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Jfferlin sMaster

Manipulations

Jack Merlin

Section One

of

and

a Pack of Cards


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Cherished Secrets of a Master Maripulator,

MERLIN

S MASTER ZAJvIPUI .. .;:.

Section One.

"and a Pack of Cards."

Third Revised Edition*

By

JACK MERLIN.

Edited by A* W. C. Brurafield,

Foreword by Charles J. Maly

Published 1928.

By

THE WELWORTH COMPANY.

756 West Pratt Street.

Indianapolis Indiana.

U, 3. A.

Cherished Secrets of a Master Manipulator*

5"c~

c T


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COPYRIGHT 1937 1928 THE WELWORTH COMPANY
http://shop.conjuringarts.org/store/pc/eBooks-by-Instant-Download-c52.htm


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FOREWORD.

J KME R LIN. The very name instantly recalls

to our minds theunca nny obedience of the little

cardboards to his will and the subtle agility of

his fingers. Undoubtedly, he is the master su-

preme of the pasteboards, and a student of psy-

chology. To have witnessed a card demonstration

by Mer lin is an event not easily to be forgotten.

In his hands, the old card tricks and sleights of

yesterday with added Merlinesque touch become the

classical masterpieces of today.

In the pages of this manuscript'' ahas unselfishly

revealed, in detail, all the sleights, subterfuges,

and clever tricks that have emanated from his own

fertile brain; sleights and tricks that have made

him stand out above all other card workers as the

greatest of this century. He has omitted nothing.

It was with the thought in mind of magic first

that he finally agreed to divulge his cherished

secrets to his brother magicians, with the hope

that they might play some small part in elevating

the art of manipulation.

For the newest beginner, or the most seasoned pro-

fessional, this work will thoroughly and complete-

ly furnish sufficient material, with a reasonable

amount of practice, to bring yery gratifying r e-

sults. To me a card worker myself, these pages

will be priceless as I can well ju dg e fo r I have

been privileged. 'toread the advance proofs.

CHAR LE S J. ivIALY.


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THEORY.

As previous volumes have covered to a great extent, in prelimin-

ary chapters, subjects such as Stage Deportment, Dre ss, Patter, Theory

ate.,I will merely touch these subjects briefly.

Dress according to the times, without exaggeration. Mak e your

stage presence natural. Just be yourself* Patter is sadly missing

from this volume; there

l

s a reason. Patter that is suitable to

one personality is hopelessly unsuitable to another; however, if

comedy is yourgoal, create it by natural situations, ^uns become

very tiresome. The theorv of magic has been admirably covered in

Our Magic (Maskelyne &

D

ev an t) by Mr. Maskelyne. Many may dis-.

agree with the abstract principles he propounds, but eventually in

the hard school of experience, the truths of feds theory, like chickens,

will come home to roost.

So much for the preliminaries, now for the main b out ,

PRACTICE.

Many conjurors merely practice against time; by that, I mean

they are clockwatchers and often they boast of their hours of prac-

tice.

Practice to me is something I cannot resist.

practice because

I enjoy it. When I force myself to practice, I accomplish nothing.

Take a sleight and dissect it, that is , take each p&ase of the

move and start accomplishing the sleight by as little movement as is

absolutely necessary, seeking a plausible explanation to cover it.

Do not practice in front of a mirror, but at different stages in

the accomplishment of a sleight, try it before a mirror and make cor-r

rections.

Practicing before a mirror is responsible, I think, for the

bad habit some manipulators have of closing the eyes at the psycho-

logical moment of accomplishing the sleight. When that moment arrives,

let the eyes rest anywhere but on the hands and keep them open, don

f

t

wink.

Do not grip the pack as though, your life depends on iti- -tHold the

cards moderately loose. This eliminates noise. Avo id swinging the

arms in an arc to cover a move.

Even though familiar with a* move, always practice it as it is

applicable to each trick before attempting in public*

In regard to effects, always remember that an audience wish to be

entertained so never ask them to think or remember to any great extent.

What I wish to convey is: do not confuse the audience.by asking them

to remember several cards or jnumbers or the positions of several cards.

Make your effects direct.


6/79

It is essential that you intersperse your tricks depending on

purely sleight of hand with effects gained by mechanical or ma the-

matical procedure. This enchances your program and very often the au -

dience give you credit for skill that you do not possess.

There are two old rules, in conjuring, Fir st: Never tell what you

are going to do before you do it, and Second: Never do the same tricks

twice during the same performance. I disagree. I believe in telling

what you are going to do. Do it and then add a surprise for good

measure. Most of my best effects

find are due to repetition with

slight variations. Of course, in some tricks this is impossible aneb

not advisable. I have found it beneficial in stage work to eliminate

many of the red cards from the pack* This helps as the black cards

are more in evidence and they show better from a distance* However,

if any of a committee notice their absence and call my attention to

the fact, I am prepared, for previously I have placed the separated

red cards conveniently in one of my pockets ard I- produce them from

the pocket of the member of the committee who complains, remarking

something to the effect that he had removed them himself. Then I add

them to the pack, and proceed as usual.

PASSES.

Methods of bringing a selected card to the top or bottom of a

pack are perhaps the basis of all card tricks, hence, a short review

is necessary.

The Charlier or one hand pass is impossible as there is no way

to rny knowledge to cover without excessive movement, which is at all

times to be avoided. The two handed or gamblers pass is useful but

is perhaps the hardest of all passes to perfect, that is, to accom-

plish neatly without the fatal arc movements used by most manipulators

as a cover.

The Hermann pass is natural, easy to cover and .easy to acquire.

I have varied the procedure and thei following cowers perfectly and

yet at the same time gives a plausible reason for the movement .

Improved Hermann*

:

Cut the pack for return of selected cards, holding the lower por-

tion in the left hand and the upper portion being in the right hand

held lengthwise between the first finger and the base of the thutnb.

Return the top portion inserting the little fingerr of the left hand

at the break, nhen ready to pass, place the rig ht hand in the original

position on the top portion, slightly raise and Imsert the second and

third finger in the break, the fourth and first finger below the pack,

lift this portion outward to the right under cover of the right hand.


7/79

You will note that the upper portion is now held between the thumb and

first finger of the left hand which at the same time is holding the

lower portion in a semi inverted position extended under the right hand.

Simply close the left hand turning it over at the same time releasing

trhe hold-of the right and remark, First, I want you to note on the

bottom of the pack I have an ace of clubs and that is the secret, etc.

The action of turning the hand covers the pass and the remark concern-

ing the bottom card gives a plausible reason for the doing so.

Now a word concerning the spectator. I Lave found that in des -

cribing an impossible feat the specta-tor invariably says the pack

was shuffled. To him it appears that is conclusive. Now as the spec-

tator^ view is our ultimate

goal,

I suggest &nd often use the haymow

shuffle in connection with the outjog (Erdnase.) The haymow shuffle

being the old fashioned method of shuffling with an up and down move-

ment of the left hand depositing the cards held in that hand from top

one or more at a tim e,

Outjog Pass.

