SB, 95

At last! The man who made The Memory

Book a #1 national bestseller reveals the
well-guarded secrets of his favorite hobby:
magic.

THE
MAGIC BOOK
THE COMPLETE BEGINNER'S GUIDE 10
/ANYTIME, /m/HERE, SLEIGHT-OF-HAND MAGIC

HAIWOWNE
In The Memory Book, Harry Lorayne
showed how anyone can develop a good
memory. Now, the master of recollection
proves that he is the best teacher of magic in
history. With characteristic wit and direct-
ness, he explains the secret of a few simple
techniques that will enable anyone to per-
form the most complicated magic.
Mr. Lorayne guides the novice magician
through the principles of performance and
execution which he perfected after 40 years
of painful trial and error. In no time you’ll
be dazzling yourself and your friends with
incredible feats of legerdemain—card tricks,
coin tricks, number tricks, and much, much
more.
Best of all, there are no props to buy, no
preparations to make, no gadgets to con-
struct. Every feat in THE MAGIC BOOK can be
performed with common household items:
a deck of cards, coins, rubber bands, even a
potato.
After the basics, Mr. Lorayne provides
simple step-by-step instructions for hun-
dreds of amazing tricks and, after each
section, the magician answers your personal
questions—he discusses the problems most
beginners have with the trick which has just
been explained; he teaches the philosophy
of performing magic as it’s never been
taught before. In addition, there are over 200
illustrations which make the learning pro-
cess simple—and fun!

(Continued, on bath flap)

7709 8 B N: 3 99 -SI 956 • 6

 THP
MAGIC BOOK
 Digitized by the Internet Archive
in 2017 with funding from
Kahle/Austin Foundation

https://archive.org/details/magicbookcompOOIora
 Books by Harry Lorayne

How TO DEVELOP A SUPER-POWER MEMORY

SECRETS OF MIND POWER
INSTANT MIND POWER
MIRACLE MATH
MEMORY ISOMETRICS COURSE
MENTAL MAGNETISM COURSE
GOOD MEMORY— GOOD STUDENT!
GOOD MEMORY— SUCCESSFUL STUDENT!
THE MEMORY BOOK
REMEMBERING PEOPLE (THE KEY TO SUCCESS)

CLOSE-UP CARD MAGIC

PERSONAL SECRETS
MY FAVORITE CARD TRICKS
DECK-STERITY
DINGLE’S DECEPTIONS
REPUTATION-MAKERS
THE GREAT DIVIDE (A Manuscript)
TARBELL #7
RIM SHOTS
AFTERTHOUGHTS
THE EPITOME LOCATION
THE MAGIC BOOK
 TLip

MAGIC BOOK
THE COMPLETE BEGINNERS GUIDE TO
ANYTIME, ANYWHERE, SLEIGHT-OF-HAND MAGIC

HAIW DRAYNE
ILLUSTRATIONS BY RICHARD KAUFMAN

G. P PUTNAM'S SONS, NEW YORK

Copyright © 1977 by Harry Lorayne, Inc.

All rights reserved. This book, or parts thereof, may not be reproduced
in any form without permission. Published simultaneously in Canada
by Longman Canada Limited, Toronto.

SBN: 399-11956-6

Library of Congress Cataloging in Publication Data

Lorayne, Harry.
The magic book.

1. Card tricks. 2. Coin tricks. 3. Magic.

I. Title.
GV1549.L64 1977 795.4'38 77-1080

PRINTED IN THE UNITED STATES OF AMERICA

For my wife, Renee
and my son, Robert
who love me
That’s my greatest
trick!
 CONTENTS

Preface 13

Foreword 17

Terminology 23

TIPS AND To Square a Deck 27

TECHNIQUES
Hand-to-Hand Spread 28
To Remove and Display Cards

The Riffle Shuffle 30

CARD FLOURISHES The Ribbon Spread 32

The Charlier Cut 36

CARD HANDLING The Jog Shuffle 40

AND SLEIGHTS
For a Selected-Card Control/For
Selected-Card Positioning

The Slip Shuffle 46

Instead of the Pass 47

Legitimate and False Cuts 52

The Kick Cut / The Swivel Cut /

A 3-Way False Cut

The Hindu Shuffle 56

The Hindu Shuffle as a Control

 The Double Lift
(Three Methods) 60
The Palm (Two Methods) 68
The Hindu-Shuffle Force
(Two Methods) 76
Four Forces 79
The Crisscross Force J The Between 10
and 20 Force / The Revolving Force /
The Classic Force

The Glide 83

SLEIGHT-OF-HAND Cutting the Aces 88

EFFECTS AND ROUTINES _ c , , r ,
1 he Spectator Locates

Anyone Can Be a Magician 91

Insert 94
Strange Voyage 96
The Acrobatic Deck 97
One-at-a-Time Aces 99
Instant Aces 105
Ultra Location & Prediction 107
The Color-Changing Deck 111
The Lonely Card 115
Color-Changing Aces 117
Two-Card Revelation 118
The Double-Lift Reverse 121
Triple-Climax Speller 122
The Double Color Change 125
 The Calculating Deck 127
Name a Card

The Ambitious Card 130

PRACTICALLY Mental Message 134

SELF-WORKING
This Guy and The Drinker 137
CARD ROUTINES
Prediction 141
Prediction Expanded

The 10 and 20 Aces 144

Matching Thought 145
It’s Impossible! 146
Spell-a-Name /Lie Detector/ Think
Stop

King of the Card Sharps 149

Cast an Instant Spell 151
Key Cards 152

BASIC COIN SLEIGHTS The Finger Palm 158

Complete Vanish / Complete Vanish
and Production
Persistence-of-Vision Coin Vanish
(Three Methods) 163
The Paper-Fold C oin Vanish 168
Basic Coin Switch 170

COIN MAGIC Copper and Silver 172

The Jumping Coin 174
 The Magnificent Seven 176
Four Coins Across 179
The Coins-Through-the-Table
Classic 185
Magnetic Pull • 194
The Traveling Salesmen 195
Coin Through Handkerchief 201
Copper or Silver?

Coin Through Ring 204

NUMBER MAGIC The Nine Principle 209

The Missing Digit 211
Ten-Eighty-Nine 214
Lightning Addition 215
Your Lucky Number 217
The Instant Magic Square 218

MENTAL EFFECTS Line o’ Type 224

Which Coin? 226
Fve Got Your Number 227
The Larger the Bill 231
That’s Odd! 234
Three Ways to One 236
Mind Reading Plus 237

MISCELLANEOUS MAGIC The Headless Match 241

The Traveling Match 245
Pen Through Handkerchief 249
The Asbestos-Handkerchief
Routine 252
Not a Knot! 257
Three Times and Out 260
Sgt. Elastec and the Clip
Artists 263
From 1 to 10 266
French Fries 268
Everything Goes! 271
Four to Go 274
The Mystic Saltshaker 278
The Ring-String Thing 281
Ashes to Ashes 285
Magic Breath 289
Another Paper Tear 290
Ultra Bind 294
Tongue in Cheek 298
And That’s Real Magic 300

Last Word 304

 PREFACE

Magic is near the top of the list of favorite and fascinating hobbies
because it offers something for everyone. It’s an active rather than a
passive hobby that requires dealing with other people. And magic is
unique in that it automatically fcaches you what it requires of you!
The nature of the art makes it necessary for you to communicate, to
talk to others; more, to influence them. It requires quick thinking,
awareness, ability, and a touch of applied psychology. Fortunately, the
learning and performing of magic offers the way toward fulfilling
these requirements.
I was a timid and lonely eight-year-old when I saw my first card
trick. I was in a small group, and a park counselor was trying to enter-
tain us, and I was fascinated. It was the most exciting moment of my
life. I remember thinking, "Wow, if I could do that. Oh, God, If I could
do thatl”
Too shy to ask the counselor how he did the trick, I ran home to
search for a deck of cards. I knew my father played a game called rum-
my. I found his deck and tried to do the trick I’d seen. I couldn’t, of
course. It was an impossibility.
"How can it be? It wasn’t luck; he was too sure. There’s gotta be a
way. Maybe if I turn over one card before I start. But how? I’d have to
hide it.”

13
 14 Preface

I tried every which way. I thought about it during supper, as I

washed, when I went to bed, but I couldn’t figure it out.
I needed my own deck of cards. "Mom, can I have a nickel?”
"Are you crazy? For what?”
"Candy.”
"You are crazy! Here’s a penny.”
I saved it, put it with my other pennies and my old triangle stamp
(Guatemalan). Eventually, I had enough pennies to buy the cheapest
deck of cards available.
After that, it took about a week of constant thought, and then I
figured out the trick! Soon I was saying to myself, "But wait, what if I
do this? That works, too. Hey, and now I don’t have to turn my back. He
had to turn his back. This is betterl”
It was great. Since I saw that card trick I hadn’t thought of myself,
hadn’t thought of being shy, and now that I’d figured it out, I felt proud
of myself for the first time in my life.
I had to show the trick to my father. I built up my courage over a few
days, and then, "Pop, can I show you a trick?”
"Trick? What kind of trick?”
"Well, see, uh, take a card, any card.”
"Look at my trickster. Okay, I’ve got a card, and it’s in the middle.
What now?”
"Uh, take any other card, turn it over and push it into the deck.”
He did.
"I’m gonna make you push that card right next to the card you took
before.” (I’d never before spoken to my father with such assurance.)
"You can’t make me do that.”
"Oh, yes. See? Look, I made you do it. Right next to the queen of
clubs, right?”
"Hey! How’d you do that? Clara, did you see?” he called to my moth-
er.
"Can’t tell; can’t tell. It’s magic.” My father was laughing, a thing he
rarely did.
"Ha, ha. An Einstein we got here!”

"Pick a card, pick a card, pick a card.” Soon I was doing the trick in
school, in the park, and in the streets. For the first time in my life I was
talking to people, and people were paying attention to me. "Hey, ma-
jik-ee-an, show him that trick. Teach it to me, will ya?”
 Preface 15
* * *

I knew I had to learn more tricks. I found one magic book at school.
Then, three months later, I came across three more at the Hamilton
Fish Library. I don’t think I’ve been that thrilled since! I remember
smelling them (beautiful!), breathlessly checking them out and run-
ning all the way home. A new way of life, a way to life, began.
 FOREWORD

I’ve written many books on the subject of magic, but this is the first
one I’ve written for the general public. The other books were designed
"for the trade”—for professionals in magic and for advanced amateurs.
They are technical and are sold only through dealers who cater to ma-
gicians.
I rarely did any magic during the television appearances I made to
explain my memory systems, because I was afraid to. I felt that if the
public saw me do magic, its attitude might be, "Oh, it’s all a trick!”
I was probably right, up to a point. But I don’t think it matters any-
more. People know that the memory systems are not "tricks” but
proved workable methods and techniques. I finally mentioned, in a re-
cent memory book, that I started as a card manipulator, and the sky
didn’t tumble down around me. That’s why I decided, at last, to do a
magic book for a general audience.
There are other reasons. I wanted you to understand the kind of
magic that does not depend on store-bought gimmicks or tricks. And
too many books are written by "professionals” in a "here’s the effect,
here’s the secret” format. They don’t really teach.
In this book I’ll teach you some of the "real stuff”: impromptu and
close-up magic that can be done anywhere, anytime, under people’s
noses, and under most any circumstances. You’ll find no "build-it-your-
17
 18 Foreword
self” magic here, no tricks that make it necessary for you to prepare,
buy or make anything.
Although platform or stage magic can be entertaining, I’ve never
considered it "real” magic. Neither in my opinion do the vast majority
of laymen. Most people realize that there must be a mirror, or a trap-
door, or a secret compartment, or invisible wires, or whatever. (There
have been a few notable exceptions: performers who used sleight of
hand in their stage presentations.) The secret of success for a stage ma-
gician, besides his selection of illusions and effects, is entertainment.
The same, of course, is true for close-up or impromptu magic. The
important difference is that there can be no thoughts of mirrors, wires,
or secret compartments when a magician uses any common, ordinary
(that’s impromptu) items to do miracles right there, at the table, under
his spectators’ noses (that’s close-up).
I’ve never heard a layman say of a stage magician, "He does real
magic!” I have heard that statement made by laymen after watching a
close-up magician. So far as I’m concerned, impromptu (anytime, any-
where), close-up (under their noses) magic is the only real magic.
You won’t find any effects (by "effects” I mean "tricks”) in this book
using trick decks, trick cards, trick coins, set-up decks, or anything of
that sort. The best magic to learn is magic that you can do at anytime,
with anyone’s cards, coins, or other ordinary objects, not the kind that
forces you to beg off because you forgot your trick deck, or what have
you. You can’t "forget” your hands, your mind or your skill!
Card magic (my first love) is the first category in this book because
more secret manipulations, effects and routines can be done with "the
52 pasteboards” than with any other item. Coin magic runs a close sec-
ond, followed in popularity by other tricks involving such everyday
items as cigarettes, string, dollar bills, and the like.
By and large, you will find I have given space to each set of effects
according to its general popularity. I’ve also tried to include effects
(and ideas) touching on almost every important category of close-up
magic—to give you a well-rounded background of the principles.

My goal is to save you much of the time I spent in the last forty years
learning card and coin (and other) magic. You see, I had to learn every-
thing, every sleight (by "sleight” I mean "secret manipulation”) and
every trick, from scratch. There was no one to tell me which were good
and which were not. I’ll save you the time it took me to practice and to
 Foreword 19

learn the myriad sleights that I rarely use. You and I are both banking
on my judgment and long "under-fire” experience. I’ll teach you what I
know are important, practical, useful sleights and ideas; what I know
are effects that get the kudos and applause, that build reputations. I’ll
save you the years it took me to find these out!

