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Want more? Advanced embedding details, examples, and help! Usage Public Domain Mark 1. The bible for many learner magicians. Recommended often and worth its weight in gold. This is a very good resource and great compliment to the RRCM book. It adds texture to the original material. Paul does a very good job of explaining, and adding insight. The book has only a few illustrations for each explanation. The handling in the video brings the book alive.
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View all magic downloads. Slip the index finger of the right hand under the card at the extreme right and turn it over in the direction in which the cards lie. This action will cause all the other cards to turn over. When facility has been acquired in spreading the cards in a fairly long line, the knack of spreading them in an arc of a circle will give you little trouble. The effect of the turnover is then much prettier.
The spread may be used for a very attractive flourish, first described by Robert-Houdin in The Secrets of Conjuring and Magic A comparatively recent addition makes the little feat even more effective. After spreading the cards in a long line on the table lengthwise, in such a way that about two-thirds of each card is covered by the one above it, slip the right index finger under the first face-down card.
Turn this card to an upright position. Take one card in the left hand, hold it vertically with its sides parallel to the table top, and place the middle of its lower side on the top edge of the upright card Fig. Draw this card toward the left, pressing it lightly on the top edge of the other cards as they move up into a vertical position.
All the cards turn over in succession. On reaching the other end of the line, do not let the cards fail flat. Move the card in the left hand back in the opposite direction and turn the line of cards face downwards as at the start.
If the cards have been spread carefully, the flourish may be repeated several times before letting the cards fall flat in their original position.
The effect is intriguing. On a Bare Table For this flourish proceed as follows: 1. Grasp the pack at the ends between the right thumb and the middle and ring fingers, pressing the tip of the index finger on the middle of the pack.
Pull the ends of the deck upwards with the thumb and two fingers, at the same time pressing downwards with the index finger. Place the pack on the table so that only the middle part of the bottom card touches the table surface Fig.
Move the cards from left to right swiftly, allowing the ends to slip off the tips of the fingers and thumbs, and at the same time maintaining the pressure of the index finger on the back of the top card. The result will be the formation of a perfect and symmetrical ribbon of cards, accompanied by a light riffling sound which is very effective.
The length of this ribbon spread will be governed by the amount of pressure exerted by the index finger. Note that in this case the cards are spread sideways, not lengthwise as in situation ,4.
The method may also be used on a cloth-covered table. It is excellent for use when a card is reversed at or near the bottom of the pack. In starting the spread, let half a dozen cards slip off the thumb and fingers before moving the hand, so that these cards will be bunched together and prevent the reversed card from being seen.
The onlookers will be convinced that all the cards are face downwards without your commenting on this fact. Gathering the Ribbon-Spread Pack When as in A above the cards have been spread, turned face upwards, and face downwards again--or when as in B they have been ribbon-spread for the selection of a card--the whole pack can be gathered with a rapid sweep of the right hand.
To do this, slip the fingers of the right hand under the lowermost card at the extreme end of the line and slide it under all the others, following the line of the pack. The cards are all brought into the hand, the thumb falling on the last card.
The action can be made as rapidly as you wish with perfect safety. With the hands held apart the cards are made to leap from one hand to the other. The moves are as follows: 1. Hold the pack in the right hand, by the ends, between the thumb and the middle and ring fingers. Bend the cards by squeezing on the ends, so that the convex side of the pack is towards the inside of the hand.
They will then naturally tend to spring from the fingers. Place the left hand about six inches away from the right hand, in position to catch the cards; continuing the pressure on the pack, allow the cards to escape, one by one, and catch them in the left hand Fig.
The distance between the hands can be increased with practice, and the flourish should be accompanied by a swing of the body towards the left, so that the hands describe an arc of a circle. The right hand should follow the last card and be brought against the cards in the left hand with a loud smack. Hold the packet vertically in the left hand between the crotch of the thumb and the outermost joint of the middle finger.
Push the top card to the right with the tip of the left thumb, pivoting it on the middle finger at the middle phalanx, until it projects at right angles from the packet Fig. Remove this card and repeat for each remaining card.