Hold the cards for haymow shuffle, -after running a few into the

right hand invite the spectator to return selected card to top of por-

tion held in the right hand, outjog the next card deposited by the

left hand, and continue shuffling until there are but a few cards in

the left hand. During the up and down movement of shuffling pick up

the portion back of the outjog between the base of the thumb and the

third finger of the left hand back of the cards already held in the

left hand. Make a break with thumb of the left hand and continue

shuffling till you come to the break and drop separated portion in-

tact on top. Select&d card is now on top and from appearances the pack

has been shuffled thru but once. This sleight is very useful in many

effects and is used a great deal by gamblers.

Side Slide Palm and Flesh Grip.

The side slide in conjunction with the flesh grip, I consider the

acme of perfect contrel both as a pass and change. It is

th

most

difficult to acquire and doubly so to finish, Hold the pack naturally

as for dealing from the left hand. Extend the hand inviting spectator

to peep at a card by raising the index corner. As he releases, make

a break below the chosen card with the flesh of the first finger of

the left hand. Pvaise the top portion slightly between .ttae first finger

and the thumb of the right hand, the first finger at the far end, the

thumb at the rear end: both near the fight upper and right lower cor-

ners So as to allow the palm to extend to the right of the pa ck . In-

sert the tip of the second finger of the left hand and with a, straight-

ening move outward to the right push the selected card into the palm

of the right hand. A movement as if to square the pack deposit s sel-

ected card on top or immediately hand pack to be shuffled, ret-aining

card in the palm,

i any

may find it is more convenient to use fi rs t,

second and third finger in sliding card into palm, but I find

i t

created too much movement.


8/79

THE PASS AS A TRICK.

The following being a routine I use as a variation of moves to

fool those familiar with passes:

Top Turnover,,.

Hold pack in left hand. Reverse top card ofp ck bypushing top

card with thumfe of left hand so it protrudes sidewise from pack to

the right, now strike the protruding edge with an upward movement of

the thumb of the right hand keeping fingers together and palm down-

ward (this is important to the moves that follow,) Repeat turning

top card, finally leaving it face up on pack, call attention to^bot-

tom card. Have spectator peep at index, use the flesh grip, slide

the selected card to the right palm, immediately turn the reversed

top card as before, dropping selected card from right palm on top as

you execute movement. Have spectator name card and show on top*

Pass Using Second Dealing, .

Show top card, take second card and insert in pack. Take second

and show the card is not on the top. Place this cardontop and again

take second, showing card which you apparently placed in center*

SnapPass*

Many of you, perhaps, think I do not place the card in the center.

This time I shall reverse it then you can see just when it happens,

Place the pack in the left hand, back towards spectator, either hold-

ngbelow the eyes of the spectators or holding,tothe left of the

body, back of the pack outward, the tip of the thumb holding one side,

the tips of the second, third and fourth fingers the opposite side,

the tip of the first finger resting on the top edge of the pack. Ntfw

insert top card, reversed, a little way into the pack at the-..upper *

edge,the first finger of the left hand being under and resting a-

gainst the card. Now start tapping card into pack with, the'fingers

of the right hand until card is extending about a half inch out of the

pack. Now while tapping card, snap it out of the pack into the palm

of the rightb ndby pressing the extended portion of the card a-

gainst the tip of the first finger of the left hand* with the fingers

of the right hand and a side movement to the right. Tap a few more

times with right hand holding palmed card securely. This completes

the illusion. Snap card to tips of fingers producing saying> You

see,when you do, you don^.

11

etc. This;is very deceptive and a move

I prize highly.

Tip Over Change andPass.

Hold the pack naturally in the left hand. Cut about half the 7.

pack between the thumb and first finger of right hand, the first

finger holding the pack at the far end near the Car right corner, the


9/79

thumb holding the pack at the near end close to the near right -corner,

push top card of lower portion to the right about one half inch so

the edge is clear of tips of the fingnrs of the left hand with the

thumb of the left hand. With an upwe,rd mot .o..i turn the top card of

lower portion face up on lower portion by striking the extended por-

tion of cards with the edge of upper portion held in right hand.. Re

peat several times for effect. With second finger of the right hand

slightly separate bottom card of top portion at the corner edge near-

est the second finger. In reversing the top card of lower portion

from the face up position to the face down drop the separated card

of top portion on top of lower portion. Show bottom card of top por-

tion and turn top card of lower portion showing card to have changed.

There are many variations. It can be shown as a pass by inserting^

the dropped card without showing into the center of the upper portion

then by merely turning the top card of lower portion apparently the

card has returned to its original position. asses are merely a

matter of taste. Adopt theon most suitable-to your own use.

SECONDS AND BOTTOMS.

An expert dealer of seconds and bottoms has nothing to fear from

the overly wise as there is practically ho limit to the conjuring

effects possible with these two moves* They are well worth the time

spent in accomplishing. Below is the method I use and will try to

make c&rtain points more explicit than previous explanations have been.

Seconds.

Place the upper left hand edge of pack firmly between the junc-

tion of the thumb and first finger of the left hand, the thumb being

parallel to the top edge of pack, all four fir^ors holding the pack*

just so as to allow the top card or the second to be taken freely.

(This prevents two or three cards coming off together. The feel of the

fingers on this edge is very important.) Now practice moving the

thumb backward and forward without moving the card.

With the thumb of the right hand start towards pack to take top

card, thumb of left hand draws back top card and thumb of right hand

draws second card sideways from pack, the first and second fingers

of right hand grasps the card as it clears the pack. As soon as the

right thumb has secured tho card the left thumb moves top card for-

ward to the square position. In taking top card move the left thumb

backwards but not the card, in fact if the cards aro in the proper

position this will be necessary in order to secure the top card. The

moves should' be identical. It is all a question of tempo and properly

done it is indetoctablc. There are other methods such as

on

hand

second dealing, etc., but I have found the above the most adaptable.


10/79

Bottoms*

Place the pack so it is held between the second finger and the

heel of the palm of the left hand, the upper right hand corner being

held by the second finger and the lower left hand corner being press-

ed in the heel of the hand, the first finger resting parallel against

the top and the third and fourth fingers supporting the bottom, the

tips being visible at the upper right side. Practice dealing from this

awkward position by moving the top card sideways with left thumb and

grasping with the thumb and first finger of the right haad. Continue

till it becomes natural to hold a pack in this position. Practice

moving top card sidewise and back to square position with the thumb

of the left hand. As you push top card sidewise as soon as it covers-

the tips of the third and fourth finger'of the left hand draw these

under the pack and with the third finger push the bottom card out

about half an inch. Right hand approaches to apparently take top

card with thumb and forefinger. Thumb of left hand withdraws top

card and right hand grasps bottom card. As right hand takes bottom

card, immediately extend third and fourth finger of left hand so their

position is the same as previous to the move. As with second dealing,

it is merely a question of perfect time and coordination of the hands*

A second can be dealt from this same position bjz extending top

cardsidewisc with thumb and then withdrawing top card slightly be-

yond edge, (in other words dealing a second from the side edge in-

stead of the top edg e.) It is very hard to control but is convenient

when you wish to deal seconds and bottoms without changing the pos-

ition of the pack in the hands, I would like to impress once more

the importance of mastering the abov e.

Glide.