Nothing worthwhile comes easily. To do the "real stuff,” you have to

learn some manipulation, some sleight of hand. This requires time and
practice. Remember: if I included only self-working effects or tricks
that took no real skill, this would be a puzzle book, and it wouldn’t be
very worthwhile.
Practice, learn the sleights, the secret manipulations, I’ve included,
and you’ll be one of those who can do the "miracles”! Sure, I’ve included
some basically self-working effects, or tricks that require no sleight of
hand. But these also require some time in order to learn the presenta-
tions, the way to perform them. I won’t leave you floundering; I’ll teach
you the presentations, what to say, when to say it—everything you
need to know. I’ll take the time to teach them well; please take the time
to practice them!
Practice should be, must be, enjoyable. If it isn’t, you’ll never really
do the magic correctly. But remember: any effect that takes practice is
one that brings a great feeling of accomplishment when finally you can
do it, and fool people with it!
I won’t teach you difficult sleights; I’ll teach you to do easy sleights
well! Difficult sleights are not necessary; doing a sleight well is essen-
tial.
There’s a story that’s been attributed to every famous magician. It
tells of the amateur who bragged that he knew 1,000 tricks. The fa-
mous magician answered, "That’s marvelous; I know only ten!”—the
implication being that the famous magician performed those ten to
perfection. I don’t know if the story is true; I know the philosophy is.
You can practice at many odd hours during the day, even while
watching television. Let’s face it, television doesn’t usually ask you to
use your mind or imagination; it doesn’t force you to use your hands
(except when you’re changing channels). Since the sleights you’ll be
practicing are to be done without your looking at your hands, you can
practice as you watch. Eventually, you may even find it is more enjoy-
able to practice certain manipulations than it is to watch television!
 20 Foreword
There are some purposeful repetitions in this book. I use the words
"casual,” "casually,” "naturally,” "without hesitation,” "without a
pause,” to the point of redundancy. I do this because the concept is so
important.
Most beginners haven’t yet realized (some never do) that tenseness
at a crucial moment transmits itself to an audience. It’s the surest way
to "telegraph” what you don’t want telegraphed.
An imperfection in a sleight executed casually is less apt to be seen
(or felt) than the perfectly executed "move” done by a performer who
tenses up at the wrong moment. That’s why the repetition of "casual,”
"natural,” etc., is so vital. Acting is important in magic. Even if you are
tense at a crucial moment, act casual and loose!

A couple of tips:
Do not attempt any effect for laymen until you fully understand it,
and have practiced it.
Do not tell anyone how the tricks are done. Many beginners feel that
if they show how clever the working of a trick is, they will rise in their
viewers’ estimation. It’s just the opposite! You will have burst the bal-
loon. Before, you were clever, entertaining, even a "genius.” The min-
ute you expose the modus operandi, your audience feels, "Oh, is that
all there is to it? I could do that!”
Do not immediately repeat effects, except for the few that I tell you
warrant repetition. When you repeat an effect, you’ve lost your "edge.”
You’ve negated the surprise element. Your spectator is no longer look-
ing to be entertained; he’s looking to catch you!
Do read the Afterthoughts sections which appear after most effects.
In describing a trick, I usually leave a thought or two out of the text be-
cause I don’t want to complicate the directions. These left-out points
are in the Afterthoughts, and they’re important; don’t overlook them.
Perform some of the tricks that don’t require manipulative skill
while you’re practicing those that do. Also, throw a self-working effect
in among sleight-of-hand effects, at the proper time, and your audience
will think they’re difficult, manipulative items and will give you credit
accordingly. After all, that’s the point, isn’t it?

You’re not on your own. I intend to work along with you, right
through the book. I could have described most of the tricks in less than
 Foreword 21
half the space, but then I couldn’t have accomplished my purpose—
that of achieving as close to personal instruction as possible.
Work on the sleights and the presentations. I’ll be there encouraging
you, doing my damdest to make you enthusiastic about learning each
particular move. Enthusiasm breeds practice and accomplishment.
Don’t give up on any sleight you may think is too difficult. It isn’t, or
I wouldn’t have included it. Most often, when you’re ready to quit, the
next try will be the successful one. Keep that in mind; your very next try
may be the one that works!

Limber up your mind, your imagination, your enthusiasm, and your

hands—and let’s make you a miracle worker!
 TERMINOLOGY

I won’t be using any fancy terminology in this book. But I do want

you to know exactly what I’m talking about when I refer to a finger, or
part of it, or to an area or part of a playing card.
I will always refer to your fingers as follows: The finger nearest your
thumb is your forefinger or first finger; the finger next to that is the
middle or second finger; that is followed by the third finger and, finally,
the little or fourth finger.
I’m sure you know what a fingerf ip is; the "pad” of the fingertip is the
soft part that would be pressed against the ink pad if you were being
fingerprinted, or the part that’s jabbed with a needle in order to take a
blood sample.
The first joint is the crease, or bend, nearer your fingertip. The sec-
ond joint is the crease nearer your palm.

Now for parts of a playing card: Hold a card, facedown, with the nar-
row ends pointing toward, and away, from you. The narrow end point-
ing away from you is the "outer” or "upper” end. The near end is the
"inner” or "lower” end. The "long sides” are the left and right sides.
The "back” or "top” is what you’re looking at—the manufacturer’s
design. The "face” or "bottom” is where you’d look to see what the card
is.
I don’t think a glossary is necessary. I’ll explain the meanings of cer-
23
 24 Terminology
tain terms the first time they’re used. There are only a few I need men-
tion now.
"Layman” is the term used by a magician for a person who has no
knowledge of magic—usually the person for whom he’s performing.
A "spectator” is a member of the audience. "Patter” is the talk, the
words, used during the performance of a piece of magic.
"Presentation” is not how an effect is done but rather the way it’s per-
formed. In many cases the presentation is more important than the
method—than the "how.”
A "move” is a secret manipulation—a sleight. An "effect” is a trick.
To be "clean” after an effect means to be back to normal position—
nothing unusual showing. To "reverse” a card is to turn it faceup when
it’s been facedown, or vice versa.
"Misdirection” is the art of forcing an audience to look at, or to think
of, something other than that which would expose what you don’t want
exposed.
An "indifferent” card does not mean a card that doesn’t care! It
means any card that has nothing to do with a specific trick.
A "stock” of cards is a group of cards vital to the particular effect at
hand. A "spot card” is any card from ace to ten; a "picture” or "court”
card is any jack, queen, or king.
"KS, AD, 3C, 10H” means the king of spades, ace of diamonds, three
of clubs, ten of hearts. It is magicians’ shorthand for the names of
cards, and I’ll use this shorthand throughout the card section.
To do a "complete cut” means to cut the top half of a deck to the bot-
tom (or vice versa)—not to cut a center portion to the top or bottom. A
complete cut doesn’t change the juxtaposition of the cards. No matter
how often you complete-cut a deck, each card will remain in the same
position away from all the other cards.
Any other terminology I use will be self-explanatory.
 "Son,” the old guy says, "no matter how far you travel, or how smart
you get, always remember this: Someday, somewhere, a guy is going to
come to you and show you a nice brand new deck of cards on which the
seal is never broken, and this guy is going to offer to bet you that the
Jack of Spades will jump out of this deck and squirt cider in your ear.
"But, son,” the old guy says, "do not bet him, for as sure as you do you
are going to get an ear full of cider.”

—DAMON RUNYON
 TIPS AND TECHNIQUES

It’s easier to do card magic when you can handle a deck cleanly and
properly. It’s not only easier; it looks better. To aid you in that area,
here are a few card-handling tips and techniques.

To Square a Deck

In most cases the deck should be perfectly squared. It’s easier to exe-
cute most sleights if it is. A deck can be squared by gently tapping its
sides and/or ends against the tabletop. You should, however, be able to
square it easily and quickly in your hands.
Hold the deck in normal position—that is, facedown, on the palm of
your left hand, ready for dealing. From this position your right hand
lifts the deck up to near your left fingertips. Your left fingers are at the
sides from underneath; your right fingers are at the ends from above
(see fig. 1).
As your right fingers hold the deck, your left fingertips slide up and
down on the sides; then, hold with your left fingers as your right finger-
tips slide back and forth on the ends. That’s all. Apply a bit of pressure
27
 28 The Magic Book

FIG. 1

with your fingers as they slide, and you’ll square the deck easily and
quickly.

Hand-to-Hand Spread

When you want to have a card selected, or just to display the cards,
spread them neatly from hand to hand.
Hold the deck in normal (dealing) position in your left hand. With
your left thumb, push off (spread) cards from the top into your right
hand, which is palm up. The cards are taken initially in the fork of the
right thumb.
As you continue to spread, the fingers of both hands open; they point
toward each other beneath the spread. At first your right fingers will
be beneath your left fingers, the palm side of the right gently passing
over the back side of the left fingers.

FIG. 2
 Tips and Techniques 29
But as you spread, your hands separate. You’ll find that they can
separate a few inches without dropping cards (see fig. 2, in which the
cards are transparent).
It’s easier, and looks better, if you allow the spread to arc slightly as
you go, as shown. After just a bit of practice, you should be able to
spread the deck from hand to hand without looking and without even
thinking about it.

To Remove and Display Cards

This is an efficient, and neat, way to remove cards openly from a

deck. Assume, for example, that you want to remove the four aces in
order to perform a four-ace effect. Start to spread the cards from hand
to hand, faces toward you (the deck is faceup). When you come to the
first ace, your right first or second fingertip (one or two tries will show
you which works better for you; either will do) presses onto the back
(right side) of the ace. In other words, the ace becomes the last, or low-
ermost, card of the small right-hand spread.

FIGS. 3 & 4

Now move your right hand (and its cards) upward until your left
thumb tip can rest on the lower left comer of the ace (see fig. 3). The
moment your left thumb steadies and holds the ace this way, move
your right hand and its cards—all but the ace—down to meet the left-
hand cards, and, almost at the same time, continue spreading from left
 30 The Magic Book

to right. The right-hand cards now hold the ace in place. What you’ve
done is called "'stepping up,” or "up-jogging,” the ace, with almost no
pause in the spreading action.
When you come to the next ace, step it up in exactly the same way.
The first ace will remain stepped up and will not be in the way at all.
Do the same with the remaining two aces (see fig. 4). You can now strip
out the four aces in one swoop with one hand as your other hand holds
the entire spread.
Sure, you can locate cards simply by placing each one on the table as
you come to it; you’d still be able to perform. But this method is in the
interest of good card handling. It looks good, besides being efficient; it
impresses the onlooker.
The step-up can be used to find four of a kind, as just described, or
two cards, or even one.

The Riffle Shuffle

Although I am teaching as if you are a rank beginner, I must assume

that there are some things you can already do. One of these assump-
tions is that you can riffle shuffle a deck of cards. You may use the in-
the-air Riffle Shuffle (see fig. 5), or the same shuffle on the table (see fig.
6), or the Riffle Shuffle that’s done on the table only (see fig. 7). During
this last shuffle, many card handlers keep their hands, particularly the
thumbs, closer to the inner ends of the half decks.
Although you’re probably already aware of it, I’d better mention
that it’s easy, during a Riffle Shuffle, to keep the top card, or cards, on
top by the simple expedient of making sure they fall last. It’s just as
easy to keep the bottom card, or cards, on bottom by letting them fall
first. By letting the bottom cards riffle off first and the top cards riffle
off last, you’ll keep both bottom and top cards in place.
This in itself may be a bit obvious, but when you immediately follow
up with an overhand shuffle and/or cut, as you’ll learn, it’s no longer
obvious; it’s efficient card manipulation.
Tips and Techniques 31

FIGS. 5,6,7
 CARD FLOURISHES

The Ribbon Spread

Some cardmen feel that they should handle the deck just as every-
one else does—even somewhat sloppily—the philosophy being that this
makes their magic look more "magical.” They don’t think the layman
should be aware of the fact that they can handle cards well. My philos-
ophy is that if a layman wants to see someone handle a deck like his
next-door neighbor, he’ll go to his next-door neighbor!
In my experience, working "for the money,” I know that there’s no
way to entertain (fool) anyone with card magic unless his attention is
grasped. About the best way to do this is to handle the deck differently
from and better than your prospective audience or their friends.
A good flourish is to ribbon spread the cards on the table for display
or for a selection. The Ribbon Spread will also come in handy for the
endings of some effects. It’s cleaner, prettier, faster, and more effec-
tive, for example, to ribbon spread in order to display a reversed card
than simply to spread from hand to hand.
The Ribbon Spread cannot be done on a slick, smooth surface. A
bridge-table top is fine; so are most rough or soft surfaces. You’ll soon
learn which surfaces are best. The cards should be in fairly new condi-
tion, and of good paper quality (like Tally-Ho, Bicycle, or Bee decks).
Plastic-content cards tend to bunch up; they don’t spread well.
Your right hand holds the squared deck, facedown, from above. Your
thumbtip is at the inner end; second and third fingers are at the outer
32
 Card Flourishes 33
end; your little finger rests either at the outer end, next to your third
finger, or at the side of that end. Most important, your forefingertip is
resting over the left long side (all as in fig. 8).
That’s the basic grip. Approach the surface with the deck toward
your left; you’ll ribbon spread from left to right. Place the deck onto
the surface and move your right hand to your right. This is where the
"feel,” or "knack,” comes in. Your hand lightly presses the deck
against the table.

FIGS. 8 & 9

As soon as your hand starts to move, at a smart pace, all your fingers
relax. It’s your forefinger that does the work. Start with a gentle pres-
sure at the left side of the deck (near bottom) with the side of your fore-
fingertip. As you move, the pressure relaxes. After a few tries, the feel
will come almost automatically, and you’ll get a smooth, even Ribbon
Spread of cards (as in fig. 9).
To gather the cards, place your left fingers on the table at the left
end of the spread, and simply scoop them up.

If you’ve practiced the basic Ribbon Spread, you might as well learn
a couple of variations that will show it off. If you’re simply displaying
the deck, you can ribbon spread in a gentle arc, but for the following
flourishes, a straight line is best.
For this basic move, do the spread, then place your left fingertips un-
der the left end of the spread and gently turn the left-end card (or
cards) over to the right—like turning the page of a book. The entire
spread will turn faceup like a row of dominos falling (see fig. 10). Now
 34 The Magic Book
you can turn the spread over again by placing your right fingertips un-
der the right-end card and turning over to the left. You can go back
and forth a couple of times, until the cards spread apart too much.

Practice this awhile, then take it a step further. Do the Ribbon

Spread. Slowly start to domino-tum it from left to right. But as soon as
the cards form a point, a "pyramid,” gently place the underside (or
side) of your right forefinger directly on the apex of the pyramid. You’ll
find that you can move the pyramid back and forth simply by moving
your right hand back and forth. Your forefinger stays in contact with
the top of the pyramid (see fig. 11). The apex will "ride” under your
finger.