When this is done with neatness and precision it creates a marked impression of the performer's dexterity. The flourish depends on a little knack by means of which the card is made to revolve rapidly in its own plane.
To do this: 1. Hold the card in your right hand, near the outer end, between the forefinger and the middle finger Fig. Draw the hand back near the left breast, bending the wrist inwards. Extend the arm rapidly, letting the card go but at the same moment giving it a spinning motion by a sharp backward jerk of the hand. It is this spinning motion in the card's own plane that carries the card to a distance; otherwise the resistance of the air would cause it to fall at your feet.
When throwing cards to an audience, slant them upwards so that, their velocity expended, they flutter down upon the spectators, By starting the throw at an upward angle of about forty-five degrees and throwing the card only a couple of yards, the card can be made to return to your hand so that you can catch it with the tips of the fingers.
This very pretty effect, known as the boomerang card, is the basis of several fine tricks with cards. It has come into common use among card players, and its use by the card conjurer is therefore entirely justified.
Proceed exactly as described for the riffle shuffle, interlacing the ends of the two packets for about half an inch. Place the thumbs on the back of the packets at the point of junction, and slide the middle, ring, and little fingers under the outer ends of the packets, at the same time moving the hands towards each other and bending the packets Fig. Raise the hands and the pack about breast high, maintaining the pressure of the thumbs and fingers; then, by slightly relaxing the pressure of the hands on the outer ends of the cards and at the same time continuing the downward pressure of the thumbs, allow the cards to fall from the bottom separately on to the fingers of both hands held together Fig.
In making the preliminary shuffle the cards should be allowed to fall as nearly as possible in regular rotation, a card from one hand falling on a card from the other. The cards should be interlaced just sufficiently to be held in position by the thumbs, for the higher the arch that is formed the longer and more effective the fall of the separate cards becomes.
Hold the pack in the right hand at the inner end, between the index and middle fingers at the face and the thumb on the top, all the fingers paralleling the inner end Fig. Place the left hand at the outer end in the same position, the fingers below and the thumb above and paralleling the end.
Spread the cards in an arc with the left thumb as the left fingers draw the cards to the left, the bottom cards being the last to be fanned.
Straighten the right fingers so that the cards will pass over them as they are fanned. The completed fan appears as in Fig. It may be performed with either hand. Hold the pack vertically in the right hand, between the middle phalanges of the middle and ring fingers at one end and the thumb at the other. Rest the index and little fingers lightly at the sides Fig. Hold the pack upright by a pressure of the fingers at the sides and remove the thumb, placing its tip at the middle of the back.
Remove the index and little fingers, grasping the pack between the tips of the ring and middle fingers at the face and the thumb at the back. Spread the cards in a fan by an opposite pressure of the thumb and fingers very similar to that used in snapping the fingers.
When the cards are completely fanned they are grasped by the index finger only, at the face, with the fan resting along the palm and the length of the thumb at the back. A reverse action closes the fan, bringing it to its original position. The knack of making the one-hand fan is not easily acquired, but as with all things practice makes perfect.
It is not only pretty to see, but makes possible a version of the famous Diminishing Cards trick. Hold the pack at one end between the left thumb, above, and the index finger, below. Place the fight hand over the pack and press the tip of the thumb firmly against the left side near the outer corner. Sweep the thumb in a circle to the right, drawing the top cards with it and spreading those below them in a fan.
The thumb exerts a diminishing pressure, as it sweeps to the fight, which is quickly learned. A small fan is formed by placing the tip of the left thumb at the inner right corner in grasping the pack. A larger fan is made by placing the thumb at the inner left corner. To make a rosette, place the thumb at the centre of the pack. By securing one of the modern colorful bridge packs, many pleasing patterns can be formed by fanning the cards by this method and by grasping the pack at the four corners--in which case, when the outer corners are grasped, the fan is made in reverse, that is, by moving the thumb from right to left.