Place the pack in front of you on the table sidewise facg down-

wards. With left hand pick up the pack at the sides near the left

end between the first and second finger and the thumb, holding the

pack face dpwnward. Start taking the bottom cards away one at a time

with the right hand, holding the right palm upward and reaching under

the pack with the first and second fingers and with-drawing the cards

forward from the end. As the chosen card is the third from the botto$t

take the first two cards and lay face up on the tabl e. A s you reach

to take the third card which is the selected card, glide this card

back slightly, the end protruding under covor of the left hand and

continue taking'th- fourth^-f

ifth,, -etc:;

Ijwito spbetatot to .tcll'i

y to stop. When request is made to stop place the little finger of

the left hand against the end of the protruding bard. With the palm

of tbo right hand push the end of the pack back into the left hand.

This movement squares the chosen card on the bottom of the pack.


11/79

TRICKS BASED ON SECOND AND BOTTOM DEALING.

Four Ace Trick.

Show four aces and twelve indifferent cards. Place aces on top

and deal face downwards onttable. Show them to be fouraces. Place

on top and deal three bottoms and one top. You now have three in-

different cards on table and oneace,

. three

aces remaining on top.

Deal three bottom cards on the ace, *ick up and show they are in-

different cards and place back on top^of the pack. Deal them back

on any pile but the ace; now deal the next three which are aces and

three of each of the remaining six cards ofi the two indifferent cards.

After usual force of pile arhow aces assembled*

A Sequence Sffect.;

Remove the ace, deuce, tray, four ,five, six, setfen, eight, nine,

ten,jack, queen, king of indifferent suits and arrange in separate

pile as follows from top to bottom face downward. Ace, tray, five,

seven, nine, jack, king, queen, ten, eight, six, four, deuce. Show

cards in a fan to spectator. (You will note they donot appear at

a glance to be prearranged.) Ask spectator if he could name the cards

in their order at a glance. Interrupt saying Wait I'll reverse

them.* Place pack in the loft hand in position for bottom deal and

start dealing first a top th$n a bottom alternating through out.

Pick up pack saying, Why, you should be able to ae they are in

perfect order,* and spread on table. Cards now read ace, deuce, tray,

four, five, six, seven, eight, nine, ten, jack, queen, king. It is

merely a flourish but very effective. The effect is better if the

ears are previously arranged on top of the pe;ck

with a

break between a

and cut off at the start in a careless manner.

Bottom or Seconds may both be used for stopping at any given place

in a pack and producing a chosen card. Unlimited scope is given to

the performer who thoroughly masters them.

In sectiontwo Merlin at the Card Table, you will find num-

erous references to the bottom and second.

FALSE SHUFFLES ANDCUTS.

To accomplish my method of false shuffling it is necessary first

that you learn to shuffle differently from the usual methods.

Place tho pack on the table the left side towards you. Grasp the

pack with both hands, tho thumbs holding the side towards you and the

second and third fingers of both hands holding the edge furthest a-

way, t&fl first finger of each hand resting on top of the cards*By .


12/79

drawing the top or bottom portion to the right with right hand

square the two portions by tapping the ends together. One tap being

all that is usually necessary. Carry the portion hel.d in the right

hand in front and parallel to the portion b^.

In the left hand co

the sides of the pack arc adjacent, Raise ar edge oi t,Uo left

hand pack and riff with second and third fingers, the first finger

pressing the top of the pack. At the same time move, the right hand

portion towards the left, riffing this portion with thumb of the

right hand, the first finger pressing on the top thus accomplishing

a dovetail at the sides of the pack instead of the ends which is

usual.

When riff is completed reach the second and thirl finger of

the left hand and place them

o

the far edtc of the right hand por-

tion,keeping the thumb of the left hand in the original position

at the near edge of the left hand portion. At the sa&a time p&ace

the thumb of the right hand on the near edge of the left-hand portion

keeping the second and third fingers in the original position on

the far edge of the right hand portion, the first fingers of both

hands resting lightly on the top of the right hand portion. By

squeezing the two portions between the fingers and thumbs the por-

tions are caused to dovetail to the squared position, the little

fingers assisting in squaring the ends of the pack. practice in

repetition until it becomes natural. So much for the true shuffle.

False.Shuffle and Cuts.

Plaoe the pack in same position as for the true shuffle but in

cutting always take the lower portion of the pack away in the right

bind, Now riff as before so the edges are dovetailed. In squeez-

ing to square position make the action of both thumbs to right and

the fingers to the left. Y

o u w

m

n O

w find the ends of the lower

portion protrude at the loft and the ends of the upper portion pro-

trude at the right. Under cover of the second and third fingers

of both hands the third fingers of each hanc. r, -aid be retting on

the protruding

ends.

How by a simultaneous pressure of the thumbs_

against the near side and a pulling towards you movement of the third

fingers of the protruding ends, the pack will break. This break

should be very slight. Now draw the upper portion which is held

between the thumb and third finger of right hand out to right and

slightly toward you and place on top and square. Immediately cut

lower portion and tap ends to square and repeat. This movement^

gives the impression of a double cut if done quickly in repetition.

This shuffle will be referred to later in the chapter devoted to

w

Sleights at the Card Table as a Source of Entertainment. A

false cut in conjunction with above false shuffle lends to the con-

fusion of the spectators.

The Laco Thru False Shuffle,.

For those who prefer the lace thru false shuffle, I have a

little i rap rove ment which thoroughly covers up the same.


13/79

Place the pack on the table the left side towards you, cut off

the lower portion in the right hand, dovetail the two ends by the

thumb riff, push both portions so the ends are three- quarter way

into each other, the second finger pushing against

the

two corners

furthest way from you. At this point increase the pressure on these

corners which causes the portions to lace thru each other. Grasp

the corners at the side towards you with thumbs of both hands and

draw thru until the ends of each portion slightly protrude. Square

the pack on the sides, the second and third fingers of each hand

covering the ends which protrude. In the act of squaring draw the

pack about six inches toward you on the table and withdraw the upper

ncrtion with right hand and palco on top. This movement covers the

lace thru and appears as tho you merely shuffled the cards and cut

them onc e. The old method was practically impossible to accomplish

without detection.

FalseCut*.

Cut lower portion away with right hand and place on top making

a break in side towards you by a flesh grip of the ball of the left

thumb being careful that the front side remains square. Cut bottom

portion at the break and place on top. Fast repetition completes the

illusion.

TRICKS BASED ON FALSE SHUFFLES AND CUTS.

Reds and Blacks*

Separate reds from blacks and show them to be separated. Place

the reds on the black and do the above false shuffle and cut remark-

ing, that you are able to shuffle

1

the cards in any order desired

such as alternating a red and black throughout or two reds and

one

black or two blacks and one red, after this speech, pause and re-

mark, At least you are assured that tho pack is shuffled. Bridge

the cards and place back of you. Hesitate a moment, separate at the

bridge and bring red cards fanned in one hand and black cards fanned

in the other to the front. This is very effective as a little side

flourish,

Another Red and Black E.ffect.

Having secretly separated the rods and blacks give false shuffle.