FIG. 11

When you’ve got the feel of this, try it with the very edge of the long
side of a card. As you start the turn with your left hand, take the top
card (right end of spread) with your right hand. You can ride the pyra-
mid back and forth this way, just as you can with your finger (see fig.
12).
 Card Flourishes 35

FIG. 12

Here’s one more flourish: Do the spread, and bring the pyramid to
the center with your finger. You can now remove your finger and the
pyramid will remain balanced at the center of the spread.
Carefully take the left-end card with your left hand and the right-
end card with your right hand. Place these end cards together (the long
sides) onto the apex of the pyramid. With a bit of practice, and a bit of
care, you’ll be able to split the pyramid into two pyramids, moving one
to the left and one to the right (see fig. 13).

FIG. 13

You can move them back and forth once or twice, then let them meet
at the center again. Or, let one half of the spread fall to the left and the
other to the right.

Afterthoughts: Put some practice time into these flourishes. The Rib-
bon Spread itself comes in handy while performing, and the flourishes
will certainly grasp attention.
 36 The Magic Book

The Charlier Cut

This is another flourish you should learn. It’s probably the one flour-
ish with a deck of cards that some laymen can do. It wouldn’t look good
if a member of your audience could do something you couldn’t!
The easiest way to learn it is with the "straddle” grip. Hold the face-
down deck up near your left fingertips. The fleshy pad of the thumbtip
is against the inner side of the deck; your second and third fingers are
at the outer side; your forefingertip is at the left end and the side of the
little fingertip is at the right end (see fig. 14).

FIGS. 14 & 15

To practice, simply place the deck into position with your right hand;
or, when the deck is on your left palm in dealing position, your right
hand can instantly place it into position by grasping it at the ends,
from above, and lifting.
From the position in the last figure, let approximately half the deck
fall into your palm by releasing it with your thumbtip. If you bend
your thumb slightly, this will happen almost automatically (see fig.
15). Note that in Figure 14 the thumb is practically straight, but in
Figure 15 it is bent. Bending it in that way moves the lower part of the
fleshy pad away from the cards, allowing that lower half to fall.
It doesn’t fall flat onto your palm; it "hinges” at your fingertips. The
widest drop, and separation, is at the inner (thumb) side; the half lies
diagonally from fingers to palm. Most often, according to the size of
your hand, the side of the dropped half will rest in the fork of your
 Card Flourishes 37
thumb. If you’ve done it correctly, there’ll be some air space between
the halves at the outer side, near your fingers.
Look at Figure 15 again and you’ll see that the forefinger no longer
contacts the upper half. It straightens as you let the lower half drop,
and immediately bends under the lower (released) portion.
Here’s the key point of the cut. Your forefinger keeps bending (think
of moving its tip toward your thumb), moving the lower half along
with it. When you first try it, it may appear impossible for the upper
t side of this half to clear the upper half. You’ll probably think your
hands are too small. Don’t! When I first learned to do it with both
hands simultaneously, my hands were (and probably still are) much
smaller than yours (see Afterthoughts, this section).
One important aid: As soon as your forefinger starts moving the low-
er half toward your thumb, straighten your thumb. This will raise the
thumb side of the upper half a bit, and afford more leeway. (See fig. 16,
which shows the lower half more than halfway to the thumb.)

FIGS. 16 & 17

In action, of course, there is no pause. Push that half right up

against your thumb (see fig. 17). Push just a fraction more as you relax
your thumb. This causes the lower half to push your thumb back away
from the upper half. The upper half has no choice but to fall onto the
back of your bent forefinger (see fig. 18). Your other three fingers will
automatically open a bit more to facilitate this.
The upper half rests on the back of your bent forefinger only momen-
tarily (when you’re doing it smoothly and well, it really only brushes
it), because you immediately straighten your forefinger. The upper
half will fall onto your outstretched fingers, and what was the lower
 38 The Magic Book

FIGS. 18 & 19

half will fall onto what was the upper (see fig. 19). Thus the cut is com-
pleted.
What has taken me so many words to describe should be done in a
second or less—after you’ve practiced, of course. The more you prac-
tice, the better your fingers will "learn” to do it. What seemed impossi-
ble at first will simply flow without thought. Take my word for it.

FIGS. 20 & 21

You can do another Charlier immediately following the first, with-

out using your right hand. From the position in the last illustration,
bend your little finger all the way in on the right end of the deck—
toward your wrist. Press your forefinger against the left end (see fig.
20). Now straighten your little finger, moving the deck along with it.
Your other fingers will also straighten (automatically) and you’ll be
back in starting position. The deck is held in "straddle” position be-
 Card Flourishes 39
tween your first and little fingers. All you have to do is move your
thumbtip to its side of the deck, and you’re ready to do another Char-
lier Cut. You can continue that way indefinitely.
Be sure always to hold the deck horizontal to the floor; otherwise
you’ll drop cards. And, stay loose! Don’t keep your hand tensed; relax—
it will come much easier.

Afterthoughts: If you’re having trouble clearing the two halves, start

with the inner side of the deck higher on your left thumbtip; the very
tip of your thumb can even be lower than the top of the deck. This will
give you more clearance.
The cut is not only a flourish; it is used as the modus operandi for
some effects. Hold a card faceup in your left hand. Close your fingers a
bit, giving it a slight lengthwise (upward) bend ("crimp,” in magicians’
parlance) (see fig. 21). Only a slight crimp is necessary. Place that card
facedown near the center of the face-down deck. Now give the deck a
Charlier Cut. If you do it "loosely,” the deck will "break” at the
crimped card, and it will be cut to the top!
You can crimp the four aces (all at once) this way, scatter them
throughout the deck, overhand shuffle, then Charlier cut to an ace at a
time! If you cut a few times and no ace comes to the top, overhand
shuffle once more. When a crimped ace is near center, it’s difficult not
to cut to it.
As you show each ace and deal it to the table, give it an opposite bend
(to crimp), to take away all clues.
 CARD HANDLING
AND SLEIGHTS

The Jog Shuffle

Most people use an overhand shuffle to shuffle a deck. Perhaps the
most effective of all card controls can be done during such a shuffle. (To
"control” a card is to keep it at, or bring it to, a known position during a
shuffle.) Learn this control so well that you can do it without thinking,
without looking at the deck, and you’ll be able to do miracles!
First, I’d better make sure that you can do a legitimate overhand
shuffle. Hold the deck in your left hand. The left long side rests on your
left palm; your forefinger rests loosely at the outer end; your thumb is
on the top card; the remaining fingers are at the face of the deck, as in
Figure 22.

FIGS. 22 & 23
40
 Card Handling and Sleights 41
Your right hand undercuts (takes the lower portion of) approximate-
ly half the deck, as in Figure 23. Bring this half up and over the left-
hand half so that you can start dropping small batches of cards from
the top of the right-hand half onto the left-hand half. The right hand
moves up and down to facilitate this; relaxing your right fingers allows
you to drop small batches. These go onto the left-hand packet and un-
der your left thumb, which keeps opening and closing to accommodate
-the small batches. In action, your left thumb will help to remove the
batches. Do this until the entire deck is in your left hand.
Assuming you can do the legitimate shuffle, let’s go into the Jog Con-
trol, or Jog Shuffle. Start in exactly the same way. Your right hand un-
dercuts and moves up and over the left-hand half. But—instead of
dropping a batch of cards, move your right hand (and its half deck)
down low enough onto the left-hand half so that your left thumb can
run a single card. (To "run” a card simply means to take one card.)
Just as your left thumb is about to slide one card from the top of the
right-hand cards onto the left-hand cards, move your right hand slight-
ly inward (toward you), about half an inch, or so. This "in-jogs” the
card the left thumb runs; that is, it protrudes inward. (See fig. 24,
which is a stop-action view of that first card being taken by the left
thumb.)

Without pausing, move your right hand back (away from you, to line
up with the left-hand half) as you simply continue, and complete, the
normal overhand shuffle. The shuffle is a legitimate one, but you’ve
marked the original top of the deck with an in-jogged card (see fig. 25).
The length of the in-jog is exaggerated in the illustration for teaching
 42 The Magic Book
purposes. When you’re familiar with the idea, three eighths of an inch
will suffice.
From here, most magic books tell you simply to cut all the cards be-
low the in-jogged one to the top. That’s fine, but it’s not very subtle; nor
is it very sophisticated. The thing to do is one more overhand shuffle, at
the end of which the original top half of the deck is back on top!
It’s really quite simple to do, but difficult to explain. You’re going to
do one more overhand shuffle. But instead of undercutting half the
deck as the first move, lift the entire deck. I suggest you follow this
with cards in hand. You’re in starting position, with an in-jogged card
near center, just as in Figure 25.
Your right hand approaches to lift the entire deck. As it does, your
right thumbtip contacts the in-jogged card (it has little choice). With
the fleshy pad of the thumbtip push the exposed end of the in-jogged
card up and in (don’t push in first, or you’ll lose it). This action will au-
tomatically form a "break” (a separation) along the length of the deck
(see fig. 26). This break is maintained by pressure of the thumbtip (see
fig. 27).

Your right thumbtip should contact the in-jogged card at such a posi-
tion that when the break is formed, the upper half deck will be above
the thumb crease. The lower half (original top) is below the thumb
crease. Study the last two illustrations carefully.
This is important because, now, each half deck will be under sepa-
rate control, as you’ll see. To my knowledge, this important point has
never been stressed in a magic book before. I want you to practice prop-
 Card Handling and Sleights 43
erly. Practicing the wrong way only helps you do it perfectly the wrong
way.
All right—shuffle now as you ordinarily would, dropping small
batches of cards, from the top of the deck, into your left hand. Slightly
relaxing your right thumbtip each time enables you to release small
batches during the up/down movement of your hand. Shuffle this way
until you reach the break. If youVe formed the break as I’ve explained
(one half deck on each side of the thumb crease), there will be a definite
"stop” when you reach it. You won’t have to look; you’ll know it. Throw
all the remaining cards (the entire half deck) onto the left-hand cards
as the last move of the shuffle. That’s it. The original top card is back
on top!
Although I’m explaining how to keep the top card on top, the same
process keeps the entire original top half (according to how deep or
shallow your first undercut is) on top. That’s the Jog Shuffle, and it can
be continued indefinitely. You’ve just completed one; now you can do
one more—that is, undercut about half the deck, in-jog the first card,
then shuffle off. Form break at in-jog, shuffle to break, then throw on
top. (This last sentence is a brief way of describing what I’ve just
taught you.)

FOR A SELECTED-CARD CONTROL

If you’ve practiced the Jog Shuffle, you know that you can keep a
particular card, or cards, on top. That’s fine. But when you have some-
one select a card, it doesn’t look too good to have the card replaced on
the top of the deck. A moment’s thought and you’ll see that you can
have the card replaced in the center, control it to the top, and then keep
it on top.
Spread the cards from hand to hand and let the spectator remove any
card. As he looks at and remembers it, square the cards. Get the deck
into overhand-shuffle position. Undercut half the deck with your right
hand, exactly as for the first move of the shuffle. (This will be easier,
and neater, if your left thumbtip, which rests on the upper side of the
deck, holds back the top half as your right hand takes the bottom half.)
Extend your left hand toward the spectator, asking him to replace
his card. Open your hand as you do so. If your original grip was correct,
the left-hand half will be lying on your fingers (see fig. 28). It’s quite
open and above suspicion.
 44 The Magic Book

FIG. 28

As soon as the card is replaced to the top of the left-hand half, make
an appropriate remark directly to the spectator, like, "Please don’t for-
get your card.” As you start to talk, both hands approach each other
and your left thumb runs and in-jogs the first card (top card of right-
hand half); then shuffle off. Form break at in-jog, shuffle to break, and
throw on top. Do one more complete Jog Shuffle and, as far as your au-
dience is concerned, the selected card is hopelessly lost. Of course, it’s
right there on top, waiting for your miracle to commence!

FOR SELECTED-CARD POSITIONING

Utilizing the Jog Shuffle, you can place a card to a definite position
near the top. Let’s assume that you want a selected card to be fourth
from the top. Do as just explained for controlling the selection, but in-
stead of in-jogging the first card you run (after the selection has been
replaced), run three cards, one at a time, onto the selected card—as the
start of the overhand shuffle. Then, in-jog the next card, and shuffle off.
Form break at in-jog, shuffle to break, and throw on top. The selected
card is fourth from the top. Do one more complete Jog Shuffle, keeping
it in place.
That’s one way to do it. Another way is first to control the selection to
the top, using any of the controls you’ll learn in this book; then over-
hand shuffle—that is, undercut, and instead of in-jogging the first
card, run three, then in-jog, etc.
Don’t let the "running” of three cards scare you. If you can run one,
you can run as many as you like. If you want to place a card to, say,
tenth from top, first control it to the top. Now, rather than running
nine cards during one shuffle, break it up. Run three cards, in-jog,
 Card Handling and Sleights 45
finish the shuffle. Do this two more times, and you will have placed
nine cards onto the top card, placing it in tenth position.
The reason for breaking it up when you have to place more than, say,
five cards onto the top is that running any more than that makes your
counting obvious. Never run so many cards that you have to stop talk-
ing in order to count. To run (or "chop”) three cards does not require
paying attention to the deck. You can do it as you talk to your specta-
tor.
Try it. Practice by noting the top card, or turning it faceup, and
shuffling it into different desired positions.

Afterthoughts: I would strongly suggest that you do not continue

reading (at least, not in the card section) until you can do the Jog
Shuffle pretty well. It is one of the most important pieces of card han-
dling you can learn.
Here’s a bit of finesse you might want to try after you’ve mastered
the basic sleight. You can in-jog the first card more than half an inch;
the problem is that it might be obvious. The "finesse” is a way to cover
it.