Hold the pack at the ends between the right thumb and the middle and ring fingers, the first finger curling at the top Fig. Place the pack in the crotch of the left hand, the tip of the left thumb resting on the inner left corner at the back, the index finger slanting diagonally across the face of the pack. Bend the cards downwards over the left index finger, and spread them in a fan by sweeping the right hand in a circle to the right, allowing the cards to slip from under the finger tips Fig.
This handsome flourish is useful in offering the cards for a choice. In its original form it was used merely to substitute one card for another, but since the turn of the century other and excellent uses of the sleight have been evolved, some of which we shall describe. The basic action of the glide is this: 1. Hold a pack of cards face downwards in the left hand--the thumb at one side, the fingers at the other--its outer side pressing against the middle phalanx of the index finger, near the outer left corner, and the first innermost phalanx of the little finger.
Rest the tip of the ring finger lightly against the middle of the face card. The third outermost phalanges of the index and middle fingers are bent inwards but take no part in the action to follow.
Press backwards with the tip of the ring finger, forcing the face card back about an inch and making it protrude beyond the inner end of the deck Fig. This shows the sleight as seen from below; viewed from above, the cards appear to be in normal position, the protruding card being concealed by the back of the hand. Bring the right hand palm upwards over to the deck, press its middle finger tip against the outer end of the second lowermost card, which is now exposed, and draw this card outwards about an inch; then seize and remove it with the aid of the thumb.
Finally move the left little finger backwards and with it press the protruding card flush with the deck. A little practice will show that the sleight is an easy one to do, yet it must be performed smoothly and without looking at the hands.
The more certain the spectators are of this, the more they enjoy his predicament and the more astonished and appreciative they are when the trick proves to be successful after all. First shuffle the pack, then have a spectator choose a card freely.
Have him show the card to everyone while you turn your head away. This is important, for all must know the card or they will not enjoy the feat. Next have the card replaced and control it to the top of the deck by means of the overhand shuffle control. Finally shuffle the chosen card to the bottom and leave it there. Place the deck on the table before you and announce what you propose to do somewhat after this style: "One of the most difficult feats with cards is that known as the location by cut.
I must make two conditions, however--first, that you will not at any time name your card or give me any indication that I have discovered it; second, that when you cut the cards, as I shall instruct you, you will say to yourself, 'This I cannot fail to do.
It is surprising that, when a person cuts with complete confidence, he will actually cut to a card which he has chosen and which has been shuffled into the pack. Gravely describe a circle around the deck with your extended index finger, then move your finger to make a cross above it. Place the cut here. Thank you. Square the packets carefully and continue, "There can be no doubt that you have cut at your card.
However, I cannot know which of the cards is your card, so I must again ask you not to give me any indication by word or gesture as to which it may be. Turn it so that the face card can be seen by everyone, glance at it, and say, "This is not your card. Drop the remainder of the packet on the right-hand packet of the two on the table. Pick up this combined packet in the same manner, lift it to show the face card, look at it yourself, and say, "Nor is this your card.
Place the combined packet on the one remaining on the table, pick up all the cards, holding them ready for the glide, lift the pack, and show the face card. It is the chosen card, but you keep a poker face and say as you execute the glide and remove the next card, "Apparently you lack confidence in yourself, for that is not your card either. If so, take no notice and at once draw out the next card above the glided card and use it as a pointer.
Touch each of the three tabled cards in turn counting, "One, two, three cards and none of them yours. This subtle move not only conceals the chosen card but finally convinces the onlookers that the chosen card has been placed on the table.
Turn to another spectator and ask him to name a number, say between five and ten. Suppose seven is named. Still holding the deck face downwards, draw out the face card and deal it face upwards on the table, counting "One. The spectator names the card you hold. Here is where your ability to act convincingly will be of prime importance. Pretend to be taken aback upon hearing the card named.
Repeat its name and glance covertly at the card on the table which the spectators believe to be the chosen card. Usually at this point someone, with no little glee, will tell you that the chosen card is on the table and that you have made a mistake. Occasionally, because of courtesy, no one will fall into the trap. In either case, after a moment you brighten and say, "That's right. Here's the card! It is at this point that the trick is most enjoyable.