H>.ve two cards selected seeing that you force a red card and a black

card. Now give the pack a little false shuffle and collect the two

cards seeing that the rod card is placed among the Sl ac ks and the

black card among therods. Give the cards one false shuffle and a

riff to ascertain the junction of tho reds and blacics. use fl esh

grip of thumb as used in false cut to hold the brea k. Ask spectators


14/79

to name cards. Cut to break and fan, reds in one hand and blacks

in the other and the red selected card Is

f^a^j

am^ng the black cards

and the black selected card is found among the

reds.

Many elaborations are possible with the separation of rods from

blacks in conjunction with, the above false cut rnd shuffl ?

Thumb and Finger Counting*

Aside from the natural control that the ability to count cards

by riffing with either thumbs or fingers gives to the performer, it

is possible to accptnplish

oy

its aid very perplexing effects. Follow-

ing are explained the modus operandi of two methods necessary in ef-

fects explained later.

First Method^

Hold the pack naturally in the left hand, as for dealing. Rest

the ri gh t hand on the top of the pack the second, third, and fourth

fingers at the front and the thumb at the rea r, the first finger

resting on the top of the pack. By slight pressure of the first fing

ger let the card riff singly downward from the thumb counting silent-

ly,

noting the number.

3 cord Method.

Hold the pack naturally in the left hand as for dealing with

this exception. Curl the first finger under the pack near the far

aiLo Bv pressure of the thumb downwards on the upper left side

a?low the cards to riff one at a time being careful to hold the lower

left corner tight against the root of the thumb, Jn conjunction with

this,

practice stopping at a certain number, releasing the pressure

at the base of the thumb. Insert the thumb at .his point and raise

the counted portion at the left side allowing the right eitfo to rest

against the third,v ::.

\i

=md fi:

l

:'tt finder:: ' v by draw, v the -ohumb

outward to the loi t

l

jr;r.g cut

zte

bottom car,, o, the counted portion.

With a closing movement of -uhs hand tur-n

~i'ai

card face up or. the top

of the pack allowing the separated portion to drop to the squaro pos-

ition on the pack. The effect when performer quickly being that the

thumb riffs the pack reaches in the center- and fir.ds a ca.rd and turns

it over on the top of the pack, the card being face up.

TVlCfTDASHD ON THUMB AN D FINGER COUNTING.

Tp Place A Sheeted Cb-.rd in a Given Position in the

Have a spectator select a card. After the card \sreturned bring

to the to2 by the

pass.

Hold the pack as for chofj.'-vt method and

immediately count-nine'cards with the thumb making a oreak* Now

announce that you will place selected card any numbers from top.

-12-


15/79

Under cover of this announcement bring the nine counted cards on top

of the selected card by the

pass,

(I suggest the improved Hermann

for these moves, as the hands are in a convenient position.) The

selected card is now ten from the top. Count five more from bottom

and insert little finger at break, This i

s

a U accomplished before

the number is chosen, I have fo: .nd ''~efOJ\

r: g

to be true ; Ask

for number desired. If number chosen is throe-?, four, five or six

immediately say, Oh, that's so easy. Give me one better than that,

I have found that invariably they will choose ten. If this occurs

call attention that you immediately without any movement, hand the

pack to the spectator and he counts and discovers card at chosen

position. Always have him name card before counting so that the

other spectators share the Effect. Now if eight or nine are sel-

ected say, Oh, give me a good number, and very often the choice

falls on fifteen as you have five cards already counted, merely pass

to top and hand cards to spectator and proceed as before, If over

fifteen, count to the desired number and pass. If under fifteen

release five counted cards and count desired amount- Often instead

of selected card I merely reverse top card saying I'll place

this card at any position in the pack and I have reversed it so you

can see it happen. Count nine below as before, execute pass and re-

mark first, I must make it go , now proceed as before.

Vibrating Cards.

Tho following is very effective, Three selected cards being

returned to pack and shuffled are found by riffing the thumb down

the edge of pack and turned face up on the pack as they are named

y spectators. First, count twelve by the first method of counting

and bring to the top making a break with the little finger. Now

have three cards selected being careful to have them selected below

the separated portion. Collect the three cards, cutting the pack

at the break. The selected cards are now the thirteenth, fourteenth

and fiftbenth cards, Call attention to the fe.ct that the cards are

carefully squared and th.\t none of tne selec

:

- .. cards are or: the :

bottom or top. Now , explain as follows,

c;

i aave found that each

card has a peculiar vibration and by longpractice I have trained

my thumb to distinguish the different vibrations- Of course you

believe this or not just as you please, During the above you hase

the cards in the left hand and are riffing them with the thumb^as

explained in the second method of counting. Hocount totthe fif-6

teenth card, insert the thumb.

x

oint to the spectator who returned

the first card, and say, Name your Card. Reverse first card and

continue saying, Some might think I looked byt I dorJt. Some-

times I listen. Place pack at left ear and. run fifteen and turn

second selected card. Now to make it more difficult I will place

the pack back of my back. Run fifteen, insert ttwmb, ask for name

of last card and turn reversed on top of pack. Ifyou wish to make

it more effective use sfalse shuffle and cut after you collected the

chosen cards, this is no t essential, however.


16/79

Throwing a Card in the M r and Cdtching in tho Pack

at,..a

Chosen Number,

Performer reverses the top card, takea it in the right hand,

throws it in the air and catches it in the pack at chosen number

down.

Hold the pack in the left hand as for second method of count-

ing.

Reverse the top card. Take in the right hand and throw in

the air perpendicularly with a spinning motion and catch in the

pack yriff ing the edge as in counting. Repeat this several times

explaining that you are able to catch a card in any position in the

pack, ause with card in the right hand and ask someone to suggest

a nun/bor. Turn the hand over, holding the pack so the back of the

hfxiin is up and carry towards the body. Ask someone to suggest a

iniuoor. Count one less than number chosen with the thumb and take

a slight flesh grip with thumb of left hand. Throw card in the air,

:: t

the break, about half inch, catch the card in break, immediately

releasing the thumb and riffing the portion of the cards below to

givo the effect of no preparation. Selected card is now protruding.

Do not square the pack, but count down showing card has been caught

at suggested number. This is rather difficult but really worth while.

Ink Card Used in Conjunction V/ith Count Tricks.

After using the above methods in sequence spectators are apt

to suspect you are counting. I always believe in inspiring a sol-

ution then utterly confusing the spectator by disprovement. My most

valuable asset I have found to be an inked card, that is, a known

card inked on the sides near the corners. Take a card and ink the

side edges for about half an inch at the corners which are not in-

dexed.

At any time in the course of performing counting tricks where

I am enabled to force the inked card without the spectator's sus-

picion I immediately take the following advantage, I know some

of you think it merely the skill of my fingers. * am going to dis-

prove

this.

Now you have selected a card, would you mind showing

it and returning it to the pack? Shuffle the pack yourself. After

spectator has completed shuffling, take pack and cut so as to place

inked card in the center. Hold in left hand as in second method.

Count position, riff until you come to inked card, pass to bottom - V

oi

1

X'- :i (l place at given number as in first count method. The

r ic cv xI ions* leave to you. There are no limits to its possibilit

Vu t>er uses of the inked card will be covered in the Third Section

17

::

so

M r / :G Ous tricks

As previously stated I consider the side slide described in the

chapter on Passes the most useful and natural as a change.