FIG. 29

After you’ve run, and in-jogged, that first card, don’t move your right
hand outward yet. Continue shuffling flush onto the jogged card, and
gradually move your right hand outward (flush with the left-hand
half) as you shuffle. This effectively covers the jogged card (see fig. 29).
Even if you pause at this point, before finishing the shuffle, the jogged
card can’t be seen. It simply looks as if you are holding a sloppily
shuffled deck! You’d continue exactly as before: Form a break at the in-
jog, and so on.
 46 The Magic Book

The Slip Shuffle

I’ve taught you the comparatively more difficult of the overhand-

shuffle controls. If you’ve mastered the Jog Shuffle, what follows
should be easy for you. First, before the Slip Shuffle, an obvious con-
trol—bringing a card from top to bottom, or from bottom to top, with
overhand shuffles.
To bring the top card to the bottom, simply start the shuffle by run-
ning one card from the top of the deck with your left thumb; continue
and complete the shuffle onto that card. To bring the card back to the
top, start a regular overhand shuffle and simply continue the shuffle,
making sure that the bottom card is the last one thrown on top. Prac-
tice transferring the same card to bottom, then to top, to bottom, then
to top, for a while. It’s easy.
Now, how would you shuffle and retain a card on bottom? Well, you
could keep transferring it to the top and back again, as Fve just ex-
plained, but a more efficient, and effective, way is to use the Slip
Shuffle.
Hold the deck in your left hand, in overhand-shuffle position. Your
right hand approaches to lift the entire deck, starting the shuffle. But,
as your right hand takes the deck, your left thumb and fingers apply a
gentle pressure on the top and bottom cards. This will automatically
cause the top and bottom cards to remain in your left hand. (See fig. 30,
which is an exposed view of the sleight in action.)

FIG. 30

As soon as the deck clears these two cards, simply continue shuffling
onto them. That’s all. YouVe done the Slip Shuffle. The bottom card
 Card Handling and Sleights 47
has remained on bottom, and the top card has been brought to second
from bottom.
Most of the time, you’ll use the Slip Shuffle simply to keep a card at
bottom. But you should be aware of the fact that both the top and the
bottom cards can be retained with this shuffle. To keep only the bottom
card in place, simply do the Slip Shuffle one or two more times. To keep
both cards in place, do another Slip Shuffle, but end it by making sure
that the bottom card of the right-hand portion is the last (single) card
that’s thrown on top.
This is as I explained above: simply shuffling the bottom card (in this
case, of course, it’s the second-from-bottom card) to the top. Both cards
are now in their original positions. You can continue this indefinitely.
Keep doing Slip Shuffles, making sure that the bottom card of the
right-hand portion is brought to the top at every second shuffle.
Practice the Slip Shuffle awhile and it will become second nature to
you.

Afterthoughts: You should now be able to see how you can use the
Slip Shuffle in conjunction with the Jog Shuffle. If you control a card to
the bottom, you can keep it there with one Slip Shuffle and/or bring it
to the top. Then end with a Jog Shuffle. If you originally control the
card to the top, a Jog Shuffle or two will suffice. For practice purposes,
you can do a Jog Shuffle, then shuffle the card to the bottom; keep it on
bottom with a Slip Shuffle or two, then shuffle it back to the top. End
with another Jog Shuffle. If you like, you can include the Slip Shuffle
when the card is on top (bringing it to second from bottom), then use
another Slip Shuffle to bring it back to the top, and so on.
Try all combinations; see if you can keep one card under control.
Then try it without looking at the cards. When you can keep one card
under control through a long combination of these overhand shuffles,
without looking, you’ll have accomplished quite a bit. You’ll have mas-
tered some advanced card work.

Instead of the Pass

"Pass” is the word used by cardmen for a secret, complete cut of the
deck. The pass is used mainly to bring a selected card (one that’s been
placed to center) to the top. The deck is secretly cut at the selected card.
 48 The Magic Book

It is a very difficult sleight to perform well and effectively. Most card-

men practice one variation or another for years, and yet I rarely see it
done properly. By "properly” I mean in such a way that the spectators
do not think, or feel, that something happened.
It is part of my philosophy of close-up magic that if your spectator
feels (or sees) that something happened, it’s as bad as if he knows ex-
actly what happened! And, as I mentioned before, it’s also part of my
philosophy not to teach you to do a difficult sleight but to teach you to
do an easy one well—particularly when it serves the same purpose as
the more difficult one.
Now that you know the Slip Shuffle, I can teach you an easy way to
control a selected card to the top—without anyone feeling that "some-
thing happened.” The Slip Shuffle itself has nothing to do with the ba-
sic control; it’s the icing on the cake. It "locks in” the control, as you’ll
see.
It is a simple move. It will, however, take time to describe, since I
also must teach you the beginnings of the Kick Cut, which will come in
quite handy later on, and how to form a "little-finger break.”
Assume that you’ve just spread the cards from hand to hand, allow-
ing a spectator to select a card. As he looks at, and remembers, it (and
shows it to one or two others, in case he forgets it), square the deck.
You’re holding the deck on your left palm.

Pick up the entire deck from above with your right hand. Your
thumb is toward the right side of the inner end; your second finger is
toward the right of the outer end; your third finger rests near your sec-
 Card Handling and Sleights 49

ond finger, but plays little part in the move. Your forefinger is curled
on top (see fig. 31). This is the beginning of the Kick Cut.

Straighten your right forefinger and place it on the outer end, along-
side your second finger (see fig. 32). With the forefingertip, lift up
(slightly) about half the deck (see fig. 33). Then move your forefinger to
the left, taking along the top half. The top half moves off diagonally;
the fulcrum is your right thumbtip. Place your left thumb around this
half, ready to take it (see fig. 34). Take this "kicked” half in the fork of
your left thumb (see fig. 35). Now extend your left hand toward your
spectator, allowing it to relax as you do. The half deck is now in "nor-
mal” position.
You could, of course, simply lift off half the deck with your right

FIGS. 35 & 36
 50 The Magic Book
hand, as you hold the deck in your left hand. You’d be in the same posi-
tion. You may, in fact, do it that way quite often. But the Kick Cut is
neater, it looks better, and, most important, I want you to learn and
practice it. You’ll see why later. I’ve broken it into steps for you. In ac-
tion it takes a split second; it’s all one blend of motion.
You’ve just extended your left hand toward your spectator. Ask him
to replace his card. He places it onto the left-hand cards. As soon as he
does, place the right-hand cards onto the left-hand cards. As you do,
bend, at the first joint, the tip of your left little finger. The little finger-
tip goes between the two halves. You’ll find it an almost automatic
reaction to bend your left forefinger out of the way as the right-hand
half approaches. It bends to beneath the deck.
Don’t remove your right hand; it has not changed position on its half
deck. The outer end of the deck appears quite normal. Your right
fingers press down slightly at that end to assure that the break is not
visible there (see fig. 36; the break is exaggerated in the illustration).
In action, your right hand hides the fact that you have a left little
finger break at center.
Although it has taken me some time and space to describe this, it is
only a momentary break. You need hold it for less than a second. As
you place the right-hand half onto the left-hand half, and obtain the
break, look into your spectator’s eyes, and say, "Please don’t forget
your card.”
As you say this, bend your left thumb under the deck and gently
push upward with it. Your left little fingertip still maintains the
break. Push up only until the deck is practically standing on its side, in
almost overhand-shuffle position. As you do this, your right fingers re-
lax and the right hand moves upward, grasping the top half. (See fig.
37, which is your view of the position at this moment.) In action, your
right hand never really loses contact.
Again, my description is longer than it takes to perform the entire
sleight. It takes no time at all; there are no pauses or hesitations.
There is only, perhaps, a one-beat pause as the right-hand half is
placed onto the left-hand half. You start talking, and the shuffle is
finished by the time you end the sentence.
From the position in Figure 37, simply lift the top half (all cards
above the break), which is practically delivered into your right hand,
and overhand shuffle it onto the face of the left-hand half. The selected
 Card Handling and Sleights 51

card is now on top. (It’s at the rear, really. The deck has been shuffled
faceup, and is now faceup.)
Here’s where the Slip Shuffle comes in. You’re in perfect position for
it. Do it as you make one more remark about the card being hopelessly
lost in the deck. That’s the "icing.” The control itself is fine; the Slip
Shuffle, which keeps the card on top, "locks it in.”

Afterthoughts: I’ve taken the time to describe this meticulously be-

cause I know how useful it can be, if you learn to do it smoothly.
When done smoothly, it is one sleight where misdirection is really
not essential. There’s nothing for the spectator to see. But I don’t be-
lieve in taking unnecessary chances. That one remark at the proper
time—as you look directly into the spectator’s eyes—covers a multi-
tude of sins. I’m not implying that you use this kind of misdirection to
cover sloppy handling; I’m simply telling you that it’s a good habit to
cultivate.
Practice this entire "pass substitute” sequence of controlling a card
to the top. Get so that you can do it without thinking. It will save you
much time and practice later on. The key to the entire thing, as usual,
is to "stay loose”; don’t hold the cards in a viselike grip; hold them in a
relaxed manner. It will all work more fluidly for you that way.
This is one of those things that would have saved me years had it
been properly taught to me at the beginning!
 52 The Magic Book

Legitimate and False Cuts

You’ve just learned the basics of the Kick Cut. You might as well
learn it all. I’ll teach you two legitimate cuts here: the Kick Cut and
the Swivel Cut. The main reason I want you to learn them is that when
you can do them legitimately, you’ll also be able to do them as "false”
cuts. A false cut is a cut that appears legitimate but really does not
change the deck at all.
There’s another reason to know these moves: You should know a cou-
ple of neat ways to cut a deck legitimately as part of your overall card-
handling ability.

THE KICK CUT

Do exactly as described in that part of Instead of the Pass where you

extend your left hand (with half the deck) toward the spectator; how-
ever, for the legitimate cut, take the top half in the fork of your left
thumb and move the right-hand half out (until it clears) and over the
left-hand half. Drop the right-hand half onto the left-hand half. That’s
all. In action, it’s a combined movement of the hands. Just a bit of prac-
tice will give you a fast, neat way to cut the deck.
Now, here’s how to use basically the same actions for a false cut. Get
to the point where you take the upper (kicked) half in the fork of your
left thumb. Again, your right hand moves its half out and over, but
this time keep moving it to your left. As you do, bend your left forefin-
ger under its half and push up with it. Your left thumb will automati-
cally move out of the way.
This will tilt the left-hand half up (at its left side) at a slight angle
(see fig. 38). I’ve exaggerated the angle and I’ve moved the right hand
out of the way for clarity purposes.
Without a pause, your right hand almost tosses its half to beneath
the left-hand half. In other words, it is tossed onto the left palm. The
right side of the right-hand half enters first. (See fig. 39 for a stop-
action view, just as the right-hand half is about to be placed, or tossed.)
What actually happens is that the lower half makes a complete
counterclockwise circle around the upper half—that is, out over and
back under it. If you were to call particular attention to this, it would
be obvious. But if you use the legitimate cut a few times during your
performance, and then throw this in once or twice in succession, when
you need to false cut, it will look like the same thing to laymen. As
 Card Handling and Sleights 53

FIGS. 38 & 39

usual, practice until you can do it smoothly, fairly rapidly, and without
looking at the cards.

THE SWIVEL CUT

First, the legitimate cut. It serves two purposes: It "sets you up” for
the false cut, and it looks pretty. It’s practically a flourish. Hold the
deck from above with your right hand exactly as for the start of the
Kick Cut.
Bring your open left hand (fingers pointing upward) to the inner left
comer of the deck. The inside of your left forefinger strikes the inner
end, toward the left corner. The forefinger should make contact some-
where between its two joints (see fig. 40).

FIGS. 40 & 41
 54 The Magic Book

In action, of course, there is no pause, but I’ll break it into steps for
you. Move your left hand outward and slightly to the left, as you apply
a gentle pressure to the top part of the deck with your forefinger. The
inner end of the upper half will "swivel” to the left exactly as shown in
Figure 41.
If you continue to move your left hand in the same direction, and in a
smooth manner, the rest of the cut practically works itself. The upper
half continues to swivel outward, on the fulcrum of the right second
finger, as you can see by studying Figure 41. The outer end of the up-
per half "rides” around that fingertip; the inner end rides around your
left forefinger. As your left hand moves, it will automatically start
turning palm up.
Swivel the half to about the position in Figure 42. In action, this,
again, is a combined movement of the hands. Your left hand is moving
outward; your right hand helps by moving slightly inward (straight
back). When you’ve reached the approximate position shown in Figure
42, and move both hands (left outward, right inward) just a bit more,
the swiveled half will fall onto your left palm. End simply by dropping
the right-hand half onto it.

FIG. 42

This will probably seem awkward at first. Take my word that after a
minimum of practice, it won’t seem, or feel, awkward at all. Familiar-
ize yourself with it. Once it starts to "flow,” it’s fast and pretty, and
you’ll do it without thinking or looking.
Now, again, here’s basically the same action used for a false cut. The
main difference is that the legitimate cut is done in the hands, whereas
 Card Handling and Sleights 55
the false cut is a cut to the table. This cutting to the table automatical-
ly turns it into a false cut.
Do the Swivel Cut up to the point where the upper (swiveled) half
falls onto the left palm. As it’s falling, your right hand, in a continuing
movement, slaps its half onto the table. Without a pause, your right
hand returns to take the left-hand half (your left hand remains sta-
tionary) from above, thumb at inner, fingers at outer, end. Slap this
onto the already tabled half.
This is a perfect illusion of a cut—the same cut you do in your hands.
But it is a false cut! You may even have fooled yourself as you tried it
just now! Remember that it’s done in one fluid action. Your right hand
doesn’t pause throughout.
Again, if you use the legitimate Swivel Cut as part of your card han-
dling, the false cut becomes completely effective.

A 3-WAY FALSE CUT

This is an easy false cut to learn. It may seem obvious, but it’s a fool-
er, particularly if you throw it in only once in a while. I wouldn’t use it
too often.
I want to teach it to you not only because it’s effective when used at
the proper time but also because it is a clean way of removing packets
from the top of the deck.
The deck is in your left hand, in normal position, except that your
left thumbtip is at the outer left corner, and your forefinger is bent be-
neath the deck. (This will clear up for you when you come to the next
illustration.)
Pressing your thumbtip against the outer left comer, move it down-
ward, allowing cards to riffle off it. (This is possible because of the bent
left forefinger beneath the deck.) When you stop riffling, you’ll have a
break, or separation, at the outer left corner (see fig. 43).

