of it all.
First I'll give the effect, then the method, and finally the story. But, as I've said, the story
is the dressy and all important part. A card is chosen, returned, and the deck shuffled by a
spectator. Running through the cards face out, the performer removes the four Aces.
These are shown separately and singly. The spectator cuts the deck at the center, and the
four Aces are replaced, face up, at this spot, and the cut is replaced. The deck is not even
picked up from the table, but for effect it's given a bit of riffling with one hand. The deck
is spread face down and in the center are the four face up Aces—BUT among them now
is seen a face down card. The fan of five cards is removed. The spectator names the
chosen card, the fan is turned over and the card in the center, mysteriously located, is the
chosen one.
Method: So much for the effect without the story. You'll have to take your cards in hand
to get the working in a practical manner. The card is selected and returned and is brought
either to the top or the bottom by your favorite method. If to the bottom, glimpse it, cut
the deck and give it to a spectator for shuffling. If brought to the top, do the same. In
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other words, all you need at this point is the name of the card. I vary this sometimes by
forcing the card, then give the deck to the assisting spectator and ask him to replace the
card himself and give the pack a good shuffle.
After the shuffle, take the deck, and pattering about finding four cards which will
represent four prominent men I run through the cards and cut the first Ace to the bottom.
Suggest that you will use the Aces to represent the people. Now go right through the deck
again looking for the selected card as well as the other three Aces. Each time you reach
one, snap it loudly to the bottom or face of the deck. Your audience hear you get only
four cards to the face of the deck which they believe to be the four Aces (however, ONE
of these 4 cards you've so openly found is the selected card). Now take these five bottom
cards in a bunch from the deck, which is placed aside for the moment. Hold the packet of
five face down and, as you remark that you will use the four Aces and introduce them as
people, shift one or two from the top to the bottom of the packet so to bring the chosen
card to the top or back of the bunch. Now hold the packet face out in your left hand, with
the fingers at the bottom side, the thumb at the top and the forefinger at the outer end.
With the second finger of your right hand, slide off towards you the first Ace which is on
the face of the packet and put it on the table or the floor, face up. Do the same with the
second and the third Ace. Count them as one, two, three and four as you do so. The last
card, however, is grasped at the ends with the right second finger and thumb and put on
top of the others. You have thus counted and shown four Aces. Pick up the packet and
hold it face down in your left hand, with all the fingers at one side and the thumb and its
base at the other. Now remark that you will introduce the people in person.
Slide off the top card with your right thumb at the front end, turn it over, end for end, and
square it face up on the packet. Mention who it is while the right second finger and thumb
picks the card off by the ends and places it down on the table face up. Do the same with
the next card, also naming it according to your patter. Turn the third Ace over in the same
manner and explain who it represents. However, as you lift this card off you've got to
steal the selected card along with it. Do it as follows: Take hold of the face up Ace with
the right second finger and thumb, as before, at the ends but nearer to the right edge of
the card. Hold firmly to the two top cards (the second one being the selected card and
face down) while the left forefinger slides the bottom card—an Ace) out a bit on the left
side. This frees the two top cards, and they are lifted as one card and laid on top of the
pile on the table. Lastly the single card remaining in the left hand is turned over, face up,
and named before adding it to the pile of Aces on the table.
The spectator now cuts off half of the face down deck, and the pile of squared up Aces
are placed, face up, on top of the lower half of the cut. The remaining cards are replaced,
sandwiching the Aces in the center. The deck is now riffled without moving it from the
table, and when it is spread out across the table an odd card is seen to be face down
between the center Aces. The five are removed in a fan, and when the spectator names
the identity of the murderer (the selected card) you turn the fan over and the right card
flashes into view. Now go on with the patter, and you'll see, with the cards in your hand,
how it all fits together and makes a smooth running story to cover the necessary action.