17/79

Very often after changing a card, say from the c.ce of Spades

to the four of Hearts, I have been interrupted by spectator saying,

Now let's see you change it b&ck to the ace of Spa des . A diffi-

cult problem you'll admit without manuvering suspiciously. To over-

conethis,I use what I term the slip-slide change.

Tfte 'olip-Slide Change.

Place the pack in the left hand horizontally outward, holding

it between the tips of the thumb and fingers , the thumb holding the

pack on the upper side near the further end, the second, third^and

fourth fingers holding the pack on the lower uide, the first finger

resting against the far end. Now with the right hand palm, start

tapping' with a drumming movement the face of the card exposed near

the far end keeping the fingers slightly apart. Carry the first

finger of the left hand a short distance away from the end of the

pack in the course of tapping. With the third finger of the right

hand, glide the exposed card forward till it touches the first finger

and protrudes over the far end of the pack. Immediately bring the

fingers of the right hand together and bring the right hand quickly

towards you pressing down on the second card, which is uncovered

at the near end, with that portion of the palm below the junction

of the fingers, and withdraw the second card till the far end clears

the near end of the extended card. Push the card in the right hand

forward on top of the extended card at the same time with the first

finger of the left hand push extended card back to the square pos-

ition immediately spreading the fingers of the right hand and con-

tinue the tapping* The effect being that the card was changed with

fingers wide apart* This move can be used to advantage in changing

tae top card of a pack to the second when the pack is in the face

down position, of course eliminating the tapping.

Change Over ffalm Change.

Hold the pack face outward in the left hand as for side-glide.

Slide the bottom card into the palmed position in the right hand.

Now move the right hand towards the pack to deposit the palmed card.

As the right hand covers the face of the pack deposit the card

inserting the little finger of the keft hand between the card and

the pack. Just as the right deposits the card and while it is still

covering the fac of the pack, hesitate and pretend someone suspect-

ed you had a card palmed saying, In thishand?

tt

No. Turn

over the right hand showing it empty at the same time under cover

of turning right hand turn the hand holding the pack and point at

the empty right hand. Now reverse the move again turning the padk

under the palm of the right hand. Now reverse the move again turning

the pack under the palm of the right hand. This should be accom-

plished without allowing the spectators a glimpse of the deposited

card held at the break on the face of the pack.

r

alm the card again

in the right hand and expose the face of the.original card about

three-quarters showing it to be the same, and witha quick movement


18/79

bring the right hand over the face of the p::,cL depositing the card

and accomplishing the change, flfany, no doubt, will proclaim tne

above to be useless as there should exist no suspicion of palming

if the performer's work is finished. However, at times it is use-

ful to be prepared in dealing with

the'

bothersome sceptic who is

so much in evidence in late years*

A Double Change.

Place the pack in the left hand face outwarci, horizontally,

between the tip of thumb and the tips of the second, third and

fourth fingers. The thumb holding the upper side near the near end,

the second, third and fourth finger holding the lower side near the

near end. The first finger resting on the edge of the far end. With

first finger separate about half the back portion and pull it to-

wards you about two inches causing the pack to have two cards ex-

posed the outward card being fully exposed and the card at the step

in the pack being half exposed, the thumb holding the pack at the .

junction of the two portions of the upper side and the second and

third finger at.the junction of the two portions on the lower side,

the first finger being curled at the back of pack. Tap the far end

of the outward portion by the first finger, pushing the card for~

/c.rd and pressing it against the palm in a forward movement bpr the

right hand. Carry the right :hand way with the card palmed. Now

C3.ll attention to the half exposed card of the back portion. By

reaching forward with the first finger, pulling the back card of the

front portion towards you, you cause the half exposed card of the

back portion to change. To cover, turn the face of the pack quickly

away and back, repeat once, then carry the right hand containing

palmed card over causing it to change, at the same time changing a-

gain the half exposed card of the back portion without necessating

the turning of the pack as the right hand covers the movement.

Change a la Erdnase Bottom

First,

I will explain the "Erdnase" bottom palm. Place the

pafek in left hand at the near end, the right side resting in the

ro.ot of the thumb, the thumb resting on the top parallel to the

near end, the loft side held between the first and second fnger,

the fingers of the loft hand resting o the thumb on the near end.

Riff the cards at the front end with fingers of the left hand. With

the second finger of the right hand separate card or a few cards

from the bottom of the pack by bending the corner of the card or

cards at the corner near the second finger. Carry the bent corner

backwards slightly, the card or cards turning on the corner held in

the root of the thumb as an

axis.

This causes the far left corner

to protrude slightly from the left side of the pab^c, under the tip

c.7 the fourth finger of the left hand which is partially covering

Lb.c top of the pack. With a straight backward pressure of the tip

of the fourth finger against the corner of the protruding card or

cards,at the same time releasing the hold of the second finger of

-16-


19/79

the right hand on the near left corner, the cards will rotate into

the palm of the right hand. Now for a caution. Move only the little

finger of the left hand and do not anticipate the approach of the

card or cards to the right hand by a forward move by this hand. Riff

cards with left hand again to cover, carry the pack away in the left

hand turning and dropping the right hand. Hold palmed card or cards

to the side naturally. This palm is very Useful in conjunction with

the bottom count in the trick of passing a number of cards from a

Portion of the pack held byon spectator to the portion

he

by

another. (Bertram*-a Thirty Card Trick by Ne il ,) Hold the thirty

cards before being cut and count five from the bottom palm as ex-

plained. After cards are cut, restore palmed five to the bottom

of the counted portion and with an upward move with right hand sweep

the counted portion off the table with the left hand into the right,

Improved C

hange.

Hold the pack in the right hand in position for bottom palm be -

ing careful not to show the bottom card. With the left hand remove

the top card and show to spectators calling no particular attention

to it as this is only misdirection. Replace top card and palm off

bottom card as explained. You now hold the pack in left hand face

downward, the right hand hanging naturally at the side containing

the palmed card. Turn pack in left hand and call particular at -

tention to the bottom card. Now turn the card slowly face downward

dropping the left hand and at the same time start bringing the right

hand upwards toward the pack of cards held in the left hand. Just as

the right hand is adjacent to the pack held in the left hand with a

quick move turn the palm upwards and deposit palmed card on the bot-

tom. Immediately start sliding the pack away from you off the now

extended palm of the right hand. Slowly turn pack and change is

apparent.

Under the Thumb Change.

Hold the pack in left hand face up, the thumb placed parallel

across the face of card and if possible touching the fingers holding

the left side of the pack. Let the right hand rest on the pack,

palm bottom card by the use of the Side-Slide.

The left hand assumes the described position again. By a press-

ure of the right hand at the base of the thumb cause the palmed card

to bend outward from the ends away from the palm. Bring the right

r ndover the face of the patek slipping the card under the left thumb

which is resting lightly onthe.face of the pack. Release card with

right hand when square and effect is that you have changed the card

with no possibility of depositing or palming a card as the thumb

apparently holds the face of the pack secure.

Pace to Face Change.

The effect is that you cut the pack and rub the faced portions


20/79

together and change both faced cards. Hold the pack in front of

you horizontally, faco downwards, between t/.-.' ; p of the th'.iQib and

tips of the second and third fingers of the ri

o

at hand near the

right end, first having reversed the second card from the bottom.