FIG. 43
 56 The Magic Book
For this cut, riffle down about a third of the deck. Your right hand
takes the "broken” portion from above, thumb at inner, fingers at out-
er, end, and slaps it onto the table, slightly to your left.
Riffle down to about half the cards remaining; do this as your right
hand is tabling the first third. Return with your right hand and take
this riffled-off portion. Slap it onto the table to the right of the first
packet. Your right hand returns and takes the remaining packet of
cards (about a third of the deck) and slaps it onto the table to the right
of the first two. You’ve formed a horizontal row of three packets.
Pause for one beat; then "scoop up” the left-end packet and slap it
onto the packet to its right. Without releasing the cards, scoop up this
combined packet and slap it onto the remaining one, thus scooping up
the entire deck. Cut completed. Nothing has changed!

Afterthoughts: As mentioned, this last cut is a good occasional fool-

er. The riffling down is a clean way to remove packets. It eliminates
fumbling, and falling cards. This is the way to lift up half the deck
when you want to extend the lower half toward a spectator for a card
replacement.
You should familiarize yourself with all these cuts, legitimate and
false. At no time during performance should attention be called to
them. It is bad judgment to stress what should be obvious! To execute
one of these false cuts as you say "Look, I’m cutting the deck” would be
the worst thing to do. Nobody would believe you!
When you do one in an offhand manner, without mentioning it,
that's when it works. Let the cut, the action, speak for itself. This is a
philosophy that you should be aware of in all areas of magic. When a
magician(?) says, "I have here a regular deck,” everyone knows it’s not
a regular deck.
Remember: It's best not to stress what's supposed to be obvious.

The Hindu Shuffle

The Hindu Shuffle is really only a different way of doing the over-
hand shuffle; it s an end-over-end rather than a side-over-side shuffle. I
want you to learn it because it can be used as a most effective control of
 Card Handling and Sleights 57
a card or cards, and also as a very easy "force” of a card. You must first
learn the basic Hindu Shuffle, however.
Your right hand grasps the deck from above, at the sides of the inner
end, thumbtip at the left side, second fingertip at the right side, fore-
finger casually curled on top (see fig. 44). Note that the tips of your
thumb and second finger extend beneath the deck; a bit less than half
an inch is about right. Try to get into exactly the position depicted; the
correct grip will make it easier.

FIGS. 44 & 45

Your hands approach each other. Your left hand is palm up, your
right hand is palm down, holding the deck facedown. Your left fingers
approach from beneath the deck. The object is to remove small packets
of cards from the top of the deck. These are taken with your left thumb
and second finger and are allowed to drop onto your left palm.
See Figure 45, which shows the first packet being taken. Note the po-
sition of the left forefinger. That’s what keeps the cards from falling
out of your left hand. Move that packet outward until it clears the
right-hand deck proper. Now, simply relax your left fingers, allowing
the packet to drop onto your palm. Take another packet. This is easy
because the first packet is on your palm and out of the way (see fig. 46).
The left hand is tilted slightly downward, which assures that the "tak-
en” cards do not fall out of the inner side of your hand—the side oppo-
site your forefinger.
 58 The Magic Book

FIG. 46

This packet drops to your palm, onto the first packet. Take another
small packet from the top, and continue to do so until the entire deck is
on your left palm.
In practice, you’ll probably move only your left hand as it takes
packets and returns, and so on. In action, it should be a combined
movement. Your hands move toward each other and away from each
other so that as your left hand 'Takes,” your right hand moves the deck
proper away from the grasped packet.
Be sure that your hands, and the deck, are tilted slightly downward,
and that your left forefinger is curled around the outer end of the "tak-
en cards, as explained. You won’t drop cards that way, which is what
usually happens when a student starts learning the Hindu Shuffle.
You’ll see, as you practice, that your left third and fourth fingers will
automatically aid in grasping each successive top packet by resting on
the right side of the packet. Also a bit of experimenting will show you
which parts of the left fingers are best (for you) for grasping the pack-
ets. Usually, below the fingertips is best (check the illustrations).
When you’ve gone through the entire deck, simply regrasp the deck
with your right hand and go directly into another Hindu Shuffle. The
secret, as usual, is to 'stay loose.” The packets are grasped with a light,
gentle touch; it s almost fleeting. A minimum of practice will make it
all a smooth, fluid action.
Don’t continue until you feel familiar and at ease with the Hindu
Shuffle.
 Card Handling and Sleights 59
THE HINDU SHUFFLE AS A CONTROL

The Jog Shuffle enables you to control a card, or cards, with an in-
jogged card. You can also control a card, or cards, with the Hindu
Shuffle, but not with an in-jogged card. The modus operandi here is a
slight separation, or break.
Assume you want to do the Hindu Shuffle and keep the top card on
top. Do the first move of the shuffle; that is, take the first packet from
the top with your left hand. The difference here is that instead of a
small packet, you take approximately half the deck.
Now, as your hands come together—the right-hand half moving to
directly above the left-hand half, to continue the shuffle—two things
happen simultaneously: As your left fingers grasp a small packet from
the top of the right-hand half, in normal Hindu Shuffle manner, your
right fingertips grasp a few cards from the top of the left-hand cards.
Your right fingertips are almost automatically in correct position to do
this, particularly if they’re extending a bit beneath the deck, as I’ve in-
structed (see fig. 47).

FIGS. 47 & 48

As the small top packet is taken with your left hand, your right hand
automatically has a small packet at its fingertips, and that packet is
separated slightly from the deck proper (see fig. 48).
Without hesitation, continue the Hindu Shuffle until you reach the
 60 The Magic Book

separation, or break. You’ll know when you’ve reached it. Try it once
and you’ll see. You’re left with only the "stolen” packet in your right
hand. Again, without pause or hesitation, this remaining packet is
taken with your left hand to the top of the left-hand cards, as the last
move of the shuffle. In action, this last packet is simply dropped onto
the left-hand cards.
That’s all. You’ve brought the top card(s) back to the top. You can
immediately go into another Hindu Shuffle, repeating the control. Try
it a few times; you’ll see how easy it is. There’s a nice feeling of accom-
plishment the first time you do it smoothly!
You realize, of course, that the number of cards in the "stolen” pack-
et is immaterial. Since the card you’re controlling is on top of them, it
will end up on top no matter how many cards are in that packet. After
some practice, you’ll be able to steal only one card, but that doesn’t
matter now.
As with the Jog Shuffle, you can have a selected card replaced to cen-
ter, then control it to the top and keep it there. A card is taken and re-
membered. Start a Hindu Shuffle, taking small packets as I originally
explained. Stop when you’ve shuffled about half the deck into your left
hand.
Extend your left hand toward your spectator and ask him to place
his card there, "in the center.” He places it on top of the left-hand
cards. Now, as you say "Please remember your card,” continue Hindu
shuffling onto the left-hand cards, stealing a small packet with your
right fingertips as you do. Just as already explained.
Finish the shuffle, bringing the selected card to the top; then im-
mediately do one more Hindu Shuffle, controlling it back to the top.
Your most discerning viewer should be more than satisfied that his
card is hopelessly lost in the deck!
You’ll learn another use for the Hindu Shuffle in the section on
"forces.”

The Double Lift

(Three Methods)

Probably the most effective sleight in card magic (also the most
abused and overused) is the Double Lift. Learn to do one or two meth-
 Card Handling and Sleights 61

°ds well, and you can do miracles. And the concept is so simple. It’s the
lifting, or turning over, of two cards while making your audience be-
lieve that you’re lifting or turning over only one card.
The concept is simple, but the execution is not. The handling isn’t
difficult (although the two cards must stay perfectly aligned); the tim-
ing and attitude may be. If you are overly conscious of the fact that
you re turning two cards, you’ll almost automatically make your spec-
tator conscious of it. That’s what I mean by "attitude.” You have to
start believing that you’re turning only one card.
But first, you d better learn the technique—how physically to turn
two cards as one. There are many methods. I’ll teach you only three.
Practice all three, then use the one that fits you best; or use all three
(one at a time, of course).

FIRSTMETHOD

This method is one I’ve been using since childhood. I’ll break it into
six steps for you. Work along with me, cards in hand. Learn each step,
then put them together, smoothly, and you’ll have as good a double lift
as any.
Be sure the deck is perfectly squared. Hold it, firmly, up near the
fingertips of your left hand; thumb on one side, forefinger bent beneath

FIG. 49
 62 The Magic Book

the deck, all other fingers on the opposite side. Your right hand lightly
rests on the deck from above; thumbtip at inner end, forefinger curled
on top, other fingertips at outer end (see fig. 49).
Step #1: The fleshy pad of your right thumbtip lifts one card at the
inner end. A light touch is the secret. You’ll get to the point where you
can lift only one card every time.
Step #2: As you continue to move your thumbtip slightly upward,
bend it in so that it contacts the very edge of the end of the second card.
Lift that card slightly (see fig. 50). The distances are exaggerated in
the illustrations. Only the slightest lift is necessary—a sixteenth of an
inch, or so. Only the inner ends of these two cards move. Your left
fingers are holding the deck firmly, so nothing else can move.

FIG. 50

Step #3: Bend your thumbtip inward, and the two "lifted” cards will
automatically fall together onto the thumbtip. (Actually, the inner end
of the upper card simply falls onto the second card.)
Step #4: Your right first and second fingers approach (your thumb-
tip does not move) and grasp the cards directly over the thumb. (Your
right third and fourth fingers play no part in the move.) Your left
fingertips act as the gauge; the two cards canft separate. Press your
thumbtip and first and second fingertips together; this will tend to
"concave” the cards and keep them aligned throughout (see fig. 51).
Now, to show the card . . .
 Card Handling and Sleights 63

FIGS. 51 & 52

Step #5: This is done as your hands move slightly to your left. (You
can move just your hands, or your body—slightly, remember.) Pull the
two cards a bit inward—the sides ride along the inside of your left
fingertips, assuring alignment—then turn your right hand over (palm
up, to the right) turning the card(s) faceup (see fig. 52). Rest the cards
right back on top of the deck, but don’t let go with your right fingers.
Let them lie stepped inward, as in Figure 52. Pause for a beat as you
name the exposed card, then go into . . .
Step #6: As your hands (or body) move back toward the front, re-
verse step #5. That is, pull the cards inward and then (at almost the
same time) turn your right hand over (back up, to the left) again, turn-
ing the cards facedown. Replace it to the top.
A fair-looking way to replace the cards is to step them inward. Then
push them flush with only your right thumbtip (see fig. 53).

FIG. 53
 64 The Magic Book
That’s it! Now, some practice is certainly called for. Steps 1 and 2 as-
sure that you lift only two cards. Steps 3 and 4 assure that they stay
perfectly squared and aligned. Steps 5 and 6 display what to all intents
and purposes is a single card.
The six steps must blend into one fluid motion—slightly to the left,
and back. You’ll be starting steps 1 and 2 as you start to move to the
left. Pause for a beat at step #5, then move back as you do step #6.
Only practice will enable you to blend all the steps. And please—don’t
turn your body so much that your back is toward your spectator! It’s
the slightest movement to the left, as you also turn your head slightly
to look at the card. Practice. After a short while, you won’t even think
about it.
Practice tip: Turn over only one card this way; then make the Dou-
ble Lift look exactly the same.

SECOND METHOD

This method and the one that follows require no turning of hands or
body. The deck is held more or less stationary, but a bit lower than usu-
al. The spectators should be looking down at the top of the deck. This is
a good idea for any double lift, since the extra thickness of what is sup-
posedly one card can be seen only from a side or from an end. If the
spectator looks down at the back or face of the card, that thickness
can’t be seen.
Hold the deck on the palm of your left hand, not up at the fingertips.
Your left thumb lies naturally across the top. Your right hand rests on
top, just as in the first method. Also as before, your right thumbtip lifts

FIGS. 54 & 55
 Card Handling and Sleights 65
one, then another, card at the inner end. The pressure of your left
thumb assures that these cards lift at the rear only.
As your thumbtip lifts the second card, it slides to the right, along
the ends of the cards and then up along the sides (see fig. 54). At the
same time, your right first and second fingers move to the center of the
right side to meet the thumbtip. Grasp the cards there (see fig. 55.) Au-
tomatically, your left fingers will open slightly, to make way for the
moving right thumb.
Without a pause, turn your right hand outward (palm up), turning
the two cards over, away from you, end over end. When you try it,
you’ll see that it’s the only way you can turn the cards faceup from this
position. Turn them until they’re faceup and at the position shown in
Figure 56. Pause for a beat, to show the card, then flip it over to the left
(like turning the page of a book) onto the deck. The two cards will stay
perfectly aligned as they fall facedown and flush.

FIGS. 56 & 57

This is done without ever releasing your right-hand grip on the two
cards. Learn it this way; then, you can practice it with a "delay.” Bring
the cards to the position shown in Figure 56. Your left thumbtip can
hold the cards in place by pressure at their left side. When you try this,
you’ll see that your left fingertips touch the cards from underneath.
They lend support. Remove your right hand for a moment—long
enough to make an appropriate remark. Then, flip the cards over (and
facedown) onto the deck with your open right fingers. Your left thumb-
tip acts as the fulcrum, then gets out of the way as the cards fall over.
(See fig. 57 to see the "flip-over” just starting.)
For both these handlings, the practice tip is as before. Do the actions
 66 The Magic Book
with a single card, then work at making the Double Lift look exactly
the same as the single. As you practice, it will become easier and easier
to lift two cards at the inner end. You’ll start to do it as your right
thumbtip moves to the right. The entire sleight should be one blend of
motion—not a rapid blend of motion but a smooth, natural one.

THIRD METHOD

This is almost the same as the second method. I’m teaching it to

make you aware of a "delayed break” Double Lift. Hold the deck on
your left palm, as in the preceding method. Lift one, then another, card
at the inner end, also as in the preceding method.