You will find invariably that someone will reach for the tabled card, which should be, but is not, the chosen card. The laughter and puzzlement which this action provokes will repay you a hundredfold for the slight effort you have made in mastering the trick. Here is another use to which it can be put-one that enables you to vanish one card and make another appear in its place. Shuffle the pack, have a card drawn and noted, and when it is replaced control it to the face of the pack by means of the overhand shuffle control.
Turn the pack with the face toward yourself, so that no one can see the cards, and run through them, removing the four twospots and placing them at the face of the pack in black, red, black, red order.
Remove the five cards at the face of the pack without showing how many you take. Turn them face downwards and hold them in the left hand in readiness for the glide. The top card is the chosen card, and under it are the four two-spots.
Remove the bottom card with the right hand and deal it face upwards on the table, calling its color, "Red. Deal the card now at the bottom face upwards on the first card in the same way. Glide back the card now at the bottom. Remove the two cards above it as one by grasping them at the outer end between the right thumb, above, and the fingers, below.
As they are drawn from the left hand, press against their sides with the left index finger and thumb, thus keeping the two cards in perfect alignment.
Deal these two cards face upwards as one upon the first two cards, saying "Black. Take the last card, saying, "And this naturally must be red. You have shown four cards and all are two-spots. Pick them up, square them with the face toward yourself, and mix the cards without revealing how many you hold.
Be sure that the chosen card is third from the top when you finish. Take them in your left hand in readiness for the glide. This is the chosen card. Place it face downwards to your right. Pick up the other cards, place them on the pack, and hold the pack in your hands.
That was a trick, for now I want you to tell me the suit of the last card. The spectators may succeed or fail in naming the proper twospot, but, no matter what their answer, you say, "I'm sorry, but you were observing the colors so closely that you failed to notice the values of the cards. There are many ways of doing this; some of the methods have graduated into the conjuring class from the gaming table and require considerable skill to execute properly. The best of these will be considered later.
In the meantime let us take up first the one that is most easily acquired. When he has done that, hold out your right hand to take back the deck, purposely holding it rather high so that he will have to raise his hand to give you the deck.
Take the pack with your thumb underneath it on the face card, your fingers on the back. At that moment it is natural for you to glance at the cards, and by tilting them ever so little with the thumb you can glimpse the index of the bottom card at the inner left corner Fig.
Immediately look at the spectator and address him with some such short remark as this, "You are satisfied that you have mixed the cards thoroughly? Slope it just enough to see the index only. Also do not turn your gaze toward the pack as you tilt it; you should be looking at the pack only as you take it. Get the glimpse and then look at the spectator.
Make the action a natural one, and no one will have the least suspicion that you have seen the bottom card. Immediately after making the glimpse, execute an overhand shuffle, controlling the sighted card by keeping it at the bottom or sending it to the top of the pack. Sometimes the spectator will play into your hands. Many laymen make the shuffle roughly, and often you can glimpse the bottom card either as the shuffle is made or as the cards are being squared after the shuffle.
Always make a point of watching for this. If you do not sight the card, then resort to the method explained above. Offer the pack for shuffling and when it is returned hold it face downwards at the ends between the right thumb and fingers. Say: "Kindly notice--nothing up my sleeves," and draw back the right sleeve with the left hand.
As the right arm is extended, tilt the pack enough to enable you to glimpse the index of the bottom card. Bottom-Card Glimpse III Offer the pack for shuffling and when it is returned hold it in the left hand as for dealing, face downwards.
Thumb off about a dozen cards from the top and take these in a fan in the right hand, letting it be clear that you do not see the faces. Hold the hands well away from your body as you say, "You will certify that these cards are well mixed?
Note the bottom card of the pack, which faces you, and instantly avert your gaze. Your eyes must not dwell on the card but flick it in passing. Replace the fanned cards on the deck in the left hand. Gesture to someone, saying, "Will you help me?