Grasping the top of the pack near the left end,, cut off the top

portion in the left hand turning it over to the left, show bottom

cards of both portions. Now turn the portion held in the right

hand which is the bottom portion of the- pack and rub the faced por-

tions together. As a portion in right hand is rubbed against the por-

tion in the left hand deposit the bottom card and reversed card ocf

this portion and leave on the left hand portion by counting two

bottom cards of right portion at side with right thumb. Turn and

show both cards to have changed.

Change Making: Palmed Cards Disappear*

Place the pack in the left hand face outward holding horizon-

t a l s to left of the body between the tips of the thumb on the upper

sic

1

.-.,the tips of the second, third and fourth fingers on the lower

side,

the first Singer resting

o

the far end.

Say for illustration the card shown on the bottom towards the

spectator is the nine of clubs, proceed as follows. Now first,

I want you to note that I have the nine of clubs and by simply pass-

ing my right hand over the face of the card it changes to the Jack

of Hearts. As you pass the right hand over the cards, palm and

take a few away, continuing say, But the trouble is you have the

cards in this hand, fan and show and replace back in original

position on the pack. Repeat once or twice fanning cards in the

right hand each time. As ) ou replace the fanned cards the last

time snap the bottom card of the pas^i held in the left hand against

the fingers of the right hand, (a la 'Snap Pass) and drop the right

hand containing the palmed card to the side* Continue patter. Now

I have found the difficult part is to change the card, (Pass the

right hand over the face of the nine of clubs depositing the palmed

card causing the card to change. Drop right hand to your side,

keep back of hand towards audience and hold in a slightly cramped

position as though you were palming a few cards) continue saying,

and then by rubbing your fingers together make the cards disappear.

Start rubbing the fingers of the right hand together and tur& slowly

and show empty.

CRIMPS*

I have found that very few if any manipulators appreciate the

value of the crimp. I prefer it to a bridge as the bridge is uni-

versally known. The following is my method of crimping and is in -

detectable.

ICingor Crimp From the Side.

Hold the pack naturally as for dealing in the left hand, In


21/79

collecting a selected card, instea-d of cutting as is usual, hold

the pack and ask the spectator to return the chosen card any place

in the pack, being careful to make the far end the only possible

place he can insert it. After

ee-

as inserted the card about an

inch,

by bending the wrist quickly to the right you will find that

the card which the spectator is in the act of inserting will be

carried to the left, causing the near right corner to protrude from

the right side of the pack at about the position of the second fin-

ger of the left hand which is holding the pack. Immediately crimp

this corner by bending it down on the side of the peck with the tip

of the second finger of the left hand, when you have the card in

the favorable position for this crimp squeeze down on the top of the

pack with the left thumb. This prevents the spectator from insert-

ing the card or in fact from moving it at al l. When he remonstrates

and you have crimped the corner, say "But, I meant you to take the

pack and place the card wherever you please, in fact I don*t want

to touch the pack at all." Push the pack in his hand and even if

he removes the card and palces it in a different position you have

it marked. Ask, Are you satisfied? Well,shuffle them for good

u.ensure." After Cards arecspturnedo you it is easy to locate

the chosen card by the crimp in the corner. In crimping be sure to

tend the corner but slightly so as to make it unnoticable to the

spectator. By experiment and practice you can easily ascertain the

bend required to distinguish the card. If performing two or three

tricks using the crimp always be careful after each trick to bend

the corner of the card back to the original position so it will not

confuse you in later experiments.

Finger Crimp From the End.

In some cases I have found it impossible to turn the card in ;:

the pack to the left so as to crimp with second finger due to the

spectator grasping your left hand, when he is inserting the card,

I overcome this as follows: After he has inserted the card about

three-quarters into the pack, squeeze down with the thumb of the

left hand so as to prevent him inserting it further and pull your

left hand containing the pack out of his grasp, towards you, asking

"What is wrong? Won't it go in?" Immediately place the first

finger of the left hand under the middle of the protruding end of

the inserted card. Now, with the right hand pretend to attempt to

drive the chosen card into the back, but what yo u really do is

this:

With tin? first and second fingers of the right hand press down on

the extmcled card the second finger pressing at the right corner

and f;;:~ first finger pressing at the left corner. This causes the

corners

:

:o bend down, the first finger of the left hand pressing

r,:r..rd:vx.inst the middle of the extended end. Tihis causes a crimp

1i "oho middle of the end of the card where the "wise" ones can

t

rlircover it. After the crimp push the card into the pack and hand

it to be shuffled. In operation it merely appears .you tried to

drive the extended card into the pack but that thei irstattempt

w a s unsuccessful.

-19-


22/79

TRICK BASED ON THE CRIIuP.

he.Roval Finders.

Performer first removes two like cards of either a red suit or

a black suit, for example say the King of Clubs and the King of

SBa&es,and shows them to the spectator, laving them face up on the

.table.

Performer now hands the pack to a spectator asking aim to

shuffle the pack and totake,out any card he desires and remember it.

Spectator returns the card and shuffles the pack. Performernew

takes the pack and without any hesitations inserts the two kings to-

gether in the center.,of the pack about three-quarterway and draws

them out together, ^erformer askg the spectator to name the chosen

card. The kings are~fanned and the chosen card is found between the

two cards. (Note that the Kings are never placed full way in the

pack.)

The method of accomplishment is as follows: First, remove the

King of Clubs and the King of Spades and place face uponthe table

calling the spectators attention to the fact that there are just two

cards used.

Hand the pack to a spectator to shuffle and remove any card he

desired. After he has selected a card take the pack out of his hand,

(callinghoattention to the fact,) and holding the pack naturally

in the left hand invite him to insert the card in any position in the

pack he desired. Now accomplishing the crimp as described in my first

method of crimping, (finger crimp from the side,) remembering the

part where you push the care

1

, into his hand saying "But, I meant you to

take the pack and place the caret wherever you please, in fact I don

1

t

want to touch the pack at all." Ask him now to shuffle and hand the

pack to you. Take the pack and note the position of the crimped

chosen card anc if its oulcl lie near either the top or bottom, cut

the pack anc bring it near the center.

n

olcl the pack perpendicularly,

backs of the cards outwards towards the spectators in the tips of the

fingers and thumb of the left hand, the thumb holding the side towards

you at the middle, the first, second and third fingers holding the

far side near the bottom, the fourth finger supporting the bottom end

of the pack. In placing the carcis be careful to plade so the crimped

corner of the selected card is in view at the near upper corner of

the pack. Note that a crimped card makes a slight opening in the pack

at the end, below the crimped care ane" a slight opening Xthe corner

of the pack, above the crimped care

1

..

r

ith the right hand pick up one

of the Kings and carelessly insert it a little way into the enel of

the pack near the top, that is, anywhere above the crimped card to-

tends the spectators.

u

sing this as a cover, pick up the remaining

King ane. insert it a little way at the break in the end of the pack

caused by the crimped card, towards the bottom of the back remarking

that you are going to plae the two KSngs together in the pack. Turn

theendof the pack slightly towards the spectators saying, "but I

want the Kings to go in together." Withdraw the first King and insert


23/79

it a little way at the break caused by the crimp at the corner of

the pack. You now have the two kings inserted a little way with the

crimped card in between them still square in the pack. With the

righ| hand square the two Kings with 'each other and start pushing them

in the pacfc at the upper end until about an inch of the kings pro~

truda.