FIGS. 58 & 59

At almost the same time, press the tip of your left little finger gently
against the deck as your right thumbtip releases the two cards, and
your right hand moves away from the deck. The flesh of your little
fingertip will keep the two cards separated from the deck, at the inner
end. (See fig. 58 for a rear view.) The little fingertip is not inserted; only
light pressure of the flesh (pad) of the tip maintains the break. This is
called a "flesh break.” If the fingertip was inserted it would appear as if
that tip were missing! It would be obvious. This way, the tip of the
finger is in view, just as the other fingertips are. If you tilt the right
side of the deck downward, you can talk as you maintain the flesh
break. It can’t be seen.
When you’re ready to do the lift, you have a choice: You can insert
your right thumbtip into the break, at the inner right comer, and con-
 Card Handling and Sleights 67
tinue exactly as in the second method—either handling. I prefer this:
Both hands approach each other. Your right fingers rest on the deck
momentarily—from above, and at the right side of the ends. This is to
allow more of the back of the cards to show.
Without pausing, move the two ''broken” cards to the right and
slightly inward until the tip of your left thumb can hold them in posi-
tion and you can remove your right hand (see fig. 59). This is the only
reason for the left-little-finger flesh break—to allow you to move the
two top cards (as one) with absolutely no hesitation.
Remove your right hand only long enough to turn it palm up so that
you can flip the cards faceup exactly as in the preceding method. Look
at Figure 57 again. It’s the same, except that you’re flipping facedown
cards faceup instead of the other way around. Also, because you
stepped the cards inward, they will land faceup the same way. Your
left thumb holds them in place.

FIG. 60

Pause, displaying "the card.” Grasp it at its inner right corner, with
your right thumbtip and first and second fingertips (see fig. 60). Move
it upward and to the right until your left thumbtip can hold it at its left
side (look again at fig. 56). Without really losing contact, slide your
right fingers up the right side of the cards just a bit and flip them face-
down onto the deck.

Afterthoughts: It has taken much longer to describe this last method

than it takes to do the sleight. (This is usually so.) Go over the se-
quence carefully. Get it working smoothly, and you’ll see that the two
cards stick together like burrs. The entire sleight takes only a second.
 68 The Magic Book
Practice all three methods. Use a light touch. I’ve seen people per-
form Double Lifts as if they were turning over bricks! First of all, this
does not ensure alignment. Just the opposite is true. Grasping too
tightly tends to separate the cards. Secondly, clutching the cards also
clutches the attention of your viewers. You must act as if you’re turn-
ing only one card. Stay loose, use a light touch, and you’ll make things
much easier for yourself.

The Palm

(Two Methods)

We come now to the third of the three principal manipulations nec-

essary to doing sleight of hand with cards—the Palm. To palm a card
means to steal it from the deck without your audience being aware of
it. Method and technique are important, but it has always been my
contention that attitude is more important. It’s the moment or two af-
ter a card is palmed that can create suspicion—not the "steal” itself.
Your timing, your actions, your attitude, your naturalness, are the
ingredients that make or break the sleight. I’ll talk about those areas
after I’ve taken care of the technique. I’ll teach you two methods. For
the time being, these will be all you’ll need; that is, if you learn to do
them well.

FIRSTMETHOD

This method is probably the one most beginners try to learn. With
the proper timing, misdirection, and attitude it’s as good as any. I use
it primarily to palm more than one card, but it’s still the one you
should learn first. It’s easier to do, you’ll use it for one card as well as
for more than one, and, most important, you’ll get the "feel” of palm-
ing.
Hold the deck on your left palm, in normal position. Rest your right
hand on top, and in exactly the same action used for the Double Lift,
lift one card with your right thumbtip. Lift it only enough to allow the
tip of your left little finger to bend in under it, then release with your
 Card Handling and Sleights 69
thumb. The card falls onto your little fingertip. You’ve formed a break.
Your right hand continues to rest on the deck, covering the break.

FIGS. 61 & 62

Immediately after you release the card with your right thumb, your
right hand lifts the deck up to your left fingertips. Actually, only the
left side of the deck is raised up to your left thumbtip; the right side
doesn’t change position. Your little fingertip remains between the top
card and the rest of the deck. (See fig. 61. I’ve removed the right hand
for clarity purposes. In action, it continues to rest on the deck.)
Now, open your right hand, letting it rest lightly on the top card, in
open position (see fig. 62). It is at just this point that most beginners
(and some experienced cardmen, who should know better) make a mis-
take. I guess it’s anxiety that causes the beginner to close his right
hand at this moment, grasping the top card. Don't do that; it’s wrong
because it will look awkward no matter how well you think you’re do-
ing it. The card is too close to the deck to be palmed neatly.
The proper way is to do two actions simultaneously: Straighten your
left little finger; this pushes the top card up into your palm (see fig. 63,
in which the right hand has been raised so that you can see the action
clearly). At the same time, move your right hand—without losing con-
tact with the ends of the deck—to your right and grasp the deck at the
right side of the ends. Remove your left hand. (See fig. 64, and study
the illustration carefully. It is a natural grip of the cards, and the
palmed card is completely hidden.)
Don't try to grasp the card. It’s unnecessary. For this particular
 70 The Magic Book

FIGS. 63 & 64

method, your right hand shouldn’t have to do much of anything. It will

almost automatically hold the card when the left little finger pushes it
upward.

A card is very light! If the ends contact the proper areas of your right
palm you don’t have to "grasp” at all. The natural bend of your hand
will hold it in place. Study Figure 65. Note that one end of the card al-
most fits into the large crease where the fleshy part of the thumb meets
the palm. The other end gently butts into the flesh between the joints
of the second and third fingers. You should be able to move your first,
third, and fourth fingers back away from the card. It will still remain
 Card Handling and Sleights 71
"palmed,” held in place by only the lightest pressure in the area of your
palm and second finger.
When you put the steps together, the Palm, from start to finish,
takes a second or less. Forming the break and lifting the deck up to
your left thumbtip is almost one fluid action. At that moment, your
right hand should be almost in desired position. Although I told you to
open your right hand, in action your fingers needn’t change position at
all. The rear of your hand moves downward to meet the card as your
left little finger pushes it upward. Your right hand doesn’t pause, but,
in a continuing motion, moves to the right. You can pause after form-
ing the break and lifting the deck. Then do the actual Palm; it takes no
time at all.
Your angle during the move is basically eye to eye—facing your
spectator. If he were looking at your hands, he’d see only the top of the
deck and the back of your right hand. As far as timing and misdirec-
tion are concerned, I’d suggest you get to do the Palm smoothly, with-
out looking at or thinking about it. Then, when you try it on a friend,
just at the moment of truth, look into his eyes and make any appropri-
ate remark. This could be "Please don’t forget your card,” or "Was your
card red or black?” etc. It’s at exactly that moment that you palm the
card.
This is an essential aspect of misdirection. Asking a direct question
as you look into your spectator’s eyes will almost always force him to
look into your eyes. He cannot at that point see what’s happening in
your hands! The same misdirection applies for other sleights. I’ll dis-
cuss "attitude” after I teach you the next method.
Finally, you can lift, and break, two cards (or more) and do exactly
the same palm. The cards will move, perfectly aligned, into palm posi-
tion.

SECOND METHOD

This is the single-card Palm I use most often. It’s almost instantane-
ous, and there’s nothing to be seen, if done correctly. The right-hand
grip is more important here, so I’ll describe it first. In this case, a pic-
ture is probably worth more than a thousand words, so see Figure 66.
The four fingertips cover the outer end of the top card. Most important,
the fleshy pad of the right little fingertip is resting on the top of the tip
 72 The Magic Book
of the outer right comer. That is, it’s resting on the back of the card at
that corner. (See fig. 67 for a side view.) You’ll probably have to try
that a few times—the straightening of your little finger to get the pad
of the fingertip right on that corner—before the finger "learns” to fall
into correct position.

FIGS. 66 & 67

Grasp the deck with your left hand, placing your left thumb onto the
deck near the inner end (see fig. 68). Move back your left thumb and
push the top card a bit to the right. Simply push it as if you were deal-
ing off the top card. The tip of your left second and/or third finger acts
as the gauge, assuring that only one card moves.

FIGS. 68 & 69
 Card Handling and Sleights 73
This automatically causes the outer right comer of the card to move
off the deck at that comer. (See fig. 69. I’ve removed the right hand so
that you can see exactly what’s happened.)
The card is pushed off (at the inner end) only about a quarter of an
inch; it moves off the upper right comer even less than that. This is all
really academic; you don’t have to look at the cards, or think too much
about how far to push that top card. The move will work almost auto-
matically from here if your right little fingertip is placed properly, be-
cause your left thumb pushes off the top card, as explained, and at the
same time, your right little fingertip moves outward and slightly down-
ward. (Your left thumb moves to hold the deck at the outer left side as
soon as it has "pushed,” so that it is out of the way.) The fleshy pad of
your little fingertip presses downward on the separated upper right
corner of the top card. This will cause that card to pop right up into
your right palm, in proper position!

FIGS. 70 & 71

See Figure 70, which shows the card more than halfway there. (I’ve
removed the left hand for purposes of clarity.) Now, simply arch your
right hand, relax your little finger, and the card goes "home” into a
proper Palm (see fig. 71).
Again, I’ve broken the move into steps for you. In action, from the
moment your left thumb slightly pushes that top card, there is no
pause. The thumb pushes and gets out of the way, and the right little
finger does its work—all within a split second. The entire Palm takes
no more than that split second. That includes sliding your right hand
to the right and grasping the deck, as in the preceding method.
 74 The Magic Book

FIG. 72

The problem you’ll probably have at first, besides getting your right
little fingertip into proper position, is that the lower right side of the
palmed card will move too far and protrude, as in Figure 72. This is not
because your hand is too small; remember, mine is probably smaller!
You’ll be doing one of a few things incorrectly. You’ll probably let
the card "swivel” under your right little fingertip instead of pressing
that corner straight down; if you press straight down, the card snaps
straight up. Most likely, however, you’ll either be pushing the card too
far with your left thumb and/or waiting too long to press down with
your right little fingertip. Press down with that fingertip as your left
thumb pushes off the top card. I mention these errors so that you can
watch for them, and avoid them, as you practice. Basically, it’s a feel,
or a knack, that comes after some practice.
I explained the right-hand grip first. In action, the deck is in normal
position in your left hand. Your right hand rests on it from above and
lifts it slightly so that your left thumb can go into the "gap”—the space
between the top of the deck and your right palm. Or, go directly into
the Palm from a squaring action. Refer back to my description of how
to square a deck, and you’ll see that you’re in perfect position to do this
Palm.
Just bear in mind that nothing worthwhile comes too easily. This is
a worthwhile sleight; give it the time and practice it deserves.

Afterthoughts: The above is an instantaneous and imperceptible

Palm. The only reason you’d get caught—caught doing any sleight, for
that matter—is your attitude. If you are overly conscious of the palmed
 Card Handling and Sleights 75
card, you’ll automatically draw your spectator’s attention to it. The ex-
treme example would be if you looked at your "palming” hand. Obvi-
ously, that would make your spectator look at it, too. And, whether the
card was visible or not, he’d know it was there.
Try not even to think of the palmed card. The less you are aware of
it, the less your audience will be aware of it. This attitude comes with
experience, but I wanted you to think of it now. Your attention is on
your spectator, the deck—anything but the palmed card.
The best time to palm a card is when you’re asking your spectator a
direct question, or giving him something to do; for example, when you
ask him to turn over a tabled card. Just as he looks down, palm your
card. There are examples of this kind of misdirection throughout the
book.
After you’ve palmed a card, when you want to get the deck out of
your hands, the best way is to hand it out for shuffling. The way to do it
is to take the deck out of your right hand with your left hand and ex-
tend your left hand toward the spectator. Or, place the deck to the ta-
ble for a spectator to cut, as you make a remark about the deck. (Avoid
making the common mistake of sticking out your right thumb as if
you’re hitchhiking! Keep that thumb relaxed and naturally near your
other fingers.)
For that moment, do not move your right hand. A principle of magic
and misdirection is that the eye follows a moving (or the fastest-mov-
ing) object. Moving only your left hand (with the deck) keeps attention
away from your right hand.
After a pause, you can place both hands into your pockets, casually
depositing the palmed card for later production, or you can drop your
right arm naturally to your side.
When you’ve gained some confidence, try handing the deck to your
spectator with your right hand while the card is palmed (from the posi-
tion in fig. 64). It’s disarming.
Finally, when producing a palmed card from your pocket (I prefer to
deposit it, leave it there, as mentioned above, and cleanly produce it
later), plunge the hand into the pocket and pull it out holding the card
openly at the fingertips.
Learn to palm a card cleanly. I’ve always believed that if you can do
one good card control, one good Palm, and one good Double Lift (in that
order), you can do miracles with cards.
 76 The Magic Book

The Hindu-Shuffle Force

(Two Methods)

FIRSTMETHOD

One of the cardman’s strongest weapons is the "force.” It means

what the word implies—to "force” your spectator to select the card you
want him to select without his being aware of it. Now that you know
how to control a card, "forcing” becomes less essential, but you should
know how to force a card.
Of the sleight-of-hand forces, this is the easiest one. The "force card”
is at the bottom of the deck. This should be glimpsed during a Riffle
Shuffle, usually during the square-up (see fig. 73). Then, keep it on bot-
tom with either a Slip Shuffle or a center Hindu Shuffle, or both.

FIGS. 73 & 74

The center Hindu Shuffle will be no problem for you now. Instead of
taking a batch from the top as you start the shuffle, your right fingers
take a center batch, so that, actually, your left hand is taking a batch
from top and bottom at the same time. (See fig. 74, to see this first step
of the shuffle.) From here, simply continue doing a regular Hindu
Shuffle, taking small batches of cards from the top of the right-hand
portion. The bottom card remains on bottom.
Now, when you’re ready to force the bottom card, ask your spectator
to say "stop” whenever he likes, as you shuffle. Start a regular Hindu
Shuffle, taking small batches from the top. When you’re stopped, which
is usually somewhere near center, lift your right hand and its cards so
 Card Handling and Sleights 77
that the face of this packet is directly toward the spectator (see fig. 75).
The card he sees is the original bottom card. Turn your head aside so
he doesn’t think you can see it too. That’s all; you’ve forced the card!

FIG. 75

This may seem obvious to you, but it isn’t to a layman. The shuffle
itself is confusing to him; he doesn’t really know where the small pack-
ets are coming from. Most important, he has seen you shuffle before he
was asked to stop you. If the entire thing is done nonchalantly, he’ll be-
lieve that he’s had a free choice of a card.
As soon as he’s seen the card, drop the right-hand half onto the left-
hand cards, and hand him the deck for shuffling.