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Patter Story: "This is a story of crime; a tale concerned with criminals and the law. The
deck is to represent the underworld, and in it, there are 52 law makers and law breakers
all trying to outwit each other. First, I want you to remove one card, and look at that card
as a murderer of the worst type. A man who is the cause of a great manhunt. No one is to
know the identity of this much wanted man but yourself. After you've seen his face, drop
him back into the underworld. This shuffling is to show the shake-up in the police
department after present officials have failed to capture the criminal. Perhaps someone
else had better mix them too, though. You, sir, give them a shuffle, to prove that he's
really lost in the dark alleys of iniquity, and is not being protected by politics.
At this time I want to introduce four great men in our story. These gentlemen are always
trying to do their bit towards wiping out crime, and this will be a test of what they can do.
I use the four Aces to represent these men, (when an Ace happens to be selected card, use
the four Kings) and shall introduce them to you personally. Here are the Aces, one, two,
three, and four. Introducing them singly, we have the Ace of ......... (here, always use the
same order of names, no matter what order of Aces), who is the Mayor of the metropolis
in which we are living. Next we have the Ace of ............, who is the District Attorney.
Then comes the Ace of ............. who is the Commissioner of Police, and lastly, the Ace
of ........., who represents a reporter from the ............ (localize the name of paper)............,
for one must know what is going on.
If Mr. .......... will now lift the lid from off the underworld for a moment, I'll place these
four just men, with apologies to Edgar Wallace, in the middle. This action of riming is
supposed to represent great activity in police circles, while the manhunt is on and the
criminal is being pursued. The drag-net is, of course, spread over the city, so we, in turn,
spread the deck over the table, and here, deep in the underworld, we find the four men
with a suspect between the District Attorney and Commissioner of Police. Who it may
be, or how he got there, we don't know, but they picked him up somewhere. And now,
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Mr. ..................... will you name, for the first time, the murderer? The ...........................
Look, they've got him!
THE 32 CARD MYSTERY
AUDLEY WALSH
Effect: The performer borrows any deck and proceeds to deal four piles of eight cards
each. The onlooker selects any one of these piles and, picking it up, the performer has
him think of a card when they are fanned face outward. The four piles are grouped
together and again dealt into four piles. Fanning each pile for the spectator to glance at,
the performer asks him to state when he sees his thought of card. The others are discarded
and this pile dealt into two rows of four cards, one under the other, and with all of the
cards face down. The spectator indicates a row, then two cards in that row, and finally
one card. He names his card thought of, turns over the one left on the table, and it proves
to be the one!
Operation: This effect practically works itself with the exception of a simple bit of
information which the performer gains at the outset. Follow the above primary maneuvre
in the effect. Have one of the four piles selected. Pick it up and fan four of the cards face
down in left hand and four in the right. Now ask the spectator to think of just one card
that he sees. Lift the two fans together, hold them for a second and lower them again.
You won't miss once in a hundred times knowing it which of the fans the card has been
noted. When you drop the fans, put the one in which the noted card lies under the other.
Reassemble the piles, putting one on top of the one in hand and drop this packet on top of
both remaining piles. This routine is always followed. The cards may now be false
shuffled and cut provided the order is not changed. Deal a row of four cards face down,
on top of these another row and so on until the 32 cards are again in four piles of eight
cards each. Pick up each of the piles and fan them facing the spectator. When he sees his
cards he says so whereupon the other three piles are discarded. Now deal this pile of eight
face down into two rows of four each from left to right, one row under the other. The
selected card will always be in the lower left corner. Have the spectator indicate a row,
then two cards in that row, and finally one of the two left. In each case, the well known
dodge of either leaving or discarding the row or cards selected is resorted to and the last
card left on the table is the one the spectator thought of. This effect, smartly worked, is
clean cut and but one trial will convince you of its value as an impromptu table trick.
THE CARD ANGLER
STUART ROBSON
Effect: The performer has the usual card selected, marked, and returned to the pack
which is shuffled and dropped into a hat for further mixing, as the magician says, in order
that they may be shaken around without the possibility of being controlled by the hands.
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From his pocket the performer now takes a roll of ribbon about two feet long, and
unrolling it, may tie one end to his wand or a table knife to represent a fishing pole of
sorts. The end of the line is lowered into the hat, and the performer asks the spectator to
name the selected card.