Now Remark, I never want them to leave your sight,

grasping the Kings between the thumb and first finger of the right

hand, the first finger, on the side towards spectators, s.nd by

squeezing withdraw the Kings about an inch pivoting them slightly

towards you* This you will find causes the crimped car'- to be moved

slightly upward out of tho pack and by raising the third and fourth

finger of the left hand holding the pack at the far side, you will

note that the action of piloting the K$ngs towards

makes the far

p g g y

bottom corner of the crimped card protrude slightly at the side about

an inch above the far lower corner of the pack, ^lace the third fin-

ger of tho left hand under this protruding corner and with the right

hand push downward towards the third finger of the left hand and you

will find that this move squares the crimped card between the two

Kings without tho Kings ever being pushed full way into the pack.

Grasp the three cards together at the upper near corner with thumb

and finger and withdraw giving this corner a bend outward (this

eliminates the crimp) and withdraw from the pack. Ask spectator

to name the chosen card and fan the three cards showing the named

card between the two Kings and immediately hand for examination.

This same effect can be accomplished by forcing the inked edge

card, but I prefer the above method. You Gill alll readily see the

opportunities in regard to patter and presentation the above trick

offers.

If you should have difficulty in accomplishing the Counting

Trick previously explained under the title of Vibrating Cards , you

will find you can produce the same effect b^ the use of the crimp,

the only disadvantage being that you have to watch the edge of the

cards and if you arc not careful the spectators mijjtvt discover the

crimp.

There arc unlimited uses fir the crimp and it is always a

life saver when dealing with one who interferes and tries to expose

you. However, just a word of advise. Don

f

t repeat tricks that de-

pend on its use. Nurse it and you will always have an Ace in

the Ho l e

FORCING.

Forcing is perhaps an antiquated subject in conjuring but I

feel I have a right to a few words in regard to the methods used

by others and those I use mysolf. -fcrsninally I think of it as tim-

ing,

that is, not of shoving a card-to one, but rather of having

the desired card at the proper place at the moment the spectator*s

fingers arc in the act of drawing the card. There arc many methods

-SI-


24/79

of making the glimpse prior to the force. I usually glimpse the

bottom card, cut, and use the flesh grip to hold the cut. Advance

toward the spectator for selection of card and request that a card

be drawn but do not spread cards until .you are at a convenient dis-

tance for the drawing of a card. Start to run the top portion above

the break at all times, carefully watching the hand of the person

who is drawing. If he advances the hand quickly run the top cards

above the break so as to have the desired card at the most convenient

position as the fingers of the drawer- reaches to select. Always be

careful that'this care', is in no way ever exposed It really is a

matter of tempo, perf6ct timing of your fingers and judgment of the

approach of the spectator's hand. A force, is only successful when the

party drawingftfre card has no suspicion that he has, in nyway, been

influenced to select a desired card. In the event of a force don^b

become over anxious and show any concern but let the spectator drawj

My getaway for a miss in forcing, is to have the card returned using

the crimp and change the effect, accordingly producing an entirely

different effect and then repeating on a less suspecting victim and

continuing and accomplishing the original desired effect. In a case

where a force of one card is absolutely necessary,' and the victim

refuses to take the desired card, as his hand approaches and you note

ho is antagonistic and is insistant on a card other than the desired

one,proceed as follows: As he attempts to draw other than the card

you desire'^just take his hand and lift it away saying,

tt

My, what a

pulse you have. Not feeling well? or Gracious, I must know your

manicure,

11

or something equally absurd. Pass on to one who may be

more in spirit with your desires. In the method of showing the cards

faced, exposing a card more than the others, I have a peculiar method

of getting results; first, I take the pack as for riffling with the

old stop where the card to be forced was exposed absurdly, allowing

the spectator little chance of seeing but that one card, explaining

that this method ig very old and that you do not want them to confuse

this method of forcing with the selection of a card they are about to

make. You now take the pack and spreading them fan wise between the

two hands, holding pack upright, face toward spectator and run pack

from one hand to the other exposing the cards as equally as possible

but making just a slight pause at the desired card to be forced.. I

have found if you hurry and try to force, instead of time you anta-

gonize;

and in nine times out of ten he will try to fool you, but

if the force is slight, by that I mean he is allowed to see many cards

but the card to be forced is but slightly prominent he will unconsci-

ously bend to yourwill. In the event that youmiss, be showman enough

to ignore the failure end try to turn the trick to your advantage.

Let's suppose you miss the above force. The cards are square, you

prepared for your effect, you ask for the card to be named. It turns

out to be the wrong card end you have no idea .of the position of the

card named, deliberately take the pack, run thorn and find the card say-

ing,

Now you know I ha.ven't removed your card. As you make the

remark boldly slip the card named to the seventh from the top and

rovert to your original plan and attempt the force which was nec ess-

ary for your original effect. Surely you should be successful once

in two attempts.


25/79

Sure Fire Force,

An excellent force, requiring absolutely no skill is as follows:

The card to be forced is concealed under the belt, at back, under

coat tails, or in hip pocket. Offer de


26/79

EDITORIAL NOTE.

The editor of this scries wishes to express his

thanks to Mr. Charles J. Maly, who has given us

much valuable assistance in preparing these man-

uscripts.

Several of the effects are written by

the editor or Mr. Maly from memories of tricks clone

by Mr. Merlin; hence, any slight variation from

Mr.

Merlin's routine must be charged to our some-

times faulty memories* This has only occurred in

one or two instances, as the man'-

1

:ipt submitted

us by Mr. Merlin was very comply

~~

A few of the effects and sleights that were orig-

inated by Mr. Merlin have been "rediscovered" by

some of the other writers on Magic. However, in

most cases, the reader will be able to trace back

the use of these to Mr. Merlin in the beginning.

Of course, not all of the things j^%hc nenuscripts

are original* V/herc possible .crcc^t^has been given

to the originator when known ^S


27/79

Merlin at the Card Table

Jack Merlin

Section Ttfo

of

and

a Pack of Cards


28/79

Cherished Secret

sof

a I aster ivlaniyulator

Section Two

andaPackofCards.

Second Revised Edition

By

JACKMERLIN.

ited.byA W C Brumfield.

Published 1928.

By

THE

V ELWORTK

COMPANY.

36WestPratt Street,

Ind ianapoli s,Indiana.

U.

8

A

Cherished Secretso

aMaeter Manipulator


29/79

Copyright 1927 928. TK2 WELWORTH


30/79

4 ROUTINE OF SLEIGHTS XT.JS C;\HDTABLE

The following is suitable only at a small gathering, that is, say

up to twenty people. You will note that I predominates. Forgive the

apparent ego as I am only trying to impress you with the storj-

T

as I

tell it, and the continual phrasing in the first person is of necessity

to show the different phases of misdirection used to obtain the effects

most of which crowns the performer with a halo skill he does not

poss-

ess.