SECOND METHOD

After you’ve practiced the above, and become familiar with it, you
may want to practice this more sophisticated method of the same force.
This time, the force card is on top. Glimpse it exactly as I explained be-
fore, then shuffle it to the top. Follow up with a Jog Shuffle, and you’re
ready.
As you ask the spectator to stop you along the way, start a regular
Hindu Shuffle. Take about a third of the deck with your left hand as
the first part of the shuffle. As you take the next small batch, "steal”
the top card (of the left-hand cards) exactly as I explained in the Hindu
 78 The Magic Book
Shuffle Control. It doesn’t matter if you steal more than one card. (Re-
fer back to fig. 48).
Continue shuffling normally, until he says "stop.” The instant he
does, say, "Right here? Fine. Look at this card.” As you say this, tap, as
if to indicate, the top of the left-hand portion with the right-hand
cards. (The right-hand half goes flush onto the left-hand half, momen-
tarily.) And, simply drop the "stolen” card, or cards, onto the left-hand
cards (see fig. 76).

FIG. 76

It drops, and you move your right hand back (toward you) at about
the same time. Done correctly, this is imperceptible. The right-hand
cards cover the "transfer” of the stolen (broken) card. The entire, split-
second move is a casual gesture, the end of which is the extending of
your left hand toward your spectator. He takes the top card of the left-
hand cards—the force card!
This will fool those who know the preceding method. It’s also easier
to shuffle and control the top card before the force. It’s also "truer”; it
should be the top card of the left-hand portion that the spectator takes
when he stops you.

Afterthoughts: After you’ve forced a card, it’s usually necessary to

control that card to the top of the deck in order to end the effect. Since
the deck is'being shuffled by the spectator, you have no idea where that
card is. How do you get it to the top without being obvious about it?
Well, there are many ways, but I always use the easiest, and most nat-
ural, method. The Jog Shuffle makes it feasible.
Simply spread the cards from hand to hand, faces toward you, look-
 Card Handling and Sleights 79
ing for the card. As you do, say, "Now, ordinarily, a magician would
look through the deck like this, trying to find your card. But, I won’t do
that. I’ll just make sure that it’s really lost.”
Time your actions so that they match your words. When you say,
"But, I won’t do that,” you’ve done just that; you’ve found the card and
simply cut the deck there, bringing it to the top! As you talk about
making sure it’s lost, do a Jog Shuffle or two.
You’ve brought the selected card to the top, and no one’s the wiser!
This is the method I use whenever, during an effect, I have to bring a
card to the top.
Now dazzle your audience.

Four Forces

THE CRISSCROSS FORCE

This requires no sleight of hand at all, except for the initial control
of the top card, the force card.
Shuffle the deck, keeping the top (known) card on top. Place it, face-
down, onto the table. Ask the spectator to cut the deck anywhere he
pleases, and to place the cut-off portion onto the table alongside the
bottom portion. As you say, "Let’s mark your cut,” casually place the
original bottom portion crosswise onto his cut-off portion (see fig. 77).

FIG. 77

Here’s where "time misdirection” is essential (see Anyone Can Be a

Magician). If you were to lift off the top half now and ask your specta-
tor to look at the top card of the remaining half, it might be obvious
that he’s looking at the original top card. But, if you talk for a moment
 80 The Magic Book
or two—about what you intend to do, and so forth—and then lift off the
top half as you say, "Look at your card,” indicating the top card of the
tabled half, he’ll be none the wiser.
As soon as he looks at, and remembers, the card, tell him to shuffle it
into his half. Then give him the half you’re holding, and tell him to
shuffle all.

THE BETWEEN 10 AND 20 FORCE

This is not the best force for a single card. I just think you should be
aware of the mathematical principle; also, I’ll be teaching you a four-
ace routine that’s based on it.
The force card must be tenth from the top of the deck. You can sim-
ply spot that card during a previous effect. Or, get a known card to the
top; then, using the Jog Shuffle, get nine cards onto it. Run three cards,
in-jog, shuffle off, break at jog, shuffle to break, and toss on top. Do that
three times, and the known card is tenth from top.
Hand the shuffled deck to the spectator. Tell him to give you any
number between 10 and 20. (This will not work with 20; asking for a
number between 10 and 20 solves the problem.)
Assume he selects 17. Tell him to deal cards onto the table, facedown
and one onto the other, forming a packet on the table. He’s to count
them, and deal to his number—17, in this example. When he’s dealt
seventeen cards, he’s to place the deck proper aside. Now, tell him to
add the digits of his number—1 and 7, in this case, totaling 8.
Have him pick up the packet of seventeen cards, and deal to the ta-
ble from that—to the eighth card. That’s the card he looks at, and re-
members. It will be the force card! It will be the force card no matter
what number he selects from 10 to 19 inclusive!
It’s automatic when the digits of his number are added. For 11, he’d
count to the second card of his dealt packet; for 12, he’d deal to the
third card; for 13, the fourth card; and so on up to 19. For this, he’d
count to the tenth card of his dealt (counted) packet of 19 cards.

THE REVOLVING FORCE

This is as clean a force as you’d want, if presented properly. You’ve

seen performers use it on television, mostly because it’s easy and sure-
fire. Have your force card on top. Shuffle, keeping it there.
Hand the deck to your spectator. Tell him to cut a "smallish” packet
 Card Handling and Sleights 81

of cards from the top and to turn that entire packet faceup onto the
deck. Stress the fact that he can cut anywhere he likes.
Now tell him to cut off another packet in exactly the same way, but
he’s to cut deeper than the first packet this time. In other words, he’s to
cut to below the face-up cards on top. Then, he’s to turn that entire
packet, as is, over onto the deck.
No matter how he’s cut each time, there will be a small group of
face-up cards on top of the deck. The first face-down card under these
will be the force card (see fig. 78).

FIG. 78

You can either let him spread to the first face-down card himself, or
you can take the deck, spread to the card, say, "Here’s the card you cut
to,” and let him take it and remember it. Turn all the cards facedown,
and let him shuffle to his heart’s content.

THE CLASSIC FORCE

Books have been written on forces alone. I’ve selected only the few
included here because they’re workable. All of them are enhanced by
the fact that you shuffle before going into the force. Don’t leave that
out. Too many hopeful cardmen don’t give their audiences credit for
any intelligence. If your spectator sees you look at the top or bottom
card just before going into a selection, the odds are he’s going to be at
least slightly suspicious!
All right—no matter which force you like, read about, or practice,
there’s only one that’s best. And that’s the Classic Force. All you do is
spread the cards from hand to hand, as you’d normally do, and "force”
the spectator to take the card you want him to take.
You don’t have to do any secret maneuvering, except to get the force
 82 The Magic Book

card into position. It’s all based on timing, confidence, and attitude—in
about that order.
The first thing you have to do is get a known card near to center of
the deck, with a left-little-finger break above it. There are many ways
to do this. The easiest is to shuffle a known card to the top, then shuffle
onto it, in-jogging the first card. When you’re ready to spread for the
force, simply lift at the in-jogged card with your right thumb tip and in-
sert your left little fingertip. The card you want to force is now directly
beneath your left little fingertip. (Of course, you could simply cut the
deck, obtaining a break, to get to the same position.)
As you say, "Please select a card—any card,” start spreading the
cards from left to right hand, and extend hands and cards toward the
spectator. From here, you’re just about on your own. There isn’t much I
can teach you, because there’s no sleight of hand involved. It’s all tim-
ing. You have to spread the cards according to how the spectator reach-
es for a card. If he moves his hand quickly, you have to spread quickly;
if he moves slowly, you spread slowly.
Your goal is to have the force card there, as his fingers touch the
spread! It’s the path-of-least-resistance syndrome: He’ll take the card
that’s there and easiest to grasp. (You might even push that card for-
ward, toward him, just a bit, but only if necessary.) Don’t stop spread-
ing. You should still be spreading cards as, and after, he takes the
force card (see fig. 79). That’s all there is to it.

FIG. 79

The main secret, really, is not to be tense. If you are, it will show,
and your spectator will get "cute” and go for a card near top or bottom!
 Card Handling and Sleights 83
The way to avoid that tenseness is never to put yourself in a position
where you must force a particular card. Not for this force. If you have
to force a particular card, use one of the other forces I’ve taught you.
Those are definites.
Since you know how to control a card by now, use the Classic Force
when it really doesn’t matter whether or not you’re successful. If you
miss, you’ll simply control the selected card. So, stay loose. When you
try the Classic Force with this not-caring attitude, that’s when you’ll
start being successful.
Remember the key point: Time the spreading so that the force card is
there as your spectator closes his fingers to take a card (without mak-
ing it obvious, of course). You’ll be amazed how often he will take the
card you want him to take. And, he’ll swear he had an absolutely free
choice!

Afterthoughts: Practice all these forces; they sure do come in handy

for creating miracles!
One tip for the Classic Force: Use some psychology. You’ll know, af-
ter doing a few card effects, which spectator simply reaches over and
takes a card, and which one thinks about it too much. Don’t try the
Classic Force with the "thinker.”
Also, the force will work better if you try to rush the selection just a
bit. It appears as if you’re anxious to get to the trick, and as if the selec-
tion is unimportant.

The Glide
The Glide is not one of my favorite sleights. I do use it for a few rou-
tines, and since I want to teach you two of them, I must teach you the
move. The routines cover the sleight perfectly, as you’ll see when you
get to them.
Hold the face-down deck from above in your left hand. Your thumb
is at the inner long side, fingers on the opposite side. Your little finger
is resting at the left end. The deck is near the fingertips, not at the
fingertips. Most important, your second fingertip must be in position to
bend its tip onto the face of the bottom card. The bottom edge of the
deck should hit right at the joint of the fingertip. (See fig. 80, which is
an exposed view.)
 84 The Magic Book

The object of the sleight is to make it appear as if you’re taking the

bottom card when you really take the second-from-bottom card. To be-
gin, the deck is held facedown, horizontal to the floor. (Learn this with
the entire deck. The sleight is easier with small packets, however.)
Your left hand, therefore, is palm down. Turn it palm up, exposing the
face of the bottom card. Name the card.

FIGS. 80 & 81

The move is executed as you turn your hand (and the deck) down
again. As you turn down, bend in your second fingertip so that it con-
tacts the bottom card, and slide that bottom card downward—that is,
toward the left, which is the only way you can move it. The card’s inner
end will push against the lower part of your left little finger, which
should give slightly, moving with the card.
Here are a couple of points which, to my knowledge, have never real-
ly been stressed before. This is really a combination of your second
fingertip moving one way as your thumb and forefinger, which are
holding the deck near the outer end, move the opposite way. The bot-
tom card is moved only about half an inch. (See fig. 81 for an exposed
view.)
The other point is that the side of the bottom card should actually be
grasped in the joint of your bent second fingertip. If you position that
finger properly and do the move, and if you remove the entire deck ex-
cept the "glided” card, that card should cling in the finger joint. A bit of
experimenting will show you just the right positioning of the deck for
the size of your hand.
 Card Handling and Sleights 85
To complete the sleight, as your left hand turns down and glides
back the bottom card, approach the right end of the deck with your
right hand. With the tips of your first and/or second fingers, remove
the second-from-bottom card. Easy—because the bottom card is out of
the way. (See figs. 82 and 83 for a bottom and a top view, respectively.)

Place this card to the table with your right hand. If you’ve followed
my instructions, the outer left corner of the "glided” card is butting
against the lower part of your left little finger. (Check the illustra-
tions.) After placing the card to the table, return to the deck with your
right hand and tap the exposed end with the side of your forefinger, in
a squaring action. Tap just hard enough to move the deck to the left
until it is flush on the glided card; your left little finger acts as the
"stop.” The glided card can also be "flushed” just by pushing it back
with your left little finger. In either case, you’re clean.

Afterthoughts: Practice applying the correct pressure, with your left

second fingertip, to glide a single card only. It’s a feel that will come to
you in a short time.
Also, practice smoothness. The bottom card should be glided back by
the time the deck is facedown; you glide as you turn the deck down.
Your right hand should be in position to take the card which is second
from bottom as soon as the deck reaches horizontal position. Your
hands move toward each other.
A good way to practice this, or any, sleight is to perform the real ac-
 86 The Magic Book
tion; get the feel and the look of it. Then try to make the sleight look
exactly like that. In this case, do the actions without gliding the card;
really take the bottom card. Then repeat it, performing the sleight. It
must look exactly the same!
 SLEIGHT-OF-HAND EFFECTS
AND ROUTINES

Before going into the effects and routines themselves, I thought I’d
mention the importance of selectivity. Effects that "go over” for some
audiences might not go over for others, as illustrated by the following
story:

I’m doing some card magic for friends, in the street. Standing quietly
watching is an older guy wearing a black suit, well fitted except for a
slight bulge at the left armpit, with thin white stripes, black shirt,
white tie, shiny black shoes, and a white hat. His name is Duke. Many
guys who look and dress like that on the Lower East Side are called
Duke!
When I finish, he says, "Listen, kid, come with me. Do some of that
stuff for my friends.” I’m about fourteen, and small; I don’t argue with
older guys named Duke! He takes me to a car, and we drive uptown.
I’m scared, but proud. I figure he liked my card tricks. At least, I hope
that’s why he’s "taking me for a ride.”
He stops in front of an old building—a hotel—and takes me into the
lobby. There’s a bunch of guys sitting around; all of them look like
Duke!
"Hey, fellas, c’mere; watch this kid. Knock your eyes out.”
They gather around—about nineteen guys. It’s my largest audience
ever. My voice shakes, and so do my hands.
87
 88 The Magic Book
"Lemme see those cards! Do that with this deck, kid.”
"Okay. Yessir.”
Soon it’s time for the great ending. I begin the effect—the one in
which a card is taken, shuffled into the deck, and then appears in my
jacket pocket.
I do the big buildup. All the Dukes stand with their "orbs plastered
to my mitts,” which is how they say their eyes never leave my hands.
The card is lost, shuffled, into the deck. I show my hands empty. My
left hand pulls the left front of my jacket open, and my right hand
darts toward the left inside pocket.
At the same instant—z-z-zip—nineteen other right hands slither
into nineteen other inside jacket pockets!

Freeze!