Push the top card to the right with the left fingertips; this will expose the inner index Fig. Return the hand to its original position. Riffle shuffle the pack, retaining the top card in position but making sure that the original bottom card is lost near the bottom of the pack in the event that someone may have noticed it and may be following it. Hold the cards vertically and thumb them from the left into the right hand, inviting someone to touch any card and remember it.
Place the left thumb against the lower edge of the card he touches, at the index corner, and drop the hands somewhat, never glancing at the cards. Raise the fan again, saying that you wish him to be sure to remember his card, and instantly raise the index corner with the thumb, glimpsing the index Fig. Close the pack and hand it for shuffling.
Wherever possible a chosen card should be glimpsed by one or another of the methods given above as soon as possible after its replacement in the pack. In the event that the card is accidentally lost, or if a spectator insists on being allowed to shuffle the cards himself, knowledge of what the card is still leaves you master of the situation. The name of the card is then spelled mentally by the spectator, who applies one letter to each card dealt by the magician.
On reaching the last letter the spectator calls "Stop! The last card dealt is turned face upwards and proves to be the very card he selected. Hand the deck to a spectator and have him shuffle the cards thoroughly. Take the pack back, glimpsing the bottom card, and then shuffle overhand retaining the card on the bottom. Suppose this card is the five of spades. Spread the pack and have a card freely chosen, noted by the drawer, and shown to several persons near by.
This is a precaution it is wise to take, because it gets others interested and prevents any subsequent misnaming of the card, either by carelessness or by design. Holding the deck by its sides at the tips of your thumb and your middle and ring fingers, draw out the lower half with your right thumb and middle finger, making what is termed an undercut.
Let the packet in your left hand fall on to the palm, and hold out that hand for the replacement of the chosen card on top. Immediately drop the right-hand packet on it and square the deck openly. Be careful to hold the right-hand packet face downwards, and do not glance at it.
Some performers take the glimpse of the bottom card at this time. A very bad practice, widely open to detection. The position now is that the chosen card is in the middle of the deck, with the glimpsed card, the five of spades, immediately above it. Shuffle overhand in this manner: Lift the whole pack and freely shuffle off about one-third of the cards, let about another third of the cards fall in a block, and then shuffle the remaining cards freely.
Thus the two cards, the glimpsed card and the chosen card, must remain together in the middle. It is true that a casual shuffle is not likely to separate them, but it is best to be certain. Square the cards and say, "Some people imagine that a magician can steal a card out of the pack without anyone seeing him do it. Let me show you that your card is still buried among the other cards.
Do this at a fairly rapid pace, but not too fast. As you begin, say, "You might think I detect your card by your expression when you see it; therefore I shall not attempt to watch you. Watch for the index of the five of spades. The moment you see it, note the card you have just taken in your right hand, which will be the chosen card.
Let us suppose that this card is the ten of hearts. Begin at once to spell ten of hearts mentally, saying to yourself t for the ten of hearts you have already taken in your right hand, e as you take the five of spades the glimpsed card , n for the next card, o and f for the next two, and so on until you arrive at the letter s. At this point separate your hands rather widely, look at the spectator, and ask him, "Have you seen your card? Do this quietly, without looking at your hands, while saying to the spectator, "Very well.
No use going any farther. You now have everything set for the climax, so you tell the spectators what you are going to do. Suppose your card is the queen of hearts; as I deal the first card you will say to yourself q, for the next card u, the third card e, and so on; and don't forget the o-f.
Very well. When you come to the last letter just call 'Stop? Impossible, you say? Well, let's try it. When the spectator calls "Stop! Would you be surprised to find that the cards have arranged themselves automatically so that this card at which you called 'Stop' is your card?
Now , a magician renowned prize , win , Paul is respected not only for its creative approach to magic , but also for his remarkable skill with cards. He performs regularly at the Magic Castle in Hollywood and has traveled the world performing and conferences on a snap.
Paul is also the author of fifteen books and manuscripts on his magic and has also produced five instructional videos of his work. Paul now works in film and television. Email This BlogThis! Share to Twitter Share to Facebook.
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