I usually do a few color changes, continually repeating the move

at close quarters with individual members of the audience following

with perhaps an effect such as the card in the pocket, A spectator is

allowed to glimpse a card passing to the bottom. One card is slipped

from the top to the bottom by the top slip and pack is turned, calling

attention that chosen card is notonthe bottom, as at the present it

gests two from bottom, and top card is shown notto be chosen card.

Spectator chosing card is asked to place pack in pocket, performer

noting whether pack is placed face outward or face inwurd in pocket.

Performer shows hand is empty, reaches into spectator pocket asking

name of selected card and producing same by bringing from pocket the

second card from the bottom, which must be a selected card.

I continue with similar effects till the usual remark is event-

ually- made. I

f

d. hate to play cards with you or Could you deal any

hand at poker? his is the desired opening. Let's gather around

this table I seat myself* Now gather close and I'll demonstrate

how my fingers work and the control I have over a pack of cards, I

show the top card and deal a few seconds and disclose the fact that the

top card still remains on top vn the same position. Carelessly I

shuffle and cut and then deliberately deal tops saying as I deal. Just

a few more seconds. I continue

till

asked, ^re those seconds? I

reply of course, Why ye s, and in order to prove it I'll reverse the

action.

With this statement, reverse the top card and deal perhaps

two or three genuine seconds, exaggerate the movement of the a n s and

deal slowly asth ugh.to show the method saying, Thats how it looks

slowly but when you deal it fast it appears like

this.

s you remark

the

above,

turn reverse card, and continue to deliverately deal tops for

perhaps ten cards, then slowly deal two or three seconds, apparently ex-

posing the movement. Stop, think re-read the above and the psychology

of the routine is apparent. Bottoms are an exact daplication of the

above.

First, I take the pack and start deliberately dealing the top cards

speedily, remarking, Those are bottoms. One of the spectators are

bound to say Bottoms? Calmly I say ^Certainly they are bottoms. I

now reverse the top card and deal a i'cw legitimately keeping the top

card in the place saying, I'll do it slowly. and as in the seconds I

exaggerate the move. After dealing afew uotooms I again turn the top

card and start in reality dealing tops bat remark

u

This is how a bottom

looks when dealing fast. Slow up gradually,

fin lly

dealing the last


31/79

two readily from the bottom. Remember It is misdirection and psychology

which produces the desired effect and exaggerates your skill of mani-

pulation and inbues your audience with the hopelessness of playing cards

with an adept,

"You have often heard that no one can really run in a hand of

poker, what I mean is shuffle a pack so the dealer will receive the

highest hand, No?/ truthfully that is absolutely skill and perhaps I

might say technique,. I am showing you that the fingers are capable

of placing any card or- any series of cards in a give:.i order for deal-

ing so that the advantage is in favor of the dealer. Remember I am

explaining as a man who is cheating lone handed in a poker game, ^or

instance of the deal previous to mine I stay out, in other words I do

not play. As this hand proceeds it affords an opportunity to 'the

deal-

er,who is the cheater', to scan the cards out of play, that is, the

cards in thediscard. I nonchalantly pick up the cards not In use pre-

paratory to dealing, Jhe hand in play is in progress now. | want you

(designating the nearest man on your right) to deal out at random a

hand of poker,

ff

Let the play go on, pick up your cards and play the

hand as tbbugl youwere really playing a hand of social poker, Rem-

ember you pick up the cards not in Play after the draw and run through

uhassumingly and place any cards, of similar suit on top, For instance,

say in the cards not in'play you find twoaces,and you note in the

carefs shown when the hands in play are shown that there is an ace or

perhaps two aces* You deliberately place the two aces as you pick up

the cards In play on top of the pack in hand. This places the four

aces on top of the pack preparatory to'the'dealers shuffle for deal,

n

Now you have hearcl it saicT that no one can really run a pack in, so

that each card which'in poker is dealt one' at a time, can be place#in

an ordinary shuffle so that each ace is placed so as to fall one at a

time to the dealer, I?ll prove this and want you to watch why this

happens,

1

First, I slip the one of the aces on top to the bottom,

this leaves three aces,on top, Now proceed with the Erdnase injog a,nd

outjog shuffle running up a hand for four placers, ,

those not familiar I'll explain, You injog the top ace, cut

about a third- of the pack from the bottom, run the first six top.of

the cut portion of top of the'injogged ace, outjog the seventh card

and shuffle remaining cards on top being sure to shuffle the bottom

ace on top, Pick up at.the outjog, making a break with thunjrt) at the

injog run three top cards and throw to remaining cards to break of

1

thumb.

Run one, injog the 'second

run six, outjog the seventh, card and

shuffle remainder naturally. Cut below' injog and throw on top,

Cut

below outjog, run three cards on top and

;

throw remaining cards/on'top

and you'll find that each ace is the fourth'card. However, the pack

must be cut, After cards are run up cut them yourself holding the

break force spectator to

cut at the desired place,

Deal after cutting

and the four aees will fall.to the dealer

:

-he.above explaination

I

use as pa.tter explaining that is the way

you

do it, although it is the

truth,

no one will-believe it the real method so it serves as ..misdirection


32/79

When entertaining a few nen I find that methods of cheating in

different games atthe card table makes Ihsgreatest appeal and never

fails to hold interest. I always make pretentions to expose lout in

reality only expose afew moves which are of no consequence. Remember

I show these as an entertainment and not asaprocedure of cheating.

Three Card Monte.

Take two red aces and a black queen from the pack and prepare as

follows. Place themtogether, square onthe table, face downwards.

With the fingers and thumbs on the sides bend the sides so the middle

arches upward. This enables you afterward to pick the cards up easily

by the ends. Pick them up and being carefull to retain thebridge,

bend the corners at the two indexes upward and back, once or tiwco

finally leaving the corners as they were originally. This enables you

later when crimping to crimp each card identically the same.

Spread the three cards at intervals on the table before yo u, the

ends toward j'

T

ou. Practise picking the cards up between the tip of the

thumb at the near end and the tips of the second and third finger at

the far end holding face downward and throwing them down one at a time

on the table always face downward, someti >es holding two cards .in the

right hand and at other times holding two ii the left hand. Throw the

bottom card down first in each instance until this movement becomes

natural, being careful to hold the cards close together when holding

two in one hand, the first finger always resting lightly on the cards

or card. how practise the following with each hand. I will describe

the action with the right hand. pick the two cards up in the right

hand one at atime at the ends between the thumb on the near end and

the second and third finger the bottom card and keeping them very

slightly separated. Now with an upward and downward move of the wrist

throw the bottom card on the table andplace the too card to the right

or left. Pick up as before but this time throw the top card firstby

pushing it out to the left with the tip of the first finger which is

resting on top of this card. It is easy and vary deceptive. Practise

with both hands until proficient, Now for the effect.

Place the three cards on the table the aces on the outsides the

queen in the middle. Now repeat, picking the aces up in each hand al -

ternating picking the queen up under one ace then the other showing

each time and throwing the cards one at a time back onthe table saying,

You see the queen is always onthe bottom and all you have to do is

pick the queen. Mow by alternating first throwing the top card and

next throwing the bottom and sometimes failing to show the cards when

you pick them upyou canreadily see now confusing you can make the

effect.

After a few attempts onthe part of spectators to pick the

queen sometimes meeting with success merely b}

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