Cutting the Aces

Fm including this routine mainly as a practice device for the Jog

Shuffle. It employs another use for the jog, as well—"marking the cut.”
Begin either by placing the four aces on top and keeping them there
with one complete Jog Shuffle or by letting your spectator place them
(all together) to the center, after which you control them to the top
with the Jog Shuffle.
Patter: "I’m sure you’ve heard of gamblers who can cut to an ace, any
time they like. These people have been practicing for many years. I’ve
just started to practice, and I’d like to try it for you.”
As you talk, do one overhand shuffle; undercut, then in-jog the first
card you run. What you’ve accomplished is the placement of an in-
jogged card directly above the aces, at center.
Don’t bother squaring the deck too neatly; you don’t want to push in
the jogged card inadvertently, and squaring too well may make the
jogged card stand out. Place the deck onto the table as is, with the
jogged end toward you. Be careful not to push in the jogged card. Your
best bet is to grasp the deck at its upper right side with your right
fingers (see fig. 84). Place it directly onto the table.
"I don’t think I should have too much trouble cutting to the first ace.”
 Sleight-of-Hand Effects and Routines 89

FIGS. 84 & 85

As you end this sentence, cut to the first ace by placing your right hand
onto the tabled deck; thumb at inner end at the in-jogged card, fingers
at the outer end, and forefinger curled on top. Your thumbtip lifts up
on the jogged card (see fig. 85).
Cut the top half to your right; the in-jogged card has become the bot-
tom card of this half. Drop it, facedown, on the table, to the right of the
bottom half. Snap over the top card of the bottom (left) half with your
right hand. Toss this ace aside, faceup.
Place the left-hand half onto the right-hand half. The remaining
three aces are back on top. Pick up the deck and do the Jog Shuffle as
before, marking the aces at center. Say, "It gets progressively more
difficult because there are fewer aces in the deck each time. But I think
I can cut to the second ace for you.” Cut to it exactly as you did for the
first ace. Toss it aside with the first ace. Put the halves together just as
before.
"There are only two aces left. I may have trouble with the next one.”
Do a complete Jog Shuffle as you talk. That is, "mark” the aces, then
form break at in-jog, shuffle to break, and toss on top. Now shuffle
again, marking the aces. "But, I’ll try.” Cut to the third ace exactly as
for the others. Toss it aside and put the halves together.
"You probably think I’m controlling the aces in some way, or that I
know where they are. That’s impossible, of course. Look, you don’t
know where the last ace is, do you? Well, neither do I.”
While talking, get the last ace to fourth from the top. Simple: Shuffle
exactly as for the other aces, but this time run three cards and in-jog
the next one. Complete the shuffle.
 90 The Magic Book

THE SPECTATOR LOCATES

Now I’ll teach you a location method with which you’ll fool knowl-
edgeable cardmen, if you do it without hesitation. I’ve taught it in a
couple of my books for advanced amateurs and professionals. I call it
"The Spectator Locates.”
As you finish your last remark, do a wide face-down ribbon spread,
and continue talking: "But if you take out any card and turn it faceup,
it will immediately find the last ace. Go ahead, remove any card at all.”
Because the ace is fourth from the top, it doesn’t matter what card
your spectator removes! You can use that card to either count or spell
to the ace! Let me break it down for you. If he should take the fourth
card from the top—the ace—you’ve got a miracle! Act as if that’s exact-
ly what you’d intended to happen, and take your bow.
The odds, of course, are against this, but as I said, it doesn’t matter.
Any card will do. A 4-spot or a 5-spot is perfect. For a 4-spot, simply
gather the deck and say, "That’s a four. Watch!” Count from the top,
one card at a time, facedown onto the table. Turn over the card at the
count of four, to display the ace.
For a 5-spot, gather the deck and take the 5-spot from him. Place it
faceup on top. "This is a five. Watch!” Count to five as I just explained.
Because you’re using the 5-spot as part of the count, you’ll reach the
ace on the count of five!
For a 2-spot, you have a choice. You can either spell T-W-O, and turn
over the next card, or place it on top and spell D-E-U-C-E. The ace falls
on the final E.
For a 6- or a 10-spot, spell s-i-x, or T-E-N, and turn up the next card.
For a 9-spot, a jack, or a king, spell N-I-N-E, J-A-C-K, or K-I-N-G. The
ace falls on the final letter.
For a 3-spot, 7-spot, 8-spot, or queen, place the card faceup to the top
and spell out its number name. Since each of these is spelled with five
letters, you’ll come to the ace on the last letter.
There you have it. It simply doesn’t matter what card your spectator
removes and turns faceup. It is of utmost importance that you do not
hesitate when he turns up his card. It must appear as if what you do
with his card is what you’d do with any card. The only way to get to
this point is to practice. Do it. In a surprisingly short time, you’ll be
able to do it without thinking.
 Sleight-of-Hand Effects and Routines 91
Afterthoughts: I thought twice before deciding to give away that last
piece of business. It’s something I’ve used for years; I know how good
and how strong it is. You can use it for the location of a selected card
other than an ace, of course. In that case, if an ace is turned up, spell
A-C-E, and turn up the next card. But use the idea sparingly; I
wouldn’t use it more than once for the same audience.

FIG. 86

You can, incidentally, cut to each ace with the deck in your hands.
Simply cut the top half to the table (see fig. 86), turn up the top card of
the half still in your hands, then drop this half on to the tabled half.
Pick up the entire deck to continue.
This routine can help you gain the reputation of being a fantastic
card manipulator—if you practice and do it smoothly.

Anyone Can Be a Magician

This practically self-working, and usually pretty obvious, effect can

be turned into good magic by applying a bit of sleight of hand. The
"one-ahead” principle, upon which it’s based, is an old one. In order to
make it work, one card and its position must be known by the perform-
er. The obvious ploy that most beginners use is a glimpse at the bottom
card. Therein lies the problem!
First, most beginners look at the bottom card and immediately go
into the effect—and everybody is usually aware that he’s looked at the
 92 The Magic Book
bottom card! Second, at the end of the effect, the performer must take
what is ostensibly "any” card out of the deck. He has to take the bottom
card—again, too obvious, and not very "real.”
If your audience is completely unaware that you know the position
of a card, and if it really appears as if you’re taking "any” card at the
end, then this becomes a real fooler.
You should never glimpse a card, or set it into position, and immedi-
ately go into an effect that utilizes that knowledge. I call this principle
"time misdirection.” If you must use the bottom card as a secretly
known card (key card), it should be shuffled into (or kept in) position
after you’ve glimpsed it.
Do another effect which leaves that card in position, or put down the
deck and talk about something else for a minute or two. Then, as if you
just thought of it, go into the effect that utilizes the key card. One Slip
Shuffle or false cut as you introduce it strengthens it even more.
For this effect, it’s much better to know, say, the fifth card from the
top. This should be no problem for you now. There are two ways to go
about it: You can note the fifth card from the top during a previous
effect; do a Jog Shuffle, keeping it fifth; and put down the deck. Or, as
you do a Riffle Shuffle, glimpse the bottom card; do a Slip Shuffle, keep-
ing it at bottom; then another overhand shuffle, running it to the top.
Finally, one more overhand, running four cards onto the known one,
then in-jog, etc. When you’re finished, the known card is fifth from top,
and your audience will swear that the deck is thoroughly shuffled. You
should, however, call no attention to the shuffling.
When you pick up the deck, say something like, "Oh, here’s an inter-
esting experiment. It proves that anyone can be a magician.” As you
talk, give the deck a Jog Shuffle and/or false cut.
Do a wide face-down Ribbon Spread. Locate, with your eyes, the fifth
card from the top—at the right end of the spread. You can even spread
a bit more there, just to mark it, but don’t make it obvious. Say to a
spectator, "I know this seems impossible, but I’d like you to try to pick
out the—oh, say—the jack of clubs.” Name the known card at fifth po-
sition, making it appear as if any card would do. "It seems impossible
because I don’t want you to look at the faces of the cards. Go ahead; try
it.”
Let him take any card out of the spread. Don’t let him look at it; take
it from him immediately. Glance at it, and say, "Excellent!” Note this
 Sleight-of-Hand Effects and Routines 93
card, keep holding it, face toward you, but pay no more attention to it.
For explanation purposes, let’s assume he’s handed you the 4D.
Turn to another spectator, and say, "Would you remove the, oh, the
four of hearts.” This is something I always do. For this second card, I
name the "mate” of the card I’m holding. That is, if I had the 8S, I’d ask
for the 8C; if I had the KH, I’d ask for the KD, and so on. (I’ll explain
why in the Afterthoughts.)
The second spectator hands you a card. Place it in front of the card
you’re holding, in spread position. Let’s assume it’s the 7C. Say,
"Hmm, boy, you’re close; you missed by just a little bit. You two are
very good. Let’s see how well I can do. I’ll try to take out the, oh, the sev-
en of clubs,” naming the card just handed to you.

Take the fifth card from the right end of the spread (the known card)
as if you’re taking just any card. Place this onto (behind) the two cards
you’re holding (see fig. 87). As you remark, "I did just fine,” square the
three cards. "I know this seemed impossible, but I think you’re in for a
surprise.” Respread the three cards.
This is "time misdirection” again. If anyone noticed how you placed
the cards in your hand—which, of course, he shouldn’t, if you handle
the cards casually and pay no attention to them—the handling de-
scribed will tend to make him forget about it.
Turn to the first spectator. "What was the card I asked you to find?
Do you remember? The jack of clubs—that’s right!” (If he doesn’t re-
member, remind him.) "I told you—you did excellently.” Turn up the
JC (the card at the left of the spread); drop it faceup to the table.
Ask the second spectator which card he was to find. The 4H. "Yes,
 94 The Magic Book

that’s right; and you did very well. You missed by just a little bit, as I
told you.” Turn up the 4D and drop it to the table.
"And, of course, I wanted to find the seven of clubs.” Turn it over
slowly. "Fortunately, I did as well as you two, or else I’d be out of busi-
ness!”

Afterthoughts: Do you see why this is called the one-ahead principle?

You’re always one step ahead of your audience. You always ask for the
card you already have. (You’ll see the principle used a bit differently in
the Calculating Deck.)
You could, of course, use three or four spectators. It doesn’t matter.
Three cards is just about right; you don’t want it to become a bore; nor
do you want spectators to forget cards.
I cannot give you a precise reason for having the second spectator
"miss” by just a bit. I just know that it makes it all seem more logical,
more real.
You should see now why knowing the fifth card (you can use the
fourth or sixth) is much better than knowing the bottom card. It just
wouldn’t look "real” for you to take the bottom card at the end.
Finally, although the odds are against it, if one of the spectators
should happen to remove the fifth card from top, end right there.
You’ve got a little miracle!

Insert

Any control, plus a double lift, enables you to present this excellent
sucker effect. A "sucker effect” is one in which it appears as if the ma-
gician goofed, but a surprise ending makes it obvious that he didn’t.
Have a card selected, remembered, and replaced in the deck. Control
the card to the top. Whichever control you use, I’d advise topping it off
with a Jog Shuffle. "After years of practice, I sometimes can cut your
card right to the top.” Do one of the false cuts I taught you; or, if you
prefer, overhand shuffle, in-jogging the first card. Then cut to the in-
jogged card, including it in the cut.
Do a Double Lift, exposing an indifferent card (let’s assume it’s the
3H). "And there’s your card,” you say. Of course, the spectator will
 Sleight-of-Hand Effects and Routines 95
deny this. "The three of hearts is not your card? Strange. Oh, I know;
the three of hearts is a magic card.” As you talk, turn down the Double
Lift. Take off the single top card, hold it facedown, and hand it to the
spectator.
"Here, you can find your own card with the three of hearts. Just push
it into the deck, wherever you like, as I riffle the ends. You’ll find your
own card.”
Riffle the ends and let him insert the card. "Fine. Don’t let go of that
three of hearts. Here’s your card.” Turn up the portion of cards above
the inserted one (see fig. 88). He denies this card also, of course. "I don’t
understand this. Wait; try it once more. The three of hearts usually
can find a selected card.” Pull the deck away from his hand and the
card and riffle the ends again. He inserts the (supposed) 3H again.
Turn up the portion above, as before. . . . Missed again!

FIG. 88

"Oh, well, three times and out. Let’s try it once more. Push in that
three of hearts again.” By this time, you should be acting a bit per-
turbed. Ask him if he’s sure he remembers his card, and so forth. If
your acting is good, most spectators will feel badly for you. Some will
gloat!
Go through it once more. Look him right in the eye as you step away
from him, and as you say, "Now, wait a minute—what is your card?”
He names it. "Well, for gosh sakes, no wonder we couldn’t find it. Look
at the card you’re holding!” He does, and sees his own card!
 96 The Magic Book
Afterthoughts: A simple thing, but a stunner to the layman. When
you hand him the card, go right into the end riffle of the deck. You
don’t want a time lag here; he may decide to look at the card you’ve just
handed him. And, don’t let him let go of the card at any time; that
makes it stronger. Mention the 3H (or whatever) occasionally, as I’ve
indicated.
The more your audience thinks you’ve goofed, the better, and strong-
er, the ending!

Strange Voyage

I’ve used this as an opening effect since childhood. It’s an attention

grabber! You need to be able to do the three important card sleights: a
control (or force), a Double Lift, and a Palm. The Palm is executed at a
completely offbeat moment.
Control a selected card to the top. "Sometimes I get lucky and cut
your card to the top. Sometimes—not always.” As you talk, do a false
cut, or a Jog Shuffle, and cut to the in-jogged card. (I didn’t mention the
false cut as one of the necessary sleights because it isn’t absolutely
necessary. You can say, "I sometimes get lucky and shuffle your card
right to the top,” and eliminate the cut.)
Continue your patter: "So, don’t tell me the name of your card, just
say yes or no.” (If the card is named prematurely, it detracts from the
ending.) "Is this your card?” Do a Double Lift, showing an indifferent
card (let’s assume it’s the JD). He denies that this is his card. Turn
down the Double Lift. Place the top card facedown on the table. "The
jack of diamonds is not your card? Am I close at all?” As you talk, do
one or two Jog Shuffles, keeping the top card on top. Do not call atten-
tion to the shuffling.
No matter what he answers, say, "Well, I guess I goofed. I shouldn’t
have started”—if this is your opening effect—"with such a tough one.
What was your card?” He names it; you repeat it. Point to the tabled
card. "Would you turn over that jack of diamonds, please? I don’t want
to touch it; you may think I’m cheating.”
As he turns up the tabled card, palm the top card off the deck. The
misdirection here is perfect. All eyes are on the tabled card. I’ve always