Slowly the line is raised, and dangling on the very end is seen the chosen card with its
face to the audience. Removing it, the performer gives it to the selector as a souvenior of
a magical fishing trip, and suggests that the owner may now have his catch stuffed and
mounted as a trophy.
Method: The effect is quite new and original, and the working is too clean for words.
The selection and return of the card is done in the regular way, and the chosen and
marked card then is passed to the top of the deck in the usual way.
A felt hat or derby is now taken and the deck dropped face down inside. Any amount of
side or circular shaking will not mix the cards a bit, but the audience can hear them
hitting against the sides and it is all very realistic. The performer can always see the top
card staying right there. Put the hat on a chair or table so that one end of the chosen card
is pointing towards the audience.
The ribbon used should be of half inch wide stock, and preferably red in color. At one
end make a half inch fold, and in this pocket sew three bee-bee shot.
At any Dennison store or stationery house, get a fifteen cent roll of Scotch Cellulose
Tape, manufactured by the Minnesota Mining and Mfg. Co. 2 Get the half-inch size in
red. This is positively the greatest sticking medium on the market to-day, bar none. Take
a one inch length of the tape and let it curl naturally. It will curl with the adhesive side
outward.
Now stick the tape onto the ribbon end which is weighted, so that the curl of the half inch
left free reaches one-eight inch below the end of the ribbon. Roll the ribbon loosely from
the unweighted end, and have it in your pocket or at hand.
Proceed with the effect as described. Tie the ribbon to a wand or knife with the adhesive
at the rear. When you lower the line into the hat, have the end of the ribbon meet the
chosen card as near as possible to the front end. Don't jerk it or work fast but let it rest
surely on the card. Now raise the card out slowly, remove and return it. Just a touch of
the adhesive is necessary and it is surprising how it works.
ACES OF EIGHT!!
OTIS MANNING
This is one of those rare effects wherein the performer does it all and never requires the
taking of a card. It is simple, the sleights are nil, and the routine, while not astounding, is
2
Unchanged from 1943 edition. Prices have risen and are likely to continue changing.
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neat and gives the impression of great skill with the pasteboard. It is impromptu and uses
only eight aces. Remove the aces from two decks, and while the backs of all should be
alike, in a pinch backs of the same color will do. If a pinochle deck is handy, take the
eight aces from it.
Routine: The eight aces are laid face up on the table. Calling attention to the fact that
there are two aces of each suit, they are gathered up and the spectators are allowed to
square cut as often as desired. Placing the cards behind his back, the performer, by sense
of touch, brings them out in pairs of like suits. Again they are gathered and cut. This time
the performer states that he will bring them out in like colors but different suits. For the
third time the cards are placed together and cut. This time he states he will bring them out
in pairs of red and black each. The fourth time the cards are picked up and the performer
says that mixing means nothing as any of them can be found by the sense of touch. He
cuts the cards a few times and then spells them off, moving a card at a time from top to
bottom and spelling R-E-D, turning the last card face up on the table. It is red! He then
spells B-L-A-C-K in the same manner and the last card turns up black. This is continued
through the packet until the last card is left, which is black. For the last time the cards are
assembled and cut several times by the spectators. Putting them behind his back, the
performer instantly brings both hands to the front and in one hand are the red aces while
in the other are the black ones.
Method: A routine like the above makes a very clever effect for close up parties and
night club tables. The first three effects are worked by the same means.
First, all the Aces are face up on the table. Pick them up one at a time into a face up pile
on your hand—Clubs, Hearts, Spades, Diamonds, Clubs, Hearts, Spades, Diamonds. Just
have the last four in the same suit order as the first four and have the colors alternated.
Have the packet cut any number of times. Put the cards behind your back face down in
your left hand, count down four cards and hold a wide break with your left little finger.
The right forefinger goes into the break and pulls off the top card of the lower packet and,
at the same time, the second finger is on top of the first packet and the two cards can be
drawn off together and tossed face up on the table. Repeat this three times and all suits
come out in p