Hindu Shuffle ! Even the name sounds mystical. I must confess ignorance as to its birth. John Northern Hilliard told me that he didn't know much about it either. In the fall of 1927 I was in Rudy Schlosser's old magic store on New York's West 42nd Street. Clinton Burgess had taken me there and we met, both for the first time, Emir Bux, an adept with the cups and balls, and an obsession (true or false ?) that he was the only Hindu who could do card tricks. What few tricks he did show us were and are quite…
Effect The performer writes on a piece of paper a number and the name of a card. On another paper, a spectator also secretly writes a number and the name of a card. The pack is dealt into two piles. The performer's card is found in one of the piles at a position corresponding to the spectator's number; the spectator's card is found in the other pile at a position corresponding to the performer's number. The idea of this problem is that the performer makes a double prophecy to start. He writes down a number at which later is found…
One of the most pleasing and typical English card problems for discriminate performers has been for quite a few years the sympathetic arrangement of values between suits as originated by Herbert Milton. Long a favorite of Leipzig, this mental stimulator recently appeared in print again (Milton published it years ago in a British magazine) but through uncontrollable circumstances was incomplete in its most salient details. A feature which can be used before club audiences, this effect should receive careful consideration by all those who want practical and well conceived material. Two packs of cards are at hand and a spectator…
Effect : The performer mentions that two is his lucky number and to illustrate introduces a pack of cards and two envelopes, these later being stood in a prominent position against a book or candlestick. The cards are then brought to a spectator who is requested to deal two heaps, choose one and then shuffle the cards he has chosen. After this he is requested to deal the cards slowly one at a time face downwards onto a table or chair, and another spectator is requested to tell him to stop dealing whenever he wishes. When this point of the…
Eight years ago, in 1930, I evolved what was a new effect in subtle cardology. A mentally chosen card was to automatically turn over in the deck! There could be no sleight or fumble of a known nature, and the card must be an absolute free choice from among the 52. The method, with which I had good success in deceiving not a few of the experts, was based on a principle of preparing cards on their surface so that when a pair of these treated sides did come into contact they would adhere enough to prevent separation when the…
:: EFFECT :: (1) The magus has any person freely select a card from a shuffled red deck, and another select any card from a freely shuffled blue deck. When selected cards are named, it is found that both persons have selected the same cards. (2) The red deck is shuffled by the spectator and placed in the magician's inside pocket. The other spectator shuffles his blue deck and places it in his own inside coat pocket. This person then reaches in the magician's pocket and removes any card. The magus also removes one card from the deck in spectator's…
:: EFFECT :: This is one of those extremely effective stunts which the subject remembers for many a year and thinks about whenever he has you in his mind. It makes a nice number also for the press. A card is selected, replaced and the deck shuffled. The performer shows a card and asks if it is the chosen one. The answer is "no." This card is placed on the table and the spectator told to cover it with his hand. The performer now tells him to look intently at his (performer's) forehead and imagine he sees an image of…
Present this trick in slow motion, explaining to your audience that, while you use sleight of hand just like any other conjuror, yours is the new invisible kind. Have a spectator cut any number of cards from the deck (any number is right), and look at the next card down. He puts his card on top of the pack, cutting it to the center. Now, in slow motion, without the slightest move of any kind, the performer runs through the cards and shows that the chosen card has turned face up in the deck. The spectator is asked to remove…
You Do As I Do effects have become almost as common as Four Ace tricks, but it seems as if one can't stop trying to improve and vary the presentation in order to reach a limit, if there be one. I think this is the only one so far to repeat the general effect immediately with the same person and completely "top" the first time. It is perfectly suitable for any club or platform number. The first part is what is now a generally accepted method. Two packs are shown, a red backed deck and the other a blue backed…
Effect: Four cards are freely drawn from the spectator's deck previously shuffled and cut, and which the cards are in spectator's hands. The performer does not touch the deck and the cards are drawn face down on the table so no one knows what they are. While the performer is blindfolded, in another room, or has his back turned at a distance, one of the cards is drawn to the edge of the table, still face down, and an identifying mark placed upon its face. Then it is mixed with the other three, so that its identity and